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The Influence Op Vasari Upon the Art Poems of Robert The influence of Vasari upon the art poems of Robert Browning Item Type text; Thesis-Reproduction (electronic) Authors Northrup, Frederick Willis, 1916- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 23/09/2021 13:24:58 Link to Item http://hdl.handle.net/10150/553517 THE INFLUENCE OP VASARI UPON THE ART POEMS OF ROBERT BROWNING by Frederick Willis Northrop A Thesis submitted to $he faculty of the Department of English in partial fulfillment of the requirements for the degree of Master of Arts In the Graduate College University of Arizona 1940 ■io gMaroi m n lEt tmy lommMK ^fXWiOflB T^SO.'- fd CXirfTi- "'TC'-r i H C.t^ jfcit'I ^ f? JtB Ati T A J - ' - R) 4/ * E A Pv #e ■ j wte"*’t eild t ie t £cf! » i E.vbs < *f€* 9fW A ;os • . Jt. 7^ '*-%*/" l .-. _ > » - > . rftwertfrnr* ^yaf^iTTot^r • - .— ■ f K sr ^ <6? 7?/ /?& o p . * - TABLE OP 00STENTS CHAPTER PAGE I. INTRODUCTION.............................. 1 II. DISCUSSION OF MISCELLANEOUS REFERENCES TO VASARI ARTISTS........................ 26 III. ANALYSIS OF "FRA LIPPO L I P P I " ............ 41 IV. ANALYSIS OF "ANDREA DEL SARTO"............ 78 V. ANALYSIS OF "OLD PICTURES IN FLORENCE". 96 VI. CONCLUSIONS.............................. 116 s BIBLIOGRAPHY..................................... 123 ±02 9 3 3 THE INFLUENCE OP VASARI UPON THE ART POEMS OF ROBERT BROWING CHAPTER I INTRODUCTION But at any rate I have loved the season Of Art's spring-birth so dim and dewy; My sculptor is HIcolo the Pisan, My painter - who but Citnabue? lor ever was man of them all indeed. Prom these to Ghiberti end Ghlrlandajo, Could say that he missed my critic-meed. &>, now to my special grievance - heigh-ho2 ■,- , ■■ . -- -Old Picture#. These few lines az^ somewhat illustrative of Browning * s love of Italian art. They are more than just that. They also ■ reveal his knowledge of ’’Art's spring-birth”; and it was from Vasari, as much as from any other source, that this love and appreciation sprang. Every artist mentioned in these lines above Is found In Vasari, Few poets have possessed such an ardent love of art that it has assumed such a large place in their works. In all. Browning has written over thirty poems that can be classified as art poems, some nine of which deal with the Florentine and artists of related schools; and in addition there is a great ntaaber of scattered references to Italian artists and their works throughout his entire writings. Artists of more recent times, of whom some were contemporaries and friends, also feature in some of his writings. Maclise was on® of these,whose picture “The Sereaede" la the found­ ation for 0 In a Gondola”. However, all such references are greatly outnumbered by those made to the Italian primi­ tive and Renal®aonce artists. In this, study then, an effort will be made to show the influence of Giorgio Vasari*s Pelle Vitede Piu de . Ecoelentl Plttorl. Scultori, ed Archltettorl upon the art poems of Robert Browning by means of as close an analysis as possible, with the allowance for error accorded to any one who proposes to suggest what lies in the mind of • genius and from what well-spring of knowledge his inspiration flowed. There will first be a description of Vasari*s Lives; than a record of mentions made by Browning, his .wife, and orltles concerning Vasari; and last a review of the poet's love of art and preference for Italian schools re­ sulting from M s early associations, his reading of Vasari, and his residence in Florence. Then some attempt will-be made to show the extent to which he makes»incidental re­ ference to Vasari's artists in his poems and to make inter­ pretation concerning the nature of these references. r Following will be chapter# devoted to an intensive line-by- line study of the-three poems w M e h employ Vasari as the chief source. From this, interpretations will be made and conclusions will be drawn to sum up the extent and nature Sons, London, translated by Mrs. Jonathan.Foster, 1894. of Vasari*s Influence. Although Browning used other sources, ■ :v. v: . ■ such as Bnldinucci's Hotize and other handbooks on the Renaissance and art, these will not be considered except as they enter Into Browning*8 interpretation of Vasari* problem of Browning * a attitude toward Baldlnueel and Vasari will be treated in the discussion of the critic1s opinions about the Indebtedness of Browning to Vasari, ■ ■ . - - ■ "■ : 1 I; : ’ A moment m w to describe this important source of . Browning*s poems, Vasari’s Delle Vite de Plu Eccelenti, Pittori. Scultorl, ed Architettori, (Lives of the Seventy- Most Eminent