Vasari eulogizes Mantegna for his courteous, distinguished and praiseworthy deportment, although there are indications of his having been not a little litigious in disposition.
296), quoted by Vasari, it is stated that he produced wonderfully painted pictures, which were exhibited by him in some sort of small closed box through a very small aperture, with great verisimilitude.
Among the natives of Arezzo the most famous are the Benedictine monk Guido of Arezzo, the inventor of the modern system of musical notation (died c. 1050), the poet Petrarch, Pietro Aretino, the satirist (1492-1556), and Vasari, famous for his lives of Italian painters.
If we may trust Vasari - but it is difficult to suppose that he was entirely correct - the exceeding value which Francia set on Raphael's art brought him to his grave.
The elder Pliny's anecdotes of Greek artists supplied Vasari with the subjects of the frescoes.
According to Vasari,Ahe first paintings of this artist were in the Certosa of Florence; none such exist there now.
If the story (first told by Vasari) is true - that this appointment was made at the suggestion of Angelico only after the archbishopric had been offered to himself, and by him declined on the ground of his inaptitude for so elevated and responsible a station - Eugenius, and not (as stated by Vasari) his successor Nicholas V., must have been the pope who sent the invitation and made the offer to Fra Giovanni, for Nicholas only succeeded in 14 4 7.
This predella was highly lauded by Vasari; still more highly another picture which used to form an altarpiece in Fiesole, and which now obtains world-wide celebrity in the Louvre - the "Coronation of the Virgin," with eight predella subjects of the miracles of St.
Milanesi, Florence, 1856); Vasari, Tre arti del disegno, pt.
An important work of this sort, described at length by Vasari and wrongly ascribed by him to Maso Finiguerra (q.v.), still exists in the Opera del Duomo at Florence.
According to Vasari the angel kneeling on the left, with a drapery over the right arm, was put ire by Leonardo, and when Verrocchio saw it his sense of its superiority to his own work caused him to forswear painting for ever after.
The original and earlier version is one of the glories of the Louvre, and shows far more of a Florentine and less of a Milanese character than the London picture.) In the same year, 1494, or early in the next, Leonardo, if Vasari is to be trusted, paid a visit to Florence to take part in deliberations concerning the projected new council-hall to be constructed in the palace of the Signory.
The richness of colouring on which Vasari expatiates has indeed flown, partly from injury, partly because in striving for effects of light and shade the painter was accustomed to model his figures on a dark ground, and in this as in his other oil-pictures the ground has to a large extent come through.
Vasari babbles of a death-bed conversion and repentance.
It is indeed doubtful whether Leonardo himself ever completed the MS. treatise (or treatises) on painting and kindred subjects mentioned by Fra Luca Pacioli and by Vasari, and probable that the form and order, and perhaps some of the substance, of the Trattato as we have it was due to compilers and not to the master himself.
314; Vasari, in his celebrated Lives of the Painters (1st ed., Florence, 1550; 2nd ed.
Della Casa, Bembo, Vasari, &c. It was he who completed the magnificent Farnese palace in Rome.