Vasari on technique; being the introduction to the three arts of design, architecture, sculpture and painting, prefixed to the Lives of the most excellent painters, sculptors and architects

Front matter

VASARI

ON TECHNIQUE

All rights reserved

Prefatory Note

The title page indicates the general responsibility for the different parts of the work now offered to the reader. It should be said however that the editor has revised the translation especially in those portions which deal with technical matters, while the translator has contributed to the matter incorporated in the Notes. The translation was in great part written during a sojourn near Florence, and opportunity was taken to elucidate some of the author’s expressions by conversation with Italian artificers and with scholars conversant with the Tuscan idiom.

The text has been translated without omissions, and the rendering has been made as literal as is consistent with clearness and with a reasonable regard for the English tongue. In the two editions issued in Vasari’s lifetime the chapters are numbered continuously from one to thirty-five through the three divisions of the work, but in more modern editions each division has its chapters separately numbered. The latter arrangement has been followed, but the continuous numbers of the chapters have been added in brackets. With the view of assisting the reader the text has also been broken up into numbered sections, each with its heading, though there is no arrangement of the kind in the original.

The shorter notes at the foot of the pages are intended to explain the author’s meaning, which is not always very clear, and to help to identify and localize buildings and objects mentioned in the text. A certain number of the notes, the longer of which have been placed at the ends

Vlll

PREFATORY NOTE of the three divisions, afford an opportunity for discussing more general questions of historical or aesthetic interest raised by Vasari.

A number of plates and figures in the text have been added, some of which are illustrative of Vasari’s descriptions, while others give representations of unpublished objects, and examples of the different kinds of artistic work included in the scope of the treatise. Our acknowledgements for permission to reproduce are due to the authorities of the Print Room, British Museum, and the National Art Library; to Signor Giacomo Brogi at Florence; and to others to whom we have expressed our thanks in the text.

Vasari’s unit of measurement is the ‘braccio,’ and this term has been retained in place of the more familiar English equivalent ‘ cubit.’ Vasari’s braccio seems to be equal to about twenty-three inches or fifty-eight centimetres. This equation is given by Aurelio Gotti, and agrees with various dimensions Vasari ascribes to monuments that can now be measured. A smaller unit is the ‘ palmo,’ and this is not, as might be supposed, the breadth of a hand, but what we should rather call a ‘ span,’ that is the space that can be covered by a hand trying to stretch an octave, and may be reckoned at about nine inches.

In the matter of proper names, Vasari’s own forms have in most cases been followed in the text, but not necessarily in the commentary.

There are some passages in which we suspect that the printed text does not exactly correspond with what Vasari originally wrote (see Index s.v. ‘ Text ’), but no help is to be obtained here from any known MS. sources. Vasari gives us to understand that the original edition of the Lives was printed, not from his own autograph, but from a transcript made for him by a monastic calligraphist, placed at his disposal by a friendly abbot who also corrected to some extent the text. Neither this transcript, nor any MS. of the additions made for the second edition of the work, is known to exist, and textual criticism has to be

PREFATORY NOTE ix confined to a comparison of the printed texts of the two editions published in Vasari’s own lifetime.

The character of the subject matter and the multiplicity of the processes and materials passed in review have rendered it needful to invoke the aid of many Italian scholars and experts in historical and technical matters, who have met our applications with a courteous readiness to help for which we desire to express our sincere gratitude. Our obligations to each of these are expressed in the notes, but we cannot close this preface without a special word of thanks to Signor Agnoletti, of the University of Glasgow, and to the Rev. Don Vittorio Rossi, Priore of Settignano. Our acknowledgements are also due to Mr G. K. Fortescue, Keeper of Printed Books at the British Museum; Mr G. H. Palmer, of the National Art Library; Comm. Conte D. Gnoli, Biblioteca Vittorio Emanuele, Rome; Comm. Dottore Guido Biagi, Biblioteca Medicea Laurenziana, Florence; Dr Thomas Ashby, Director of the British School at Rome; and Mr John Kinross, R.S.A. To many artists and connoisseurs in this country whom we have consulted on technical points we are indebted for information not easily to be found in books, and to Mr W. Brindley a special tribute is due for the kindness with which he has opened to us his unique stores of practical knowledge of stones and quarries.

