Lives of the Most Eminent Painters Sculptors and Architects, Vol. 04 (of 10): Filippino Lippi to Domenico PuligoVasari, Giorgio
History
Lives of the Most Eminent Painters Sculptors and Architects, Vol. 04 (of 10): Filippino Lippi to Domenico Puligo
Vasari, Giorgio
Art, Italian; Artists -- Italy -- Biography
Giuliano then went to Rome, where, for Pope Alexander VI, he
restored the roof of S. Maria Maggiore, which was falling into ruin;
and he made there the ceiling that is to be seen at the present day.
While he was thus employed about the Court, Bishop della Rovere, who
had been the friend of Giuliano from the time when he was Castellan
of Ostia, and who had been created Cardinal of S. Pietro in Vincula,
caused him to make a model for the Palace of S. Pietro in Vincula.
And a little time after, desiring to build a palace in his own city
of Savona, he wished to have it erected likewise from the design and
under the eye of Giuliano. But such a journey was difficult for
Giuliano, for the reason that his ceiling was not yet finished, and
Pope Alexander would not let him go. He entrusted the finishing of
it, therefore, to his brother Antonio, who, having a good and
versatile intelligence, and coming thus into contact with the Court,
entered into the service of the Pope, who conceived a very great
affection for him; and this he proved when he resolved to restore,
with new foundations and with defences after the manner of a castle,
the Mausoleum of Hadrian, now called the Castello di S. Angelo, for
Antonio was made overseer of this undertaking, and under his
direction were made the great towers below, the ditches, and the
rest of the fortifications that we see at the present day. This work
brought him great credit with the Pope, and with his son, Duke
Valentino; and it led to his building the fortress that is now to be
seen at Civita Castellana. Thus, then, while that Pontiff was alive,
he was continually employed in building; and while working for him,
he was rewarded by him no less than he was esteemed.
Giuliano had already carried well forward the work at Savona, when
the Cardinal returned to Rome on some business of his own, leaving
many workmen to bring the building to completion after the
directions and design of Giuliano, whom he took with him to Rome.
Giuliano made that journey willingly, wishing to see Antonio and his
works; and he stayed there some months. During that time, however,
the Cardinal fell into disgrace with the Pope, and departed from
Rome, in order not to be taken prisoner, and Giuliano, as before,
went in his company. On arriving at Savona, they set a much greater
number of master-builders and other artificers to work on the
building. But the threats of the Pope against the Cardinal becoming
every day louder, it was not long before he made his way to Avignon.
From there he sent as a present to the King of France a model for a
palace that Giuliano had made for him, which was marvellous, very
rich in ornament, and spacious enough for the accommodation of his
whole Court. The royal Court was at Lyons when Giuliano presented
his model; and the gift was so welcome and acceptable to the King,
that he rewarded Giuliano liberally and gave him infinite praise,
besides rendering many thanks for it to the Cardinal, who was at
Avignon.
Public-domain text, read in full here on John Shaqi.
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