Life of Sandro Botticelli, Painter of Florence

By Giorgio Vasari, translated by Gaston du C. de Vere, made public for the use of anyone anywhere at no cost under the terms of the Project Gutenberg License included at www.gutenberg.org

Sandro Botticelli: Giovanna Tornabuoni and the Graces. Paris: Louvre, 1297. Fresco

At the same time with the elder Lorenzo de' Medici, the Magnificent, which was truly a golden age for men of intellect, there also flourished one Alessandro, called Sandro after our custom, and surnamed Di Botticello for a reason that we shall see below. This man was the son of Mariano Filipepi, a citizen of Florence, who brought him up with care, and had him instructed in all those things that are usually taught to children before they are old enough to be apprenticed to some calling. But although he found it easy to learn whatever he wished, nevertheless he was ever restless, nor was he contented with any form of learning, whether reading, writing, or arithmetic, insomuch that his father, weary of the vagaries of his son’s brain, in despair apprenticed him as a goldsmith with a boon-companion of his own, called Botticello, no mean master of that art in his day.

Now in that age there was a very close connection—nay, almost a constant intercourse—between the goldsmiths and the painters; wherefore Sandro, who was a ready fellow and had devoted himself wholly to design, became enamoured of painting, and determined to devote himself to that. For this reason he spoke out his mind freely to his father, who, recognizing the inclination of his brain, took him to Fra Filippo of the Carmine, a most excellent painter of that time, with whom he placed him to learn the art, according to Sandro’s own desire. Thereupon, devoting himself heart and soul to that art, Sandro followed and imitated his master so well that Fra Filippo, growing to love him, taught him very thoroughly, so that he soon rose to such a rank as none would have expected for him.

While still quite young, he painted a figure of Fortitude in the Mercatanzia of Florence, among the pictures of Virtues that were wrought by Antonio and Piero del Pollaiuolo. For the Chapel of the Bardi in S. Spirito at Florence he painted a panel, wrought with diligence and brought to a fine completion, which contains certain olive-trees and palms executed with consummate lovingness. He painted a panel for the Convertite Nuns, and another for those of S. Barnaba. In the tramezzo of the Ognissanti, by the door that leads into the choir, he painted for the Vespucci a S. Augustine in fresco, with which he took very great pains, seeking to surpass all the painters of his time, and particularly Domenico Ghirlandajo, who had made a S. Jerome on the other side; and this work won very great praise, for in the head of that Saint he depicted the profound meditation and acute subtlety that are found in men of wisdom who are ever concentrated on the investigation of the highest and most difficult matters. This picture, as was said in the Life of Ghirlandajo, has this year (1564) been removed safe and sound from its original position.

Having thus come into credit and reputation, he was commissioned by the Guild of Porta Santa Maria to paint in S. Marco a panel with the Coronation of Our Lady and a choir of angels, which he designed and executed very well. He made many works in the house of the Medici for the elder Lorenzo, particularly a Pallas on a device of great branches, which spouted forth fire: this he painted of the size of life, as he did a S. Sebastian. In S. Maria Maggiore in Florence, beside the Chapel of the Panciatichi, there is a very beautiful Pietà with little figures. For various houses throughout the city he painted round pictures, and many female nudes, of which there are still two at Castello, a villa of Duke Cosimo’s; one representing the birth of Venus, with those Winds and Zephyrs that bring her to the earth, with the Cupids; and likewise another Venus, whom the Graces are covering with flowers, as a symbol of spring; and all this he is seen to have expressed very gracefully. Round an apartment of the house of Giovanni Vespucci, now belonging to Piero Salviati, in the Via de' Servi, he made many pictures which were enclosed by frames of walnut-wood, by way of ornament and panelling, with many most lively and beautiful figures. In the house of the Pucci, likewise, he painted with little figures Boccaccio’s tale of Nastagio degli Onesti in four square pictures of most charming and beautiful workmanship, and the Epiphany in a round picture. For a chapel in the Monastery of Cestello he painted an Annunciation on a panel. Near the side-door of S. Pietro Maggiore, for Matteo Palmieri, he painted a panel with an infinite number of figures—namely, the Assumption of Our Lady, with the zones of Heaven as they are represented, and the Patriarchs, the Prophets, the Apostles, the Evangelists, the Martyrs, the Confessors, the Doctors, the Virgins, and the Hierarchies; all from the design given to him by Matteo, who was a learned and able man. This work he painted with mastery and consummate diligence; and at the foot is a portrait of Matteo on his knees, with that of his wife. But for all that the work is most beautiful, and should have silenced envy, nevertheless there were certain malignant slanderers who, not being able to do it any other damage, said that both Matteo and Sandro had committed therein the grievous sin of heresy. As to whether this be true or false, I cannot be expected to judge; it is enough that the figures painted therein by Sandro are truly worthy of praise, by reason of the pains that he took in drawing the zones of Heaven and in the distribution of figures, angels, foreshortenings, and views, all varied in diverse ways, the whole being executed with good design.

