Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 4.djvu/482

474 from the works of others. Among these pictures was one similar to that which Raphael had depicted for the Church of Santa Maria del Popolo in Rome, and wherein the Madonna is represented as covering the Infant Christ with a veil: this work of Bastiano’s is now in the hands of Filippo d'Antella, and there is another also by Aristotile which is in the possession of the heirs of Messer Ottaviano de’ Medici, as is also a portrait of the above-mentioned Lorenzo de’ Medici, which Bastiano copied from that made by Raphael. He executed many other pictures in like manner about the same time, some of which were sent into England.

But knowing that he had no power of invention, and aware of the profound study and well-grounded knowledge of design required by painting, Aristotile determined, since the want of these qualities would prevent him from attaining to any great excellence; he determined, I say, that his calling should be architecture and perspective, but he readily prepared scenic decorations for the drama whenever he had an opportunity, that being a kind of work in which he delighted exceedingly. When the above-named Bishop of Troja recommenced the building of his palace in the Via di San Gallo, Aristotile received charge of that work; and this, much to his credit, he conducted in due time to the state in which we now see it.

Bastiano had meanwhile formed a great friendship with Andrea del Sarto, his neighbour, from whom he acquired knowledge which contributed much to the perfection of his works, but he still devoted himself with particular zeal to the study of perspective, insomuch that his assistance was often used in the festivals which, in that time of quiet for Florence, were given by certain companies of gentlemen then in the city. When the company of the Cazzuola, for example, performed the amusing comedy of the Mandragola in the house of Bernardino di Giordano, which is situate at the corner of the Monteloro, Andrea del Sarto and Aristotile prepared the scenic decorations, which were most beautiful. In another comedy by the same author, which was performed no long time after the above, in the house of the kiln-master Jacopo, at the gate of San Friano, Aristotile also prepared the scenes. These things greatly pleased the people at large, but they were more particularly acceptable to the Signors