Lives of the Most Eminent Painters, Sculptors and Architects, Vol. 09 (of 10): Michelagnolo to the FlemingsVasari, Giorgio
History
Lives of the Most Eminent Painters, Sculptors and Architects, Vol. 09 (of 10): Michelagnolo to the Flemings
Vasari, Giorgio
Art, Italian; Artists -- Italy -- Biography
Now, although many have been with Tiziano in order to learn, yet the
number of those who can truly be called his disciples is not great,
for the reason that he has not taught much, and each pupil has gained
more or less knowledge according as he has been able to acquire it
from the works executed by Tiziano. There has been with him, among
others, one Giovanni, a Fleming, who has been a much-extolled master
in figures both small and large, and in portraits marvellous, as may
be seen in Naples, where he lived some time, and finally died. By his
hand--and this must do him honour for all time--were the designs of
the anatomical studies that the most excellent Andrea Vessalio caused
to be engraved and published with his work. But he who has imitated
Tiziano more than any other is Paris Bordone, who, born in Treviso
from a father of Treviso and a Venetian mother, was taken at the age
of eight to the house of some relatives in Venice. There, having
learned his grammar and become an excellent musician, he went to be
with Tiziano, but he did not spend many years with him, for he
perceived that man to be not very ready to teach his young men,
although besought by them most earnestly and invited by their patience
to do his duty by them; and he resolved to leave him. He was much
grieved that Giorgione should have died in those days, whose manner
pleased him vastly, and even more his reputation for having taught
well and willingly, and with lovingness, all that he knew; but, since
there was nothing else to be done, Paris resolved in his mind that he
would follow the manner of Giorgione. And so, setting himself to
labour and to counterfeit the work of that master, he became such that
he acquired very good credit; wherefore at the age of eighteen there
was allotted to him an altar-piece that was to be painted for the
Church of S. Niccolò, of the Friars Minors. Which having heard,
Tiziano so went to work with various means and favours that he took it
out of his hands, either to prevent him from being able to display his
ability so soon, or perhaps drawn by his desire of gain.
Public-domain text, read in full here on John Shaqi.
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