Sandro Botticelli: Pallas and the Centaur. Florence: Pitti Palace, Panel

At this time Sandro was commissioned to paint a little panel with figures three-quarters of a braccio in length, which was placed between two doors in the principal façade of S. Maria Novella, on the left as one enters the church by the door in the centre. It contains the Adoration of the Magi, and wonderful feeling is seen in the first old man, who, kissing the foot of Our Lord, and melting with tenderness, shows very clearly that he has achieved the end of his long journey. The figure of this King is an actual portrait of the elder Cosimo de‘ Medici, the most lifelike and most natural that is to be found of him in our own day. The second, who is Giuliano de’ Medici, father of Pope Clement VII, is seen devoutly doing reverence to the Child with a most intent expression, and presenting Him with his offering. The third, also on his knees, appears to be adoring Him and giving Him thanks, while confessing that He is the true Messiah; this is Giovanni, son of Cosimo.

It is not possible to describe the beauty that Sandro depicted in the heads that are therein seen, which are drawn in various attitudes, some in full face, some in profile, some in three-quarter face, others bending down, and others, again, in various manners; with different expressions for the young and the old, and with all the bizarre effects that reveal to us the perfection of his skill; and he distinguished the Courts of the three Kings one from another, insomuch that one can see which are the retainers of each. This is truly a most admirable work, and executed so beautifully, whether in colouring, drawing, or composition, that every craftsman at the present day stands in a marvel thereat. And at that time it brought him such great fame, both in Florence and abroad, that Pope Sixtus IV, having accomplished the building of the chapel of his palace in Rome, and wishing to have it painted, ordained that he should be made head of that work; whereupon he painted therein with his own hand the following scenes—namely, the Temptation of Christ by the Devil, Moses slaying the Egyptian, Moses receiving drink from the daughters of Jethro the Midianite, and likewise fire descending from Heaven on the sacrifice of the sons of Aaron, with certain Sanctified Popes in the niches above the scenes. Having therefore acquired still greater fame and reputation among the great number of competitors who worked with him, both Florentines and men of other cities, he received from the Pope a good sum of money, the whole of which he consumed and squandered in a moment during his residence in Rome, where he lived in haphazard fashion, as was his wont.

Having at the same time finished and unveiled the part that had been assigned to him, he returned immediately to Florence, where, being a man of inquiring mind, he made a commentary on part of Dante, illustrated the Inferno, and printed it; on which he wasted much of his time, bringing infinite disorder into his life by neglecting his work. He also printed many of the drawings that he had made, but in a bad manner, for the engraving was poorly done. The best of these that is to be seen by his hand is the Triumph of the Faith effected by Fra Girolamo Savonarola of Ferrara, of whose sect he was so ardent a partisan that he was thereby induced to desert his painting, and, having no income to live on, fell into very great distress. For this reason, persisting in his attachment to that party, and becoming a Piagnone (as the members of the sect were then called), he abandoned his work; wherefore he ended in his old age by finding himself so poor, that, if Lorenzo de' Medici, for whom, besides many other things, he had done some work at the little hospital in the district of Volterra, had not succoured him the while that he lived, as did afterwards his friends and many excellent men who loved him for his talent, he would have almost died of hunger.

The Adoration of the Magi (After the panel by Sandro Botticelli. Florence: Uffizi, 1286). Public Domain

In S. Francesco, without the Porta a San Miniato, there is a Madonna in a round picture by the hand of Sandro, with some angels of the size of life, which was held a very beautiful work. Sandro was a man of very pleasant humour, often playing tricks on his disciples and his friends; wherefore it is related that once, when a pupil of his who was called Biagio had made a round picture exactly like the one mentioned above, in order to sell it, Sandro sold it for six florins of gold to a citizen; then, finding Biagio, he said to him, “At last I have sold this thy picture; so this evening it must be hung on high, where it will be seen better, and in the morning thou must go to the house of the citizen who has bought it, and bring him here, that he may see it in a good light in its proper place; and then he will pay thee the money.” “O, my master,” said Biagio, “how well you have done.” Then, going into the shop, he hung the picture at a good height, and went off. Meanwhile Sandro and Jacopo, who was another of his disciples, made eight caps of paper, like those worn by citizens, and fixed them with white wax on the heads of the eight angels that surrounded the Madonna in the said picture. Now, in the morning, up comes Biagio with his citizen, who had bought the picture and was in the secret. They entered the shop, and Biagio, looking up, saw his Madonna seated, not among his angels, but among the Signoria of Florence, with all those caps. Thereupon he was just about to begin to make an outcry and to excuse himself to the man who had bought it, when, seeing that the other, instead of complaining, was actually praising the picture, he kept silent himself. Finally, going with the citizen to his house, Biagio received his payment of six florins, the price for which his master had sold the picture; and then, returning to the shop just as Sandro and Jacopo had removed the paper caps, he saw his angels as true angels, and not as citizens in their caps. All in a maze, and not knowing what to say, he turned at last to Sandro and said: “Master, I know not whether I am dreaming, or whether this is true. When I came here before, these angels had red caps on their heads, and now they have not; what does it mean?” “Thou art out of thy wits, Biagio,” said Sandro; “this money has turned thy head. If it were so, thinkest thou that the citizen would have bought the picture?” “It is true,” replied Biagio, “that he said nothing to me about it, but for all that it seemed to me strange.” Finally, all the other lads gathered round him and wrought on him to believe that it had been a fit of giddiness.

