Lives of the Most Eminent Painters Sculptors and Architects, Vol. 05 (of 10): Andrea da Fiesole to Lorenzo LottoVasari, Giorgio
History
Lives of the Most Eminent Painters Sculptors and Architects, Vol. 05 (of 10): Andrea da Fiesole to Lorenzo Lotto
Vasari, Giorgio
Art, Italian; Artists -- Italy -- Biography
There, letting go the weight, he kept up for half an
hour such a lovely dance, that not a single tile of any kind remained
unbroken. Then he went back home; and within three days, when rain came,
were heard the Guardian's lamentations.
Rosso, having finished his works, took the road to Rome with Battistino
and the ape; in which city his works were sought for with extraordinary
eagerness, great expectations having been awakened about them by the
sight of some drawings executed by him, which were held to be
marvellous, for Rosso drew divinely well and with the highest finish.
There, in the Pace, over the pictures of Raffaello, he executed a work
which is the worst that he ever painted in all his days. Nor can I
imagine how this came to pass, save from a reason which has been seen
not only in his case, but also in that of many others, and which appears
to be an extraordinary thing, and one of the secrets of nature; and it
is this, that he who changes his country or place of habitation seems to
change his nature, talents, character, and personal habits, insomuch
that sometimes he seems to be not the same man but another, and all
dazed and stupefied. This may have happened to Rosso in the air of Rome,
and on account of the stupendous works of architecture and sculpture
that he saw there, and the paintings and statues of Michelagnolo, which
may have thrown him off his balance; which works also drove Fra
Bartolommeo di San Marco and Andrea del Sarto to flight, and prevented
them from executing anything in Rome. Certain it is, be the cause what
it may, that Rosso never did worse; and, what is more, this work has to
bear comparison with those of Raffaello da Urbino.
At this time he painted for Bishop Tornabuoni, who was his friend, a
picture of a Dead Christ supported by two angels, which was a most
beautiful piece of work, and is now in the possession of the heirs of
Monsignor della Casa. For Baviera he made drawings of all the Gods, for
copper-plates, which were afterwards engraved by Jacopo Caraglio; one of
them being Saturn changing himself into a horse, and the most noteworthy
that of Pluto carrying off Proserpine. He executed a sketch for the
Beheading of S. John the Baptist, which is now in a little church on the
Piazza de' Salviati in Rome.
Public-domain text, read in full here on John Shaqi.
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