Artists of Renaissance Europe
"When this noble artist died, well might Painting have departed also, for when he closed his eyes she too was left, as it were, blind....To him of a truth it…
From: 1512 C.E. To: 1574 C.E.
Location: Vatican City
Note: This article has been excerpted from a larger work in the public domain and shared here due to its historical value. It may contain outdated ideas and language that do not reflect TOTA’s opinions and beliefs.
From Readings in European History: A Collection of Extracts from the Sources by James Harvey Robinson, 1906.
The Artists of the Renaissance
Giorgio Vasari (1512-1574), a painter of some ability himself and an enthusiastic admirer of the great artists of Italy, among whom he considered his friend and contemporary, Michael Angelo, the greatest, wrote a long series of charming biographies of painters, sculptors, and architects, which form the chief source for the lives of the Italian artists from Giotto to Titian.
Vasari writes thus of Raphael's premature death and of his kindly disposition toward his fellow-artists.
When this noble artist died, well might Painting have departed also, for when he closed his eyes she too was left, as it were, blind....To him of a truth it is that we owe the possession of invention, coloring, and execution, brought alike and together to that perfection for which few could have dared to hope; nor has any man ever aspired to surpass him.
And in addition to the benefits which this great master conferred on art, being as he was its best friend, we have the further obligation to him of having taught us by his life in what manner we should comport ourselves toward great men, as well as toward those of lesser degree, and even toward the lowest; nay, there was among his many extraordinary gifts one of such value and importance that I can never sufficiently admire it and always think thereof with astonishment.
This was the power accorded to him by heaven, of bringing all who approached his presence into harmony, an effect inconceivably surprising in our calling, and contrary to the nature of our artists. Yet all, I do not say of the inferior grades only, but even those who lay claim to be great personages (and of this humor our art produces immense numbers) became as of one mind, once they began to labor in the society of Raphael, continuing in such unity and concord that all harsh feelings and evil dispositions became subdued and disappeared at the sight of him; every vile and base thought departing from the mind before his influence.
Such harmony prevailed at no other time than his own. And this happened because all were surpassed by him in friendly courtesy as well as in art; all confessed the influence of his sweet and gracious nature, which was so replete with excellence and so perfect in all the charities, that not only was he honored by men but even by the very animals, who would constantly follow his steps and always loved him.
Several of Michael Angelo's greatest works were undertaken at the order of Pope Julius II (d. 1512), who had the highest appreciation of his genius. But the independence of the artist and the irascible temper of the pontiff occasioned numerous quarrels between them, which invariably resulted in fresh favors from the pope.
[The pope was very anxious to see the decoration of the Sistine Chapel completed, and constantly inquired when it would be finished.] On one occasion, therefore, Michael Angelo replied, “It will be finished when I shall have done all that I believe is required to satisfy Art."
"And we command," rejoined the pontiff, "that you satisfy our wish to have it done quickly," adding that if it were not at once completed, he would have Michael Angelo thrown headlong from the scaffolding. Hearing this, our artist, who feared the fury of the pope, and with good cause, without taking time to add what was wanting, took down the remainder of the scaffolding, to the great satisfaction of the whole city, on All Saints' day, when Pope Julius went into that chapel to sing mass. But Michael Angelo had much desired to retouch some portions of the work a secco as had been done by the older masters who had painted the stories on the walls. He would also have gladly added a little ultramarine to the draperies and gilded other parts, to the end that the whole might have a richer and more striking effect.
The pope, too, hearing that these things were still wanting, and finding that all who beheld the chapel praised it highly, would now fain have had the additions made; but as Michael Angelo thought reconstructing the scaffold too long an affair, the pictures remained as they were, although the pope, who often saw Michael Angelo, would sometimes say, "Let the chapel be enriched with bright colors and gold; it looks poor." When Michael Angelo would reply familiarly, "Holy Father, the men of those days did not adorn themselves with gold; those who are painted here less than any, for they were none too rich; besides which they were holy men, and must have despised riches and ornaments."
[In 1546, San Gallo, who was in charge of the building Michael operations at St. Peter's in Rome, having died, Pope Paul III Angelo asked Michael Angelo to undertake the office.] The master at first replied that he would not, architecture not being his vocation; but when entreaties were found useless, pope commanded him to accept the trust, and to his infinite regret he was compelled to obey. He did not approve of San Gallo's plan. He would often publicly declare that San Gallo had left the building without lights, and had heaped too many ranges of columns one above the other on the outside; adding that, with its innumerable projections, pinnacles, and divisions of members, it was more like a work of the Teutons than of the good antique manner, or of the cheerful and beautiful modern style. He furthermore affirmed that fifty years of time, with more than three hundred thousand crowns in the cost, might very well be spared, while the work might be completed with increased majesty, grandeur, and lightness, to say nothing of better design, greater beauty, and superior convenience.
He made a model also, to prove the truth of his words, and this was of the form wherein we now see the work to have been carried on; it cost twenty-five crowns and was finished in a fortnight, that of San Gallo having exceeded four thousand and having occupied several years in making. From this and other circumstances, it was indeed easy to see that the church had become an object of traffic and a means of gain rather than a building to be completed, being considered by those who undertook the work as a kind of bargain to be turned to the best account.
Such a state of things could not fail to displease so upright a man as Michael Angelo, and as the pope had made him superintendent against his will, he determined to be rid of them all. He therefore one day told them openly that he knew well that they had done and were doing all they could by means of their friends to prevent him from entering on this office, but that if he were to undertake the charge he would not suffer one of them to remain about the building.
Robinson, James Harvey. Readings in European History: A Collection of Extracts from the Sources. Vol. 1. Ginn and Co. 1906.
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