Another time a cloth-weaver came to live in a house next to Sandro’s, and erected no less than eight looms, which, when at work, not only deafened poor Sandro with the noise of the treadles and the movement of the frames, but shook his whole house, the walls of which were no stronger than they should be, so that what with the one thing and the other he could not work or even stay at home. Time after time he besought his neighbour to put an end to this annoyance, but the other said that he both would and could do what he pleased in his own house; whereupon Sandro, in disdain, balanced on the top of his own wall, which was higher than his neighbour’s and not very strong, an enormous stone, more than enough to fill a wagon, which threatened to fall at the slightest shaking of the wall and to shatter the roof, ceilings, webs, and looms of his neighbour, who, terrified by this danger, ran to Sandro, but was answered in his very own words—namely, that he both could and would do whatever he pleased in his own house. Nor could he get any other answer out of him, so that he was forced to come to a reasonable agreement and to be a good neighbour to Sandro.

Sandro Botticelli: The Madonna of the Pomegranate. Florence: Uffizi, 1289. Panel

It is also related that Sandro, for a jest, accused a friend of his own of heresy before his vicar, and the friend, on appearing, asked who the accuser was and what the accusation; and having been told that it was Sandro, who had charged him with holding the opinion of the Epicureans, and believing that the soul dies with the body, he insisted on being confronted with the accuser before the judge. Sandro therefore appeared, and the other said: “It is true that I hold this opinion with regard to this man’s soul, for he is an animal. Nay, does it not seem to you that he is the heretic, since without a scrap of learning, and scarcely knowing how to read, he plays the commentator to Dante and takes his name in vain?”

It is also said that he had a surpassing love for all whom he saw to be zealous students of art; and that he earned much, but wasted everything through negligence and lack of management. Finally, having grown old and useless, and being forced to walk with crutches, without which he could not stand upright, he died, infirm and decrepit, at the age of seventy-eight, and was buried in Ognissanti at Florence in the year 1515.

In the guardaroba of the Lord Duke Cosimo there are two very beautiful heads of women in profile by his hand, one of which is said to be the mistress of Giuliano de‘ Medici, brother of Lorenzo, and the other Madonna Lucrezia de’ Tornabuoni, wife of the said Lorenzo. In the same place, likewise by the hand of Sandro, is a Bacchus who is raising a cask with both his hands, and putting it to his mouth—a very graceful figure. And in the Duomo of Pisa he began an Assumption, with a choir of angels, in the Chapel of the Impagliata; but afterwards, being displeased with it, he left it unfinished. In S. Francesco at Montevarchi he painted the panel of the high-altar; and in the Pieve of Empoli, on the same side as the S. Sebastian of Rossellino, he made two angels. He was among the first to discover the method of decorating standards and other sorts of hangings with the so-called inlaid work, to the end that the colours might not fade and might show the tint of the cloth on either side. By his hand, and made thus, is the baldacchino of Orsanmichele, covered with beautiful and varied figures of Our Lady; which proves how much better such a method preserves the cloth than does the use of mordants, which eat it away and make its life but short, although, being less costly, mordants are now used more than anything else.

Sandro’s drawings were extraordinarily good, and so many, that for some time after his death all the craftsmen strove to obtain some of them; and we have some in our book, made with great mastery and judgment. His scenes abounded with figures, as may be seen from the embroidered border of the Cross that the Friars of S. Maria Novella carry in processions, all made from his design. Great was the praise, then, that Sandro deserved for all the pictures that he chose to make with diligence and love, as he did the aforesaid panel of the Magi in S. Maria Novella, which is marvellous. Very beautiful, too, is a little round picture by his hand that is seen in the apartment of the Prior of the Angeli in Florence, in which the figures are small but very graceful and wrought with beautiful consideration. Of the same size as the aforesaid panel of the Magi, and by the same man’s hand, is a picture in the possession of Messer Fabio Segni, a gentlemen of Florence, in which there is painted the Calumny of Apelles, as beautiful as any picture could be. Under this panel, which Sandro himself presented to Antonio Segni, who was much his friend, there may now be read the following verses, written by the said Messer Fabio:

INDICIO QUEMQUAM NE FALSO LÆDERE TENTENT TERRARUM REGES, PARVA TABELLA MONET. HUIC SIMILEM ÆGYPTI REGI DONAVIT APELLES; REX FUIT ET DIGNUS MUNERE, MUNUS EO.

The Calumny of Apelles. After the panel by Sandro Botticelli. Florence: Uffizi, 1182