the authorities, by whom Buonamico was adjudged to have performed his contract. Another and very fine picture, from the hand of Buffalmacco, was the Passion of Christ, in the church of San Giovanni fra l'Arcore; and, among other much esteemed parts of this work, was a Judas hanging on the tree, painted with admirable judgment, and in an excellent manner. An old man blowing his nose, is also most natural; and the Maries, drowned in tears, have an expression of such deep sadness, that—considering the age to have been one when artists had not attained facility in expressing emotion—this work can scarcely be praised too highly. Another good figure in this painting was, a St. Ivo of Brittany, at whose feet are many widows and orphans; two angels hovering in the air, and crowning the saint, are also painted with infinite sweetness and feeling. This building, with the pictures contained in it, was demolished in the war of 1529.* Buonamico also painted many pictures in the episcopal church of Cortona, for Messer Aldobrandino, bishop of that city, more particularly the chapel and picture of the High Altar; but, as all these works were destroyed when the palace and church were rebuilt, we need say nothing more respecting them. In San Francesco, however, and in Santa Margarita, two churches of the same city, there still remain some paintings by the hand of Buonamico. From Cortona, this master proceeded once again to Assisi, where he painted, in fresco, the entire chapel of Cardinal Egidio Alvaro, a Spaniard; and, having acquitted himself extremely well, was liberally rewarded by that prelate. Finally, having painted many pictures for the whole March,‡ Buonamico returned to Florence, but was delayed for some time at Perugia, on the way to his native city, where he painted the chapel of the Buontempi, in the church of San Domenico, the subject being stories, in fresco, from the life of the virgin-martyr St. Catherine. On one of the walls in the old church of San Domenico, he also executed a fresco, representing the same Catherine, daughter of King Costa, when, disputing with certain philosophers, she * See Borghini, Origini di Firenze, and Manni, Terme Fiorentine, † Old documents shew that Buonamico also painted the chapel of Santa Maria Maddalena, for Monsignor Pontani, Bishop of Assisi. These works still remain, but are much blackened by smoke. The March of Ancona. converts them to the faith of Christ. This work is more beautiful than any other painted by Buffalmacco; and it may with truth be said, that on this occasion he surpassed himself, insomuch that the people of Perugia were moved to require, according to what Franco Sacchetti* has written, that he should paint Sant' Ercolano, bishop and protector of Perugia, in the market-place of their city. Having agreed on the price, an enclosure of planks and matting was erected on the spot where the master was to work, that he might not be overlooked at his labours; which done, he commenced his operations. But ten days had not elapsed, before every man who passed the scaffolding, inquired "when this picture. would be finished?" as though they fancied works of that kind were to be cast in a mould; so that Buonamico became thoroughly wearied of their outcries. Wherefore, having brought the matter to an end, he resolved within himself to take a bit of quiet vengeance on the people for their troublesome importunities; nor did he fail to execute this determination. Keeping the work still enclosed, he admitted the Perugini to examine it, when all declared their entire satisfaction; but when they desired to remove the planks and matting, Buonamico requested that they should be suffered to remain for two days longer, as he wished to retouch certain parts when the painting was fully dried. This was agreed to; and Buonamico, who had made a great diadem for the saint in rilievo of plaster, richly gilt, as was then the custom, instantly mounted his scaffold, and replaced this ornament by a coronet or garland of gudgeons, which wholly encircled the head. That accomplished, he paid his host one fine morning, and set off to Florence. Two days having passed, the Perugini, not seeing the painter going about as they were accustomed to do, inquired of his host what had become of him, and hearing that he had departed to Florence, they hastened to remove the planks that concealed the picture, when they discovered their saint solemnly crowned with gudgeons. This affront was at once made known to the authorities, who instantly sent horsemen in pursuit of Buonamico, but all in vain, the painter having found shelter in Florence. They set an artist of their own, therefore, to remove the crown of fishes, and replace the * See the hundred and sixty-ninth story of Sacchetti.-Bottari. diadem of the saint, consoling themselves by hurling all the abusive words they could think of at the head of Buonamico and of every other Florentine. But Buffalmacco, safe in his own city, cared but little for the outcries of the Perugini, and set himself to execute many works, of which, for the sake of brevity, I will not now speak further. One only shall here be mentioned, namely, the figure of our Lady with the Child in her arms, which he painted in fresco at Calcinaia. But the man for whom he had executed this work, gave him only words in place of payment, and Buonamico, who was not accustomed to be trifled with or made a tool of, resolved to have his due by some means. He repaired one morning therefore to Calcinaia, and turned the child which he had painted in the arms of the Virgin into a young bear (but using watercolours only). This change being soon after discovered by the countryman who had had it painted, he hurried in despair to Buonamico, and implored him to remove the bear's cub and replace the child as before, declaring himself ready to pay all demands. This Buffalmacco amicably agreed to do, and was paid at once both for the first and second painting, a wet sponge having sufficed him to restore all to its pristine beauty.