Table Of Contents

PAGE

Prefatory Note, ------- vii

Table of Contents, ------ xi

List of Illustrations, ------ xxi

Introductory Essay, ------ i

Chapter I

Of the different kinds of Stone which are used by Architects for ornamental details, and in Sculpture for Statues ; that is,

Of Porphyry, Serpentine, Cipollaccio, Breccia, Granites, Paragon or Test-stone, Transparent Marbles, White Marbles and Veined Marbles, Cipollini, Saligni, Campanini, Travertine, Slate, Peperigno, Ischia Stone, Pietra Serena and Pietra Forte, - 25

§ 1. The Author's object in the Discussion of Architecture (25).

§ 2. Of the working of hard sto?ies , and first of Porphyry (26).

§ 3. Of Serpentine (35). § 4. Of Cipollaccio (36). § 5. Of

Breccia (‘ Mischio ,’ Conglomerate ) (37). § 6. Of Granite (39).

§7. Of Paragon {Touchstone) (42). § 8. Of Transparent Marbles for filling window openings (43). § 9. Of Statuary Marbles (43).

§ 10. Of Cipollino Marble (49). §11. Of White Pisan Marble (50).

§ 12. Of Travertine (51). § 13. Of Slates (54). § 14. Of

Peperino (55). § 15. Of the Stone from I stria (56). § 16. Of

Pietra Serena (57). §17. Of Pietra Forte (60). § 18. Con-

clusion of Chapter (61).

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Chapter II

The Description of squared Ashlar-work (lavoro di quadro) and of carved Ashlar-work (lavoro di quadro intagliato), -

§ 19. The work of the Mason (63).

Chapter III

Concerning the five Orders of Architecture, Rustic, Doric, Ionic, Corinthian, Composite, and also German Work,

§ 20. Rusticated masonry and the Tuscan Order (6 5). §21. The Doric Order (68). § 22. A constructive device to avoid charging

architraves (72). § 23. The proportions and parts of the Doric

Order (7 5). §24. The Ionic Order (7 8). §25. The Corinthian

Order (79). § 26. The Composite Order (80). § 27. Of Terminal figures (82). § 28. German Work ( the Gothic Style') (83).

Chapter IV

On forming Vaults in Concrete, to be impressed with Enrichment : when the Centerings are to be removed, and how to mix the Plaster,

§ 29. The Construction of enriched Stucco Vaults (85). § 30. Stucco made with Marble Dust (86).

Chapter V

How Rustic Fountains are made with Stalactites and Incrustations from water, and how Cockle Shells and Conglomerations of vitrified stone are built into the Stucco, -----

§ 31. Grottoes and Fountains of ‘ Rocaille 5 work (87).

Chapter VI

On the manner of making Pavements of Tesselated Work,

§ 32. Mosaic pavements (91). § 33. Pictorial Mosaics for

Walls , etc. (93).

Chapter VII

How one is to recognize if a Building have good Proportions, and of what Members it should generally be composed,

§ 34. The Principles of Planning and Design (95). § 35. An

Ideal Palace (96).

CONTENTS xiii

PAGE

Notes on ‘Introduction’ to Architecture, - 99

Porphyry and Porphyry Quarries, 101

The Sassi, della Valle, and other Collections of Antiques of the Early Part of the Sixteenth Century, 102

The Porphyry Tazza of the Sala Rotonda of the Vatican, - 108

Francesco Del Tadda, and the Revival of Sculpture in Porphyry, no

The Cortile of the Belvedere in the Vatican, in the Sixteenth Century, - - - - - - - 1 1 5

Paragon (Touchstone) and other Stones associated with it by Vasari, - - - - - - - 1 17

The Round Temple on the Piazza S. Luigi dei Francesi, and ‘Maestro Gian,’ - - - 128

Vasari’s Opinion on Mediaeval Architecture, - 133

Egg-shell Mosaic, - - - - - - - - 136

Ideal Architecture ; an Ideal Palace, 138

Chapter I. (yill.)

