Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 2.djvu/232

224 labours a more enduring memory, resolved to devote himself to it no longer; and his brother, Piero, being a painter, he joined himself to him for the purpose of learning the modes of proceeding in painting. He then found this to be an art so different from that of the goldsmith, that, had his resolution to abandon the first entirely not been so hastily adopted, he might possibly have vv^ished that he had never addressed himself to the other. But now, being impelled by shame rather than by the advantage to be obtained, he acquired a knowledge of the processes used in painting in the course of a few months, and became an excellent master. Having joined himself entirely to Piero, they executed numerous paintings in concert; among others, a picture in oil at San Miniato al Monte, for the cardinal of Portugal, who was a great lover of painting. This work was placed on the altar of that prelate’s chapel, the figures depicted in it are those of the apostle St. James, Sant’ Eustachio, and San Vincenzio, which have all been greatly praised. Piero in particular painted certain figures on the wall of the same chapel in oil, the method of which he had learned from Andrea dal Castagno. These were representations of some of the prophets, and were executed in the angles beneath the architrave: in the lunette he painted an Annunciation, comprising three figures. For the Capitani di Parte, likewise, Piero painted a Virgin with the Child in her arms; and surrounded by seraphim, also painted in oil. In San Michele in Orto, the two brothers painted a picture in oil representing the angel Raphael with Tobit; and in the Mercatanzia of Florence they depicted figures of the Virtues; in that part of the building, namely, where the tribunal of the court holds its sittings.