Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 2.djvu/42

34 that of the prior. He disregarded all earthly advantages; and, living in pure holiness, was as much the friend of the poor in life as I believe his soul now is in heaven. He laboured continually at his paintings, but would do nothing that was not connected with things holy. He might have been rich, but for riches he took no care; on the contrary, he was accustomed to say, that the only true riches was contentment with little. He might have commanded many, but would not do so, declaring that there was less fatigue and less danger of error in obeying others, than in commanding others. It was at his option to hold places of dignity in the brotherhood of his order, and also in the world; but he regarded them not, affirming that he sought no dignity and took no care but that of escaping hell and drawing near to Paradise. And of a truth what dignity can be compared to that which should be most coveted by all churchmen, nay, by every man living, that, namely, which is found in God alone, and in a life of virtuous labour?

Fra Giovanni was kindly to all, and moderate in all his habits, living temperately, and holding himself entirely apart from the snares of the world. He used frequently to say, that he who practised the art of painting had need of quiet, and should live without cares or anxious thoughts; adding, that he who would do the work of Christ should perpetually remain with Christ. He was never seen to display anger among the brethren of his order; a thing which appears to me most extraordinary, nay, almost incredible; if he admonished his friends, it was with gentleness and a quiet smile; and to those who sought his works, he would reply with the utmost cordiality, that they had but to obtain the assent of the prior, when he would assuredly not fail to do what they desired. In fine, this never sufficiently to be lauded father was most humble, modest, and excellent in all his words and works; in his painting he gave evidence of piety and devotion, as well as of ability, and the saints that he painted have more of the air and expression of sanctity than have those of any other master.

It was the custom of Fra Giovanni to abstain from retouching or improving any painting once finished. He altered nothing, but left all as it was done the first time, believing, as he said, that such was the will of God. It is