What Sculpture is ; how good works of Sculpture are made, and what qualities they must possess to be esteemed perfect, - - 143

§36. The Nature of Sculpture (143). §37. Qualities necessary

for Work in the Round (143). § 38. Works of Sculpture should

be treated with a view to their destined position (145). §39- The Proportions of the Human Figure (146). § 40. Artists must

depend on their fudgement rather than on the Measuring Rule (146).

Chapter II. (IX.)

Of the manner of making Models in Wax and in Clay ; how they are draped, and how they are afterwards enlarged in

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PAGE

proportion in the Marble ; how Marbles are worked with the point and the toothed tool, and are rubbed with pumice stone and polished till they are perfect, - - - - - - 148

§ 41. The small Sketch-Model in Wax or Clay (148). § ’42. The Preparation of Wax( 148). § 43. Polychrome Wax Effigies ( 1 49).

§ 44. The Manipulation of Wax over an Armature (149).

§ 45. The Small Model in Clay (149). § 46. The Full-sized

Model in Clay (150). § 47. Drapery on the Clay Model (150).

§ 48. Transference of the Full-sized Model to the Marble Block (151). § 49. Danger of dispensing with the Full-sized Model ( 1 51). § 50. The Tools and Materials used in Marble Carving (152).

Chapter III. (X.)

Of Low and Half Reliefs, the difficulty of making them and how to bring them to perfection, 154

§ 51. The Origin of Reliefs (154). § 52. Pictorial or Perspective Reliefs (154). § 53. Low Reliefs ( Bassi Rilievi) (156).

§ 54. Flat Reliefs ( Stiacciati Rilievi) (156).

Chapter IV. (XI.)

How Models for large and small Bronze Figures are made, with the Moulds for casting them and their Armatures of iron ; and how they are cast in metal and in three sorts of Bronze ; and how after they are cast they are chased and refined ; and how, if they lack pieces that did not come out in the cast, these are grafted and joined in the same bronze, - - - - - 158

§ 55. The Full-sized Model for Bronze (158). § 56. The Piece-

Mould in Plaster (158). § 57. The Construction of the Core (159).

§ 58. The Piece-Mould lined with a Skin of Wax (160). § 59. This Skin of Wax applied over the Core (160). § 60. The fire-

resisting Envelope applied over the Wax (161). § 61. The

External Armature (162). § 62. The Vents (162). § 63. The Wax melted out ( 1 62). § 64. The Mould in the Casting-pit ( 1 63).

§65. The Composition of the Bronze (163). §66. Making up

Imperfections ( 1 64). § 67. A simpler Method of Casting small

Figures and Reliefs (165). § 68. Chasing the Cast and Colouring

the Bronze (165). § 69. Modern Tours de Force in small

Castings (166).

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Chapter V. (XII.)

Concerning Steel Dies for making Medals of bronze or other metals and how the latter are formed from these metals and from Oriental Stones and Cameos, ------

§70. The Fabrication of Matrices for Medals (167). §71. The

Cutting of Intaglios and Cameos (168).

Chapter VI. (XIII.)

How works in White Stucco are executed, and of the manner of preparing the Wall underneath for them, and how the work is carried out,

§ 72. Modelled and stamped Plaster Work (170).

Chapter VII. (XIV.)

How Figures in Wood are executed and of what sort of Wood is best for the purpose, - -

§ 73. Wood Carving (1 73)-

Notes on ‘Introduction’ to Sculpture,

The Nature of Sculpture,

Waxen Effigies and Medallions, -----

Proportionate Enlargement,

The Use of Full-sized Models,

Italian and Greek Reliefs,

The Processes of the Bronze Founder, -

Chapter I. (XV.)

What Design is, and how good Pictures are made and known, and concerning the invention of Compositions, - - - -

§ 74. The Nature and Materials of Design or Drawing (205). §75. Use of Design (or Drawing') in the various Arts (206). § 76. On the Nature of Painting (208).

