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Updated: May 21, 2025
Margaritone, according to Vasari, died at the age of seventy-seven, "regretting that he had lived to see a new form of art arising and the new artists crowned with fame." These lines, which I translate literally, have inspired Sir James Tuckett with what are perhaps the finest pages in his work. They form part of his "Breviary for Aesthetes"; all the Pre-Raphaelites know them by heart.
Vasari says that Gian was the better artist, but Aldus refers to Gentile as "the undisputed master of painting in all Venetia." Ruskin compromises by explaining that Gentile had the broader and deeper nature, but that Gian was more feminine, more poetic, nearer lyric, possessing a delicacy and insight that his brother never acquired.
Returning now to the passage cited from Vasari, we find that he reckons only two authentic portraits in painting of Michelangelo, one by Bugiardini, the other by Jacopo del Conte. He has neglected to mention two which are undoubtedly attempts to reproduce the features of the master by scholars he had formed. Probably Vasari overlooked them, because they did not exist as easel-pictures, but were introduced into great compositions as subordinate adjuncts. One of them is the head painted by Daniele da Volterra in his picture of the Assumption at the church of the Trinit
Continuing these scattered observations upon Michelangelo's character and habits, we may collect what Vasari records about his social intercourse with brother-artists. Being himself of a saturnine humour, he took great delight in the society of persons little better than buffoons.
Some assert that John van Eyck introduced his invention both into Italy and Spain, while others declare that he never left his own country, which would seem to be true. Vasari, the first writer on Italian art, awards the invention to Giovanni da Bruggia, and gives an account of its first introduction into Italy by Antonello da Messina, as we shall presently see.
They sent me away, and, after a time, I heard from Father Cristoforo that he was gone, and had found a tutorship in an English family, that he vowed never to bear the name of Luttrell any more, and that the way was open for me to claim my own rights, as the woman Vincenza Vasari had been found and made confession." "So you came to England with that object?"
According to Vasari, Topolino thought himself an able sculptor, but was in reality extremely feeble. He blocked out a marble Mercury, and begged the great master to pronounce a candid opinion on its merits. "You are a madman, Topolino," replied Michelangelo, "to attempt this art of statuary. Do you not see that your Mercury is too short by more than a third of a cubit from the knees to the feet?
Arnolfo only lived to see a portion of this, his greatest work, completed "the three principal tribunes which were under the cupola," and which Vasari tells us were so solid and strongly built as to be able to bear the full weight of Brunelleschi's dome, which was much larger and heavier than the one the original architect had himself designed.
If his mother's story were true, he was, as she had said, the son of an Italian gardener called Vasari; his name then must be Vasari; his baptismal name he did not know. And Brian Luttrell did not exist; or rather, Brian Luttrell had been buried as a baby in the little churchyard of San Stefano. It was a bitter thought to him. But it could not be true.
Vasari tells us that he communicated privately with Averardo Serristori, the Duke's ambassador in Rome, recommending that some proper housekeeper should be appointed, and that due control should be instituted over the persons who frequented his house.
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