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
[Illustration: THE MASSACRE OF THE INNOCENTS
(_After the painting by =Benvenuto Garofalo=. Ferrara: Pinacoteca,
1519_)
_Alinari_]
In executing those works, remembering at times how he had turned his
back on Rome, he felt the bitterest regret; and he had resolved at all
costs to return thither, when, his father Piero's death taking place,
all his plans were broken off; for, finding himself burdened with a
sister ready for a husband and a brother fourteen years of age, and his
affairs in disorder, he was forced to compose his mind and resign
himself to live in his native place. And so, after parting company with
the Dossi, who had worked with him up to that time, he painted by
himself in the Church of S. Francesco, in a little chapel, the Raising
of Lazarus, a work filled with a variety of good figures, and pleasant
in colouring, with attitudes spirited and vivacious, which brought him
much commendation. In another chapel in the same church he painted the
Massacre of the Innocents, cruelly done to death by Herod, so well and
with such spirited movements in the soldiers and other figures, that
it was a marvel. Very well depicted, in addition, are different
expressions in the great variety of heads, such as terror in the mothers
and nurses, death in the infants, and cruelty in the slayers, and many
other things, which gave infinite satisfaction. It is worthy of remark
that in executing that work Benvenuto did a thing that up to that time
had never been done in Lombardy--namely, he made models of clay, the
better to see the shadows and lights, and availed himself of a
figure-model made of wood, jointed in such a way that the limbs moved in
every direction, which he arranged as he wished, in various attitudes,
with draperies over it. But what is most important is that he copied
every least detail from life and nature, as one who knew that the true
way is to observe and imitate the reality. For the same church he
executed the altar-piece of a chapel; and on a wall he painted in fresco
Christ taken by the multitude in the Garden.
Public-domain text, read in full here on John Shaqi.
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