PAGE

1 77

180 188 190 192 196 199

XVI

Chapter II. (XVI.)

Of Sketches, Drawings, Cartoons, and Schemes of Perspective ; how they are made, and to what use they are put by the Painters,

§ 77. Sketches , Drawings , and Cartoons of different kinds (212). § 78. The Use of Cartoons in Mural and Panel Painting (215).

Chapter III. (XVII.)

Of the Foreshortening of Figures looked at from beneath, and of those on the Level,

§79, Foreshortenings {216).

Chapter IV. (XVIII.)

How Colours in oil painting, in fresco, or in tempera should be blended : and how the Flesh, the Draperies and all that is depicted come to be harmonized in the work in such a manner that the figures do not appear cut up, and stand out well and forcibly and show the work to be clear and comprehensible,

§ 80. On Colouring (2 1 8).

Chapter V. (XIX.)

Of Painting on the Wall, how it is done, and why it is called Working in Fresco, ---------

§81. The Fresco process (221).

Chapter VI. (XX.)

Of Painting in Tempera, or with egg, on Panel or Canvas, and how it is employed on the wall which is dry, - - - -

§ 82. Painting in Tempera (223).

Chapter VII. (XXI.)

Of Painting in Oil on Panel or on Canvas,

§ 83. Oil Painting , its Discovery and Early History (226). § 84. How to Prime the Panel or Canvas (230). § 85. Drawing ,

by transfer or directly (231).

PAGE

XVII

PAGE

Chapter XI. (XXV.)

Of Painting on the wall in Monochrome with various earths : how objects in bronze are imitated : and of groups for Triumphal Arches or festal structures, done with powdered earths mixed with size, which process is called Gouache and Tempera, - - 240

§ 90. Imitative Paintings for Decorations (240).

Chapter XII. (XXVI.)

Of the Sgraffiti for house decoration which withstand water ; that which is used in their production ; and how Grotesques are worked on the wall, 243

§ 91. Sgraffito-work (243). § 92. Grotesques , or Fanciful

Devices , painted or modelled on Walls (244).

Chapter XVI. (XXX.)

Concerning the Compositions and Figures made in Inlaid Work on Pavements in imitation of objects in Monochrome,

§ 97. Pavements in Marble Mosaic and Monochrome (258).

§ 98. Pavements in Variegated Tiles (260). § 99. Pavements in

Breccia Marble (261).

Chapter XVII. (XXXI.)

Of Mosaic in Wood, that is, of Tarsia ; and of the Compositions that are made in Tinted Woods, fitted together after the manner of a picture,

§ 100. Inlays in Wood (262).

Chapter XVIII. (XXXII.)

On Painting Glass Windows and how they are put together with Leads and supported with Irons so as not to interfere with the view of the figures, - -

§101. Stained Glass Windows , their Origin and History (265).

§ 102. The Technique of the Stained Glass Window (268).

Chapter XIX. (XXXIII.)

Of Niello, and how by this process we have Copper Prints ; and how Silver is engraved to make Enamels over Bas-relief, and in like manner how Gold and Silver Plate is chased, -

§ 103. Niello Work (273). § 104. The Origin of Engrav

ing (274). § 105. Enamels over Reliefs (276).

(Chapter XX. (XXXIV.)

Of Tausia, that is, work called Damascening, - 279

§ 106. Metal Inlays (279).

O c

A]

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PAGE

Chapter XXI. (XXXV.)

Of Wood Engraving and the method of executing it and con cerning its first Inventor : how Sheets which appear to be drawn by hand and exhibit Lights and Half-tones and Shades, are produced with three Blocks of Wood, 281

§ 107. Chiaroscuro Wood Engravings (281). § 108. Depend-

ence on Design of the Decorative Arts (284).

Notes on ‘Introduction’ to Painting, • - - 285

Fresco Painting, 287

Tempera Painting, 291

Oil Painting, - - 294

Enriched Facades, 298

Stucco ‘Grotesques,’ 299

Tarsia Work, or Wood Inlays, 303

The Stained Glass Window, 308

Vasari’s Description of Enamel Work, - - - 31 1

LIST OF ILLUSTRATIONS

INSERTED PLATES

Specimens of Stones mentioned by Vasari. (Reproduction in

colour of a drawing by the Editor.) Frontispiece.

