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Updated: May 21, 2025
Vasari speaks of "his many friends whom he delighted by his admirable performance in music," and his death caused "extreme grief to his many friends to whom he was endeared by his excellent qualities." He enjoyed prosperity and good health, and was called Giorgione "as well from the character of his person as for the exaltation of his mind."
Then, thinking that he would never return, he sold the little that he possessed there by way of patrimony to Leonardo Ricciarelli, his nephew, who, having been with him in Rome, and having learned very well how to work in stucco, afterwards served Giorgio Vasari for three years, in company with many others, in the works that were executed at that time in the Palace of the Duke.
For this story we may thank Vasari, because it helps us to realize the love the people of Florence felt for the pictures in their churches, and the reverence in which they held an artist who could paint a more beautiful picture of the Virgin and Child than any they had seen before.
Vasari calls him the "divinely endowed," "showered with the richest gifts as by celestial munificence" and speaks of his countenance thus: "The radiance of his face was so splendidly beautiful that it brought cheerfulness to the hearts of the most melancholy, and his presence was such that his lightest word would move the most obstinate to say 'Yes' or 'No."
The design of this great work, which has been celebrated by Vasari, Moderni, and other writers on Italian art, was at once magnificent and original; and the countenance and figure of Lucifer, upon which the artist appeared to have concentrated all the rays, as it were, of his genius, were conceived in a manner fearfully sublime.
Aristotile having therefore told the whole story to Vasari, Giorgio told him that he should have no anxiety and should be of good cheer, for no wrong would be done to him.
One of the pupils of Guglielmo was Battista Borro of Arezzo, who continues to imitate him greatly in the making of windows; and he also taught the first rudiments to Benedetto Spadari and to Giorgio Vasari of Arezzo. The Prior lived sixty-two years, and died in the year 1537.
But, although there are in it many things retouched by Vasari, nevertheless the whole façade, with the greater part of the figures and all the ornaments, festoons, and large ovals, is by the hand of Cristofano, who in truth, as may be seen, was so able in handling colours in fresco, that it may be said and Vasari confesses it that he knew more about it than Giorgio himself.
He was born at Florence in 1446; he died May 27, 1510; in 1515, according to Vasari. A study of him is by Emile Gebhart, late of the French Academy. It is erudite, although oddly enough it ignores the researches of Morelli and Berenson.
Suffice it to say that he began at once to work with diligence and accuracy at all points where the edifice required alteration; to the end that its main features might be fixed, and that no one might be able to change what he had planned." Vasari adds that this was the provision of a wise and prudent mind.
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