140 PIETRO LAURATI, PAINTER OF SIENA.* [BORN.... PIETRO LAURATI,† an excellent Sienese painter, had ample experience in the course of his life of the great happiness derived by the truly distinguished in art, from the knowledge that their works are prized and sought for by all men, whether in their own country or in foreign lands. The paintings which this master executed in fresco for the Scala, an hospital of Siena, having first made him known, he was invited to different cities, being honourably received and caressed by all Tuscany. In these frescoes, the manner of Giotto, then extensively promulgated through all Italy, was so closely imitated, that all with reason believed Laurati likely to become a better master than Cimabue, Giotto, and others, had been, as was afterwards proved to be the case. In the figure of the Virgin, who is represented ascending the steps of the temple, accompanied by Joachim and Anna, and received by the priest; as also in the Sposalizio, there is so much grace and beauty, with so charming an expression in all the heads of the composition, and the draperies are so simply and easily folded, that the whole work gives evidence of a truly admirable manner. It was in consequence of this performance, then, which first brought the good method of painting into Siena,|| giving light to so many noble spirits, which in all succeeding times have flourished in that city, that Laurati was invited to Monte Oliveto di Chiusuri, where he executed a picture in distemper, which is now in the lower church. He also *See Lanzi, History of Painting, vol. i, Sienese School, epoch 1, page 282. The name of this artist was Pietro di Lorenzo, and he was brother to Ambrogio di Lorenzo or Lorenzetti, whose life follows. This work he executed in concert with his brother Ambrogio.— See the life of the latter, which follows. § This biography vindicates Vasari from the charge of vilifying all artists who were not Tuscans; for though Pietro was of Siena, between which city and Florence there reigned perpetual rivalry and discord, yet the whole life of Laurati, as here given by Vasari, is a continued panegyric.-Roman ed. 1759. An assertion altogether untenable. This painting, of which the condition was long lamented by the lovers of art. has now totally perished. painted an oratory in Florence, opposite to the north door of Santo Spirito, and in the angle where now stands the abode of a butcher. This work amply merits the highest praise from every intelligent artist, for the delicacy of its execution, and in particular for the softness and sweetness visible in the heads. From Florence, Pietro went to Pisa, where, on the façade of the Campo Santo, and beside the principal door, he painted stories from the lives of the Holy Fathers, with so much vivacity of expression and grace of attitude, that he fully equalled Giotto, and obtained high reputation. Some of these heads, whether as regards design or colouring, exhibit a life-like character, which could not be surpassed by anything of which the manner of those times was capable. From Pisa, Laurati departed to Pistoja, where he painted a picture in distemper for the church of San Francesco; this was a figure of the Virgin with angels around her, a very good composition. On the predella* beneath this painting are historical representations, wherein the master executed numerous small figures, so full of life and movement, that in those days they must have been considered miraculous; and, as they satisfied himself no less than others, he placed his name on the work as follows:-" Petrus Laurati de Senis."† In the year 1355,‡ Laurati was invited to Arezzo by Messer Guglielmo, the dean, and by the wardens of the deanery of Arezzo, who were then Margarito Boschi, and others. capitular church of that city had been erected with superior designs, and in a better manner than any that had been constructed in Tuscany up to that time; it had further been enriched by Margaritone with ornaments of hewn stone and carvings, as we have before said. Laurati now adorned the tribune and the great recess of the chapel wherein is the high altar, with fresco paintings, representing passages from the life of our Lady, with figures of the natural size. In these stories, which begin with the expulsion of Joachim Temple, and close with the Birth of Christ, may be perceived The from the The step on the top of the altar was called the predella, or gradino. + This picture is now preserved in the gallery of the Uffizj in Florence, but the lower part is wanting. Vasari gives only a portion of the inscription, which is as follows:-" PETRUS LAURENTII DE SENIS ME PINXIT ANNO DOMINI MCCCXL."-Masselli. Supposed to be a misprint for 1345.-Ed. Flor. 1846. In some editions this was erroneously printed Zaccharias.-Ibid, the same invention,--outline, expression of the heads, and attitudes, which were peculiar to Laurati's master, Giotto. The whole work is beautiful, but more so than all is the vaulting of the chapel, where he painted the Assumption of the Virgin, with figures of the Apostles, four braccia in height; and herein he displayed the boldness of his spirit, since he was the first to attempt this grand manner: he, moreover, imparted so pleasing an expression to the heads, and so charming a grace to the draperies, that nothing better could be desired, the times considered. The countenances of a choir of angels, hovering in the air about the Virgin, and with light movements appearing to sing as they float around her, express a gladness truly angelic and divine, the eyes more particularly; which, while these angels are sounding their various instruments, all turn towards another choir of angels, who, supported on a cloud in the form of a "gloria," bear the Madonna to heaven, all exhibiting the most beautiful attitudes, and surrounded by rainbows.