Portrait of Vasari, from the Edition of 1568. Probably by a German artist called in Italy ‘ Cristoforo Coriolano.’

Tail-piece to List of Illustrations.

Plate I. Leo X with his Cardinals. Mural Painting by Vasari in the Palazzo Vecchio, Florence. (From a photograph by Alinari.) To face p. 17

Plate II. Principal Doorway at S. Maria Novella, Florence, showing the position of the inscribed porphyry tablet on the riser of the step. (From a photograph by Alinari.) To face p. 32

Plate III. Portrait in Porphyry of Cosimo ‘Pater Patriae,’ by Francesco del Tadda, in the Magazines of the National Museum, Florence. (From a photograph by the Editor.) Unpublished. To face p. 34

Plate IV. Interior of Grotto in Boboli Gardens, Florence, showing an unfinished statue ascribed to Michelangelo. (From a photograph by the Editor.) To face p. 90

Plate V. Portrait in Porphyry of Leo X, by Francesco del Tadda, in the Magazines of the National Museum, Florence. (From a photograph by the Editor.) Unpublished.

To face p. 114

XXII

LIST OF ILLUSTRATIONS

Plate VI. Salamander Carved in Travertine, on the Facade of S. Luigi dei Francesi, Rome. The work of a French artist ‘Maestro Gian.5 (From a photograph by the Editor.) Unpublished. To face p. 132

Plate VII. Illustration showing Process of Piece-Moulding

in Plaster. (From the French Encyclopedic .) To face p. 160

Plate VIII. Engravings illustrating the Process of Casting

IN Bronze. (From the French Ency elope die i) To face p. 164

Plate IX. Statue of S. Rocco carved in Lime-wood, by a French artist ‘ Maestro Janni,5 in the Church of the Annunziata, Florence. (From a drawing by Robert J. Rose.) Unpublished.

To face p. 176

Plate X. A. Interior of a Sculptor’s Studio in the EIGHTEENTH CENTURY, with illustrations of the methods of measurement then in vogue. (From the French Encyclopedic.)

B. Diagram to illustrate Leon Battista Alberti’s

METHOD OF MEASUREMENT. To face p. IQ2

Plate XI. Specimen of so-called ‘Sgraffito’ Decoration, on the exterior of the Palazzo Montalvo, Florence. (From a photograph by Alinari.) To face p. 244

Plate XII. Portion of the Decoration of the Loggie of the Vatican, by Raphael and his assistants. (Reproduced in colour from a hand-painted example of the engravings of about 1770-80 by Ottaviani and Volpato, in the National Art Library.) To face p. 248

Plate XIII. Specimen of Niello Work. A ‘Pax,’ formerly in the Baptistry, and now in the National Museum, Florence. (From a photograph by Alinari.) To face p. 274

Plate XIV. Chiaroscuro Wood-Engraving by Ugo da Carpi, in the Print-Room, British Museum. Subject: ‘Jacob’s Dream,’ after Raphael. To face p. 282

Plate XV. Head of Mary, from Luini’s Fresco of the ‘Marriage of the Virgin’ at Saronno. (From a photograph by Giacomo Brogi.) To illustrate the fresco technique. To face p. 290

LIST OF ILLUSTRATIONS xxiii

Plate XVI. Example of Tarsia Work. S. Zenobi, by Giuliano da Majano, in Opera del Duomo, Florence. (From a photograph by Alinari.) To face p. 306

Plate XVII. Painted Glass Window in the Laurentian Library, Florence. (From a photograph by' Alinari.)

To face p. 310

FIGURES IN THE TEXT

Fig. 1. Inscribed Porphyry Tablet at S. Maria Novella, Florence.