Painters, Sculptors, and Architects), It is an art history written by Giorgio Vasari, himself a painter under Michael togelo, Andrea del Sarto, and others. Tills work was undertaken by him in 1546 under the patronage of Cosimo de Medici, to whom it is dedicated,and was first published in 1550, Other editions appeared at short intervals after, but no important revision was made by the author until 1568. The history of art covered by the Lives extends from Cimabue, who died in 1302, to the artists' living at the time of the writing of the work. And Vasari evidently felt that the progress in art going on around him justified extensive re­ vision and addition to bring the Lives up to date in 1568, 1 Baldlnueel, Delle Hotizle de* Professor! del Deselgno da Cimabue in Qua, Edlsslone accrealcut a di Annotisionl, in Firenze, 1767-1774, 20 vols. six years before his death. The biographies vary in length, from one to fifty, pages3 th® nsttsl length, hQwwer, is about tv/enty. Eaoh life usually includes lnforaati<m eoneemlng the artiste parentage and stories of his ehlldhood, with the invariable addition of ex­ pression of wonderment and awe on Vasari*s part concerning M b talent; and stories of his period of apprenticeship told to characterize him and distinguish his own particular talent. From there the life discussea his works, in their proper order, describing the condition® of their creation, and the making of each, and giving a description and history of the picture down to th© time of Vasari*s writing of the life. Along with the discussion of the paintings he gives his per­ sonal evaluation of each artist in the light of hie knowledge of the arts. Finally the circumstances of the artist *s death are given, and there is a summarizing discussion of M s great­ ness. The lives are written in a style, pleasantly direct, except for M s detailed descriptions, and possess a remarkable air of the familiar, which arises no doubt from the many per­ sonal allusions of the author to M s acquaintance with the artist or his works. In addition to the lives of the Italian artists are those somewhat briefer and less colorful lives of Flemish, Dutch, and Spanish painters, which reveal the author's desire to treat M s subject fairly and completely.1 1 Vannrl, Lives, I, Ui-preface; als, v, ggl Also there is included at the end an account of Vasari's own life and accomplishments, presented as modestly as his tempera­ ment and the clime of his age permitted. It might also be • interesting to note that one of these lives would constitute just a desirable amount for an evening's reading. It would be especially desirable as well to read them in a room of the Colleggio built by Vasari, as the Brownings did in there resi­ dence there. One-word more about the editions and translations of this work, which usually appears in three or more volumes. The first complete English translation was made by Mrs, Jonathan Foster in 1894. An abridgement of a few lines was published in a thin quarto, London, 1719. This pamphlet probably caught the attention of Browning or hts father* The reason for so saying is that the father as well as the . son was. very much interested in the lives of oainters and enjoyed "anecdotes not generally known about them". Surely, the Lives of Vasari would meet these requirements and was. perhaps, one of few auoh sources available. And from a men­ tion which Browning makes of Vasari In a letter to Elizabeth Barrett we can gather that he was familiar with Vasari before his residence in Florence. He probably discussed the Lives ■ " . 2 ' . — — with Mrs. Jameson in particular. Even though no mention is 1 W.Hall Griffin and H.e.Minchiu, The Life of tobert Browning, revised edit ion; I^ndon: Methuen FHo.7l9^8,p.8 2 Letters of Robert Browning and Elizabeth Ba?rett Browning, 1845-457 2lew York: Harper and brothers, 1899,1,570 made of this panphlet * s being In the library of his father at the time of the auction, .1896* in a lifetime many thlnga con happen to a single small volume lent to friends, as were the hookc of the Browning library of some six thousand volumes. Drowningis copy of Vasari used in Italy at the time of hie writing his Italian lyrics and monologues, 1846, must have bean in the original Italian, as it bore the date in his own hand, "Florence, 1846-1857". But Hrs. Foster's translation of 1894, following the first and second Florentine editions, 1550 and 1568, as well as consulting the Italian edition be­ gan in 1846 and having the invaluable notes of Montani and Masaelli, friends or correspondents of Browning, seems to bo an adequat® equivalent of the edition Browning used.
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