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Updated: May 20, 2025
The growth of a gallery Vasari's Passaggio Cosimo I Francis I Ferdinand I Ferdinand II Cosimo III Anna Maria Ludovica de' Medici Pietro-Leopoldo The statues of the façade Art, literature, arms, science, and learning The omissions Florentine rapacity An antique custom Window views The Uffizi drawings The best picture.
The extraordinary effect, as of something superhuman, produced by the Cartoon upon contemporaries, and preserved for us in Cellini's and Vasari's narratives, must then have been due to unexampled qualities of strength in conception, draughtsmanship, and execution.
The dormer windows in the outer sheath not only broke the surface of the vault, but also served to light this passage to the lantern. Vasari's description squares with the model, now preserved in a chamber of the Vatican basilica, and also with the present fabric.
In short, the sepulchre included more than forty statues, not counting the histories in half-reliefs, made of bronze, all of them pertinent to the general scheme and representative of the mighty Pontiff's actions." Vasari's account differs in some minor details from Condivi's, but it is of no authoritative value.
It is, on the contrary, to be perceived that they are painted at many sittings, that they have been worked upon with the colours so many times as to make the labour evident; and this method of execution is judicious, beautiful, astonishing, because it makes the pictures seem living." No better proof could be given of Vasari's genuine flair and intuition as a critic of art than this passage.
Both had been badly restored even in Vasari's time. L. of 1272 are 1343 and 1344: a Nativity, and a Virgin and Child with Angels and Saints adoring, by Fra Filippo Lippi.
A careful examination of the picture substantially confirms Vasari's story that the Feast of the Gods was painted upon by Titian, or to put it otherwise, suggests in many passages a Titianesque hand.
Another set of letters, composed in the same tone by a man who signs himself Silvio di Giovanni da Cepparello, was written by a sculptor honourably mentioned in Vasari's Life of Andrea da Fiesole for his work at S. Lorenzo, in Genoa, and elsewhere. They show how highly the fame of having been in Michelangelo's employ was valued.
Condivi and Vasari imply, indeed, that this was the case; but, beside the physical impossibility, the fact remains that certain portions are obviously executed by inferior masters. Vasari's anecdotes, moreover, contradict his own assertion regarding Michelangelo's singlehanded labour.
Niccolò Pisano was from Apulia. He may well have seen the beautiful fragments of Greek and Roman art scattered over the South before he came to Pisa, yet there may, too, be more truth in Vasari's tale than we are sometimes willing to admit, so that in the northern city beside Arno it may well have been with a sort of delight he came upon the art of the ancients, asleep in the beautiful Campo Santo of Pisa, and awakened it, yes, almost with a kiss.
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