(Drawn from a photograph by the Editor.) p. 31

Fig. 2. Tools mentioned by Vasari, etc. (From drawings by the

Translator and Editor.) p. 48

Fig. 3. Fortezza da Basso at Florence. (Drawn from a photograph

by the Editor.) p. 67

Fig. 4. Rusticated masonry on the exterior of the Fortezza da Basso

at Florence. (Measured drawing by the Editor.) p. 69

Fig. 5. Construction of the Portico of the Uffizi at Florence, from

Vasari’s description. (Drawn by the Editor.) p. 71

Fig. 6. Drawing of the remains of the Basilica Aemilia in the Forum at Rome, that survived to the time of Vasari. (After Giuliano da San Gallo, in Monume?iti del Istituto , xil,

Fig. 7. Roman Doric Cap, with Stucco Finish, at S. Nicola in Carcere, Rome. (From Mitteilungen d. k. deutsche?i archeologischen Inslituls, xxi.) p. 78

Fig. 8. Portion of a Plan of Rome, before recent alterations, from

Nolli, Nuova Pianta di Roma , 1748. p. 105

Fig. 9. Sketch of shape of the large porphyry Tazza in the Sala

Rotonda of the Vatican. p. 109

XXIV

LIST OF ILLUSTRATIONS

Fig. io. Sketch map of the marble-producing districts of the

Apuan Alps. p. 121

Fig. 11. Two views of unfinished Greek marble statue blocked out on the ancient system. In quarries on Mount Pentelicus, Athens. (From a photograph kindly furnished by M. Georges Nicole.) p. 193

PORTRAIT OF VASARI, FROM THE EDITION OF 1568, probably by a German artist, called in Italy ‘ Cristoforo Coriolano ’.

When Vasari published in 1550 his famous Lives of the Artists, he prefixed to the work an Introduction, divided into three parts headed respectively Architecture, Sculpture, and Painting. In the text of the Lives he refers more than once to this preliminary matter under the terms ‘ parte teorica * and ‘ capitoli delle teoriche,’ but as a fact it only consists to a small extent in ‘ theory,’ that is in aesthetic discussions on the general character of the arts and the principles that underlie them. The chief interest of the chapters is technical. They contain practical directions about materials and processes, intended in the first place to enlighten the general reader on subjects about which he is usually but little informed ; and in the second, to assist those actually engaged in the operations of the arts.

To some of the readers of the original issue of Vasari’s work these technical chapters proved of special interest, for we find a Flemish correspondent writing to him to say that on the strength of the information therein contained he had made practical essays in art, not wholly without success. This same correspondent, as Vasari tells us in the chapter on Flemish artists at the end of the Lives, hearing that the work was to be reprinted, wrote in the name of many of his compatriots to urge Vasari to prefix to the new edition a more extended disquisition on sculpture, painting, and architecture, with illustrative designs, so as to enforce the rules of art after the fashion of Alberti, Albrecht Diirer, and other artists. This seemed however to Vasari to involve too great an alteration in the scheme of his work, and in the edition of 1568 he preserved the original form of the Introduction, though he incorporated with it considerable additions. It is worth

A noting that the increase is chiefly in the earlier part, as if Vasari began his revision with the intention of carrying out the suggestion of his correspondents, but gave up the idea of substantial enlargement as he went on. For example the first chapter in the ‘ Introduction ’ to Architecture is half as long again in the second as in the first edition, and Architecture generally is increased by a third part, while in Sculpture the additions are trifling. The total additions amount to nearly one seventh of the whole. The matter thus added is in general illustrative of the previous text, and adduces further examples of work under review. It is this extended Introduction of the second, or 1568, edition, which is now completely translated and issued with the needful commentary.

The reputation of the writer and the value of his worldrenowned biographies naturally give importance to matter which he has deliberately prefixed to these, and it is somewhat surprising that though the text has been constantly printed it has not been annotated, and that it has never yet been rendered as a whole into English, nor, as far as can be ascertained, into any other European language.

