Lives of the most Eminent Painters Sculptors and Architects, Vol. 08 (of 10): Bastiano to Taddeo ZuccheroVasari, Giorgio
History
Lives of the most Eminent Painters Sculptors and Architects, Vol. 08 (of 10): Bastiano to Taddeo Zucchero
Vasari, Giorgio
Art, Italian; Artists -- Italy -- Biography
"The subjects that the Cardinal has commanded me to give you for the
pictures in the Palace of Caprarola, it is not enough for them to be
explained by word of mouth, because, besides the invention, we must
look to the disposition of the figures, the attitudes, the colours,
and a number of other considerations, all in accordance with the
descriptions that I find of the things that appear to me to be
suitable; wherefore I shall put down on paper all that occurs to me in
the matter, as briefly and as distinctly as I shall be able. And first
with regard to the chamber with the flat vaulting--for of any other,
up to the present, he has not given me the charge--it appears to me
that since it is destined to contain the bed for the person of his
most illustrious lordship, there must be executed there things in
keeping with the place and out of the common both in the invention and
in the workmanship. Now, to declare my conception first in general, I
would have a Night painted there, because, besides that it would be
appropriate to sleep, it would be a subject not very customary and
different from those of the other rooms, and would give you an
occasion of executing rare and beautiful works in your art, since the
strong lights and dark shadows that go into such a subject are wont to
give no little grace and relief to the figures; and it would please me
to have the time of this Night close upon the dawn, to the end that
the things represented there may be visible without improbability. And
to come to the details and to their disposition, it is necessary that
we come to an understanding first about the situation and the
distribution of the chamber. Let us say, then, that it is divided, as
indeed it is, into vaulting and walls, or facades, as we wish to call
them. The vaulting has a sunk oval in the centre and four great
spandrels at the corners, which, drawing together little by little and
continuing one with the other along the facades, embrace the
above-mentioned oval. The walls, also, are four, and between the
spandrels they form four lunettes.
Public-domain text, read in full here on John Shaqi.
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