* This picture gave so much satisfaction (and with good reason), that Pietro was appointed to paint the picture in distemper, for the high altar of the same church, a work which he executed in five compartments. The figures are half-lengths, of the size of life; they represent the Virgin with the Child in her arms: St. John the Baptist, with St. Matthew, stand on one side, while St. John the Evangelist, with San Donato, are on the other. There are many small figures in the ornaments above the icture, and on the predella beneath it, all really beautiful, and executed in a very good manner. This picture, when the high altar of the church was entirely restored by my own hand, and at my own cost, was placed on the altar of St. Christopher, at the western end of the church. Nor will it be out of place, that I should here relate what I have myself done in this behalf, and I will not refuse the labour of declaring, that, moved by Christian piety, and by the affection I bear to that ancient and venerable collegiate church, wherein my childhood received its first instructions, and where the bones of my fathers find rest-moved by these causes, I say, and by the degraded condition of the church in that part, I have restored it in such sort, that it may be said These pictures no longer exist. to nave been recalled to life from the dead. For, besides that I have increased the light in the building, which was before extremely dark, by enlarging the windows existing previously, and by making others; I have further removed the choir, which formerly occupied a great portion of the church, and, to the great satisfaction of the reverend canons, have placed it behind the high altar. Then, the new altar being isolated, has a picture towards the nave, representing Christ calling Peter and Andrew from their nets, with a second picture towards the choir, on which is St. George killing the dragon. On the sides are four pictures, in each of which are two saints, the size of life. There are many other figures, moreover, above these pictures, and on the predella beneath them; but these I refrain, for the sake of brevity, from enumerating. The frame of this altar is thirteen braccia high; the height of the predella or gradino, is two braccia. In the vacant space within the altar, many venerable relics are preserved; and to these there is a commodious ascent by steps, leading to an iron door, very well executed. There are, besides, two gratings in front, by means of which the relics may be seen from without. And among these sacred treasures is the head of St. Donatus, bishop and protector of Arezzo; while, in a sarcophagus of vari-coloured marble, which I have had entirely restored and renewed, there are the relics of four saints. Before the predella of the altar, moreover, which surrounds it on all sides in due proportion, there is a tabernacle or ciborium of the sacrament, carved in wood, and gilt all over with gold. The height of this ciborium is about three braccia, and as its form is perfectly round, it can be seen from the choir as well as from the nave of the church. In all this work, I have spared neither cost nor labour, for so I thought it behoved me to do for the honour of God. Thus, according to my judgment, it has all the embellishments, of gold, carvings, paintings, marbles, travertine, porphyry, and other stones of price, that I could possibly bring together for the purpose.* * All that Vasari here describes, remains as he placed and left it, with the exception of the principal picture, which has suffered considerably. Among the figures on the predella, are portraits of certain relations of Vasari, as he tells us himself in the life of his ancestor, Lazzaro Vasari.-G. Masselli. But to return to Pietro Laurati. When he had finished the picture of which we have been speaking, he painted many others for St. Peter's at Rome; but these have all been destroyed in constructing the new buildings of St. Peter's. He also executed certain works in Cortona and Arezzo, besides those here enumerated; with others in the church of Santa Fiora e Lucilla, a monastery of Black friars; among which is a picture, in one of the chapels, of St. Thomas placing his hand on the wound in the side of Christ.* Bartolommeo Bologhini,† of Siena, was a disciple of Pietro Laurati. He painted many pictures in his native city and in various parts of Italy. That on the altar of the chapel of San Silvestro, in the church of Santa Croce at Florence, for example, is by his hand. The works of these masters bear date about the year of our salvation 1350; and in my book, so frequently cited, is a drawing by the hand of Pietro, representing a shoemaker occupied in sewing: the features are most natural and life-like, as was indeed the manner of Pietro. The likeness of this artist, by Bartolommeo Bologhini, was to be seen some few years since in a picture at Siena; and it is from this that I have taken the one presented here.§ ANDREA PISANO, SCULPTOR AND ARCHITECT. THE art of painting has at no time been flourishing, without the sculptors also making admirable progress in their art at the same moment; and whoever will observe closely, shall find the works of all ages bearing testimony to the truth of this remark. And of a surety these two arts are sisters, born at the same period, nourished and guided by the same spirit. A proof of this is presented by Andrea Pisano, who, devoting himself to sculpture as Giotto did to painting, effected so important an amelioration in the art, both as to practice and theory, that he was esteemed the best master that the Tuscans had * This picture is no longer to be found, and has probably perished. The name of this painter was Bolgarini, he flourished from 1337 to 1379.-Ed. Flor. 1846. This painting is lost.-Roman ed. 1759. § In Vasari's second edition that is. |