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It is generally supposed that this was the picture which Bugiardini is said to have coloured after the master's death; but there is much divergence among Italian authors both as to whether this was the painting spoken of, and also as to the meaning of Vasari's words, he using the phrase "finished" in one place, and "coloured" in another.
Sodoma was so singular a fellow, even in that age of piquant personalities, that it may be worth while to translate a fragment of Vasari's gossip about him. We must, however, bear in mind that, for some unknown reason, the Aretine historian bore a rancorous grudge against this Lombard, whose splendid gifts and great achievements he did all he could by writing to depreciate.
Vasari's and Cellini's criticisms of a master they both honestly revered, may suffice to illustrate the false method adopted by these mimics of Michael Angelo's ideal. To charge him with faults proceeding from the weakness and blindness of the decadence the faults of men too blind to read his art aright, too weak to stand on their own feet without him would be either stupid or malicious.
In weighing the value of Vasari's testimony with reference to the works of Vecellio and other Venetian painters more or less of his own time, it should be borne in mind that he paid two successive visits to Venice, enjoying there the company of the great painter and the most eminent artists of the day, and that on the occasion of Titian's memorable visit to Rome he was his close friend, cicerone, and companion.
Sometimes the place suggests a ship, with the oculi as gunports, piercing to the outer day, or else, his mind fresh from that red inferno of Vasari's frescoes, the traveler is tunneling up through a volcanic crater with a whole Typhonic Enceladus buried below.
In 1571 that is, three years after Vasari's second edition was published Titian addresses a letter to Philip the Second of Spain in these terms: "Most potent and invincible King, I think your Majesty will have received by this the picture of 'Lucretia and Tarquin' which was to have been presented by the Venetian Ambassador.
To recapture something of its potency from the description of contemporaries is therefore our plain duty, and for this we must have recourse to Vasari's text. He says: "Michelangelo filled his canvas with nude men, who, bathing at the time of summer heat in Arno, were suddenly called to arms, the enemy assailing them.
Among Del Sarto's followers it will be enough to mention Franciabigio, Vasari's favourite in fresco painting, Rosso de' Rossi, who carried the Florentine manner into France, and Pontormo, the masterly painter of portraits.
I cannot recommend Vasari's Lives of the Italian Painters entertaining as it is, for so much of each page is taken up by notes of different editors and commentators denying flatly the assertions of the text that to read him for information seems waste of time. Messrs. Crowe and Cavalcaselle's New History of Painting in Italy is the latest English authority. Mr.
Mother, pray that his judgments may not descend upon you for this." "You have no right to talk to me in that way," said Mrs. Luttrell, with a great effort. "I have not been unjust. You are ungrateful. If you go away from me, I will leave all that I possess to Hugo, as I intended to do. Brian, as you call him Vincenza Vasari's son shall have nothing."
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