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Updated: June 12, 2025
There the tale of victory ends; but we arrive at matters not less gratifying in another sense. The distinguished engineer, Don Mariano Lana y Sarto, has been appointed to look after the repair of the bridges destroyed by Nouvilas.
Such was Ippolito de' Medici, grandson of the great Lorenzo, whom Titian painted, probably when he was in Bologna, in 1533 or 1534. This room also contains a nice little open decorative scene like a sketch for a fresco of the Death of Lucrezia, No. 388, attributed to the School of Botticelli, and above it a good Royal Academy Andrea del Sarto.
On one end he designed an allegory of Vertumnus, with his husbandmen around him busy with their labours, and on the other Pomona, Diana, &c. Perhaps in these last he has carried his imitation of Andrea del Sarto rather too far in the matter of draperies, which are too profuse and studied.
The Madonna del Sacco, over the door of the entrance to the church from the cloister, would seem to have been painted in the same year, 1514, judging from Biadi's extract from the MS. account books of the Servite Fathers existing in the archives, where is an entry "Giugno, 1514, ad Andrea del Sarto, per resto della Madonna del Sacco, lire 56."
If he had an engagement at ten, perhaps he would leave orders that the Doctor should be allowed to see the picture. Guido did not think at once of any good reason for refusing such a request. He was very fond of his Andrea del Sarto; indeed, he liked it much better than a small Raphael of undoubted authenticity which was hung in another part of the room.
Before you come into the drawing-room you stand a moment in a great vaulted place hung round with faded tapestry, paved with bare tiles, and furnished only with three chairs. In the drawing-room, above the fireplace, is a superb Andrea del Sarto. The furniture is covered with pale sea-green." My companion listened to all this. "The Andrea del Sarto is there; it's magnificent.
They all paint better than Giotto and Cimabue, in some respects better than Perugino; but they paint in vain, probably because they were not nearly so much in earnest, and meant far less, though possessing the dexterity to express far more. Andrea del Sarto appears to have been a good painter, yet I always turn away readily from his pictures.
Lionardo da Vinci, Michael Angelo, Andrea del Sarto, Fra Bartolommeo, all studied their art in this chapel. Raphael borrowed the grand figure of St Paul preaching at Athens in one of the cartoons, from one of Masaccio's or Filippo Lippi's frescoes. Masaccio's excellence as an artist, reached at an immature age, is very remarkable.
After these works, Niccolò under whose discipline Domenico Giuntalodi, a young man of excellent ability belonging to Prato, had learned the rudiments of the art of painting, although, in consequence of having acquired the manner of Niccolò, he never became a great master in painting, as will be related departed from Prato and came to work in Florence; but, having seen that the most important works in art were given to better and more eminent men than himself, and that his manner was not up to the standard of Andrea del Sarto, Pontormo, Rosso, and the others, he made up his mind to return to Arezzo, in which city he had more friends, greater credit, and less competition.
And that this is true is proved by the fact that all the most celebrated sculptors and painters, who have lived from his day to our own, have become excellent and famous by exercising themselves and studying in this chapel namely, Fra Giovanni da Fiesole, Fra Filippo, Filippino, who finished it, Alesso Baldovinetti, Andrea dal Castagno, Andrea del Verrocchio, Domenico del Ghirlandajo, Sandro di Botticello, Leonardo da Vinci, Pietro Perugino, Fra Bartolommeo di San Marco, Mariotto Albertinelli, and the most divine Michelagnolo Buonarroti; likewise Raffaello da Urbino, who owed to this chapel the beginning of his beautiful manner, Granaccio, Lorenzo di Credi, Ridolfo del Ghirlandajo, Andrea del Sarto, Rosso, Franciabigio, Baccio Bandinelli, Alonso Spagnuolo, Jacopo da Pontormo, Pierino del Vaga, and Toto del Nunziata; and in short, all those who have sought to learn that art have ever gone to this chapel to learn and to grasp the precepts and the rules for good work from the figures of Masaccio.
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