Ernst Berger, in his learned and valuable Beitrdge zur Entwicklungs-Geschichte der Maltechnik, vierte Folge, Miinchen, 1901, does justice to Vasari’s Treatise, of which, as he says,

‘ the thirty-five chapters contain a complete survey of the manual activities of the time, in connection with which Vasari gives us very important information on the condition of technique in the sixteenth century,’ and he translates the chapters relating to painting with one or two useful notes. There was apparently an intention of editing Vasari’s Introduction in the Vienna series of Technical Treatises (Quellenschriften) but the project was not carried out. Anglo-Saxon readers will note that the chapters do not appear in the classic English translation by Mrs Jonathan Foster, nor in the American reprint of selected Lives lately edited with annotations by Blashfield and Hopkins; they are omitted also from the French translation by Leclanche, and from that into German by Ludwig Schorn. Mrs Foster explains that she only meant to translate the Lives and not Vasari’s ‘other works’; while the German editor, though he admits the value of the technical

NEGLECT OF VASARI’S INTRODUCTION 3 chapters to the artist, thinks that the latter ‘ would have in any case to go to the original because many of the technical terms would not be intelligible in translation.’

On this it may be remarked that the chapters in question are not ‘ other works ’ in the sense in which we should use the term in connection with Vasari’s Letters, and the ' Ragionamenti / or description of his own performances in the Palazzo Vecchio at Florence, that are all printed by Milanesi in the Sansoni edition of Vasari’s works. The chapters are distinctly a part, and a valuable part, of the main work of the author, and it is difficult to see any valid reason why they should ever have been dissociated from it. With regard to the reason for omission given by the German editor, surely the resources of the translator’s art are not so limited as he supposed ! It may be claimed, at any rate, that in what follows a conscientious effort has been made to find technical terms in English equivalent to Vasari’s, and yet intelligible to the reader. Where such terms do not seem to be clear, a footnote has been added in explanation.

It is probable that the real reason of the neglect of Vasari’s Introduction by his translators has been the fact that when these translations were made, more than half-a-century ago, not much interest was taken by the reading public in the technical processes of the arts, and this part of Vasari’s work was passed over in order not to delay the reader anxious for the biographical details the author presents in so lively a fashion. At the present time, largely as a result of the inspiring influence of William Morris alike upon the craftsmen and the artistic public, people have been generally awakened to the interest and importance of these questions of technique, and a new translator of Vasari would certainly not be betrayed into this omission. The present translation and commentary may therefore claim to fill a gap that ought never to have been suffered to exist, and on this ground to need no explanation nor apology. Some English writers on the technique of the arts, such as Mrs Merrifield and the late G. T. Robinson, have made considerable use of the material that Vasari has placed before students in these Introductory Chapters, and the practical service that they have thus rendered is an additional reason why they should be brought as a whole in convenient form before English readers.

Readers familiar with Vasari’s Lives will miss in the technical Introduction much of the charm and liveliness of style in which they have been wont to delight. Vasari indeed had a natural gift for biographical writing. He had a sense of light and shade and of contrast in colouring that animates his literary pictures, and is the secret of the fascination of his work, while it explains at the same time some of its acknowledged defects. Above all things he will have variety. If one artist have been presented to the reader of the Lives as a man of the world in constant touch with his fellows, the next artist who comes forward on the stage is a recluse. If one be open and free, another is secretive and brooding ; the artist jealous of his brother’s fame and envious of his secrets is contrasted with the genial companion ready to impart all he knows to his less fortunate compeer. In bringing out these picturesque comparisons, the writer sometimes forces the note, and is a little more regardful of effect than of strict biographical accuracy,1 and this accounts for some of the censure which in the modern critical age has fallen to the lot of the Aretine.

The technical disquisitions in the Introduction afford little opportunity for picturesque writing of this kind, and they must be judged from another standpoint. They have certain obvious defects that are however counterbalanced by qualities of much value. Vasari’s treatment in many parts lacks system and completeness, his statement is wanting in clearness, his aesthetic comments are often banal. On the other hand there are sections or chapters of great, even enthralling, interest, as when he discourses with all a Florentines enthusiasm on the virile and decided handling of a master in fresco painting ; or lets us follow step by step from the small sketch to the finished casting the whole process of making a great bronze statue. Throughout the treatise moreover, we