* But it would occupy too much time if I were to recount all the pictures painted, and all the jests made by Buonamico, more particularly while he frequented the shop of Maso del Saggio, which was the general resort of all the jovial spirits and facetious companions to be found among the citizens of Florence. Here, then, I will make an end of my discourse concerning Buffalmacco. He died at the age of seventy-eight; and being extremely poor, because he had spent more than he had gained, which was ever his custom, he was succoured in his last illness by the Confraternity of the Misericordia, in the hospital of Santa Maria Novella, and being dead, was buried with the other poor in the Ossa (for so they call the cloister or cemetery of the hospital), in the year 1340.† The works of this painter were praised during his life, and since his death have ever been highly valued among the productions of that age. *In a room of the priory of Calcinaia, are still to be seen the remains of a picture on the wall, representing the Madonna with the Child in her arms, and other saints; without doubt a work of the fourteenth century; and a tradition, preserved to this day, declares that painting to be the one here alluded to.-Ed. Flor. 1846. † Vasari is certainly in error when he places the death of Buonamico AMBRUOGIO LORENZETTI,* PAINTER, OF SIENA. If the debt which the richly-endowed artist owes to Nature be a large one-as it doubtless is-still greater is the amount of gratitude due from us to him, seeing that by his cares our cities are enriched with noble erections for use and beauty, as well as with the graceful embellishment of painting, and other ornaments. It is true that artists most commonly acquire fame and riches for themselves by their labours, as did Ambruogio Lorenzetti, a painter of Siena. This master displayed considerable force of invention, with great skill in grouping his figures, of which we find proof in the church of the Friars-Minors in Siena, where there is a historical painting in the cloister, very gracefully executed by his hand. The subject of this work is a youth who becomes a monk, and proceeds with others to the court of the Soldan, where they are scourged, condemned to the gallows, hanged on a tree, and finally decapitated, while a horrible tempest is prevailing. In this picture, Lorenzetti has represented the turmoil of the elements, with the fury of the rain and wind, (against which his figures are struggling), with infinite ability. And from him it is that later masters first acquired the mode of depicting circumstances of this kind, for his portraiture of which, as a thing not previously attempted, he deserves high commendation.† Ambruogio was a practised fresco painter, as well as an excellent colourist in distemper; his works in the latter are executed with extreme facility, and evince great talent. This may still be seen in the pic in 1340, since we find him notified, in the old Book of the Company of Painters, under the date 1351; whence it becomes doubtful whether Vasari has correctly given the year of his birth (1262). Baldinucci declares Buffalmacco to have lived later than 1358. *The signature on his works is Ambrosius Laurentii; but, in the records of the time, he is called "di Lorenzo", and di Lorenzetto, as well as Lorenzetti, or del Lorenzetto; a name which he bore in common with his brother, Pietro Laurati, of whose relationship to Ambrogio Vasari was not aware. For the completion of this very meagre biography, see Rumohr, Lanzi, and Della Valle, Lettere Sanesi, ii, 205-210. †The loss of this picture is all the more to be lamented, as we know what its value and beauty must have been, from the minute description given of it by Ghiberti. tures by this master in the small hospital called Mona Agnesa* in Siena, where he painted a historical work of which the composition displayed new qualities that were greatly admired. On one of the walls of the great hospital also, he painted the Nativity of the Virgin in fresco, with a second picture, representing her approaching the Temple with others of her age. The chapter-house of the Angustine friars, in the same city, was also enriched by Lorenzetti, who painted the Apostles on the ceiling of that edifice. Each holds a tablet, whereon that part of the Creed composed by the said Apostle is written. Beneath each figure is a small representation, which exhibits in painting the subject written on the scrolls above. Near these works, and on the principal façade, are three stories; one of them is from the life of St. Catharine the Martyr, and represents her holding a disputation with the tyrant in the Temple; another is the Crucifixion of Christ, with the Thieves on the Cross, and the Maries beneath, the latter supporting the Virgin, who has fainted, all which display much grace and a good manner.‡ In one of the large halls of the palace of the Signoria in Siena, Ambruogio represented the War of Asinalunga,§ with the various events of the peace which succeeded; in this work he introduced a map, which for those times was perfect. In the same palace, Lorenzetti executed eight historical pieces in terra verde, most exquisitely finished.¶ He is also said to have sent a picture in distemper to Volterra, in which city it was very highly esteemed; and at Massa, *So called because founded by Agnese d'Arezzo. The paintings of Ambruogio are destroyed. This picture, which Ambruogio painted in company with his brother Pietro (see note, p. 140), was destroyed in 1720. These works are also lost. The author here means to intimate the victory gained by the Siennese over the Compagnia del Cappello, in the year 1363; but it is very doubtful whether these pictures are by Ambruogio. To those who know the works of art by which the public palace of Siena is enriched, even this slight intimation of Vasari will suffice to shew that he is speaking of the allegorical paintings in the hall called De' Nove, or Della Pace.-Ed. Flor. See further, Lanzi, History of Painting, vol. i, p. 281, who calls this painting a poem rich in moral precepts. This map represented the entire district of Siena. Valle, Lettere Sanese, ii, p. 222. They were painted in 1345, but have long been lost. See Della |