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Excerpts of the Lives of Italian Artists from the Book of Painters Art in Translation ISSN: (Print) 1756-1310 (Online) Journal homepage: https://www.tandfonline.com/loi/rfat20 Excerpts of the Lives of Italian Artists from the Book of Painters Karel van Mander & Paul Arblaster (Translator) To cite this article: Karel van Mander & Paul Arblaster (Translator) (2014) Excerpts of the Lives of Italian Artists from the BookofPainters, Art in Translation, 6:3, 245-269, DOI: 10.2752/175613114X14043084852912 To link to this article: https://doi.org/10.2752/175613114X14043084852912 Published online: 28 Apr 2015. Submit your article to this journal Article views: 80 Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rfat20 Article Title 245 Art in Translation, Volume 6, Issue 3, pp. 245–270 DOI: 10.2752/175613114X14043084852912 Reprints available directly from the Publishers. Photocopying permitted by licence only. © 2014 Bloomsbury Publishing PLC. Excerpts of the Lives of Italian Artists from the Karel van Mander Book of Painters Translated by Abstract Paul Arblaster First published in Dutch as T’leven This excerpt from Karel van Mander’s Schilder-boeck, originally pub- van Frederijck Zucchero; Het leven lished in Dutch in 1604, is a primary-source text on late sixteenth-cen- van Frederijck Barozio; Het leven van tury Italian artists. Van Mander provides the biographies of a range of Iacob Palma; Van Ioseph van Arpino; T’leven van noch ander Italiaenische Italian painters, including Federico Zuccaro, Federico Barocci, Jacopo Schilders, die teghenwoordigh te Palma, Giuseppe of Arpino, and other contemporary Italian artists. The Room zijn; Van eenige italiaensche text includes two sections devoted to artists based in Rome, and another Vrouwen, die de Teycken-const, en Schilderen constich hebben section focusing on female artists in Italy. gheoeffent; Van verscheyden Italiaensche schilders die in mijnen KEYWORDS: Karel van Mander, art criticism, Italian painting, Renais- tijdt te Room waren, tusschen sance, Federico Zuccaro, Federico Barocci, Jacopo Palma, Giuseppe Ao 1573 en 1577 (Haarlem: Het of Arpino, Properzia de Rossi, Plantilla Nelli, Lucrezia Quistelli della Schilder-boeck, 1604). Mirandola, Sofonisba Anguissola 246 Karel van Mander Introduction by Paul Taylor (Warburg Institute) Karel van Mander’s Schilder-boeck is a celebrated source for art his- tory, but few people, even in the Low Countries, have read it from cover to cover. It is long (470,000 words) and diffuse, being split into six sections, which interest different readers to different degrees. The last third of the book consists of a mythographic analysis of Ovid’s Metamorphoses, and a short treatise on symbols. The rest of the book is of more direct art historical relevance. At the beginning is a poem which teaches the reader the principles of art; it owes a considerable debt to Alberti and Rivius. This is followed by three sections of painters’ biographies. The first concerns ancient artists, and is an abbreviated translation of (Du Pinet’s French edition of) Pliny; the second concerns Italian artists, and is for the most part an abbreviated translation of Vasari; while the third concerns Netherlandish and German artists, and is based on Van Mander’s own research. The Netherlandish biographies have been translated into modern Dutch, French, German, English, Italian, Spanish, Russian and Chinese, have spawned five scholarly monographs, and have also been accorded two commentaries. The ancient and Italian biographies, however, have never been translated in their entirety into any language. Given that these biographies are potted translations of Pliny and Vasari, this is not surprising. Nevertheless, historians of Italian art have long been inter- ested in the fact that, at the end of the Italian lives, there are biographies of late sixteenth-century artists who post-date Vasari. For these paint- ers, Van Mander could not simply translate; he needed to do research. It is these later lives that are presented here in English for the first time. Van Mander wrote these biographies twenty-five years after returning from a three-year stay in Italy. He had not left the Netherlands in the intervening period, so most of the painters he was writing about were unknown to him personally, and he knew their works only through examples in Dutch collections, or through prints. These limitations become clear in the lives of Barocci and Palma Giovane, which place tiny scraps of biography around descriptions of prints and paintings Van Mander had seen. For Palma Vecchio, Van Mander can give fuller descriptions of paintings in Venetian churches, but only because he had found the relevant passage in Vasari; and Vasari is also the source for the lives of women artists. The two most revealing biographies are those for which Van Mander had informants. The Haarlem still-life painter Floris van Dijck was a friend of Cesare d’Arpino, and provided the detail for the splendid life translated here. For Zuccari, Van Mander probably had two inform- ants, Hendrick Goltzius (who met Federigo in Rome) and Cornelis Ketel (who probably met Federigo in London). For the other artists it is not so easy to identify sources, but Van Mander knew a number of Dutch artists who had just come back from Italy, and who must have Excerpts of the Lives of Italian Artists from the Book of Painters 247 provided information on the recent painters, including Carracci and Caravaggio. The last chapter, on artists Van Mander knew in Italy in the 1570s, ought to be the most revealing. It contains some valuable judgments on the art of Girolamo Muziano and Raffaellino da Reggio, but it appears that Van Mander did not know either very well, so cannot give much biographical detail. For the other painters he is unable to remember a great deal. Writing from memory is rarely as efficient as writing from notes, and it appears that, in Rome, “the Flemish Vasari” was not yet collecting material for the book which would form his principal claim to posthumous fame. Translator’s Note In translating these extracts from the Schilder-boeck of Karel van Mander, the author’s habit of providing Dutch names (Frederijck, Joseph, Jacob) has not been replicated in English. Instead, the Italian names by which the artists will be familiar to English speakers have been used (Federico, Giuseppe, Jacopo). The same has been done with place names and the names of churches. Surnames by which an artist is now generally identi- fied have been inserted between square brackets when omitted by Van Mander, for instance “Giovanni [Alberti] del Borgo.” Where words are implied but not stated in the original, they have also been supplied in square brackets. Words that Van Mander uses as terms of art—history, figure, landscape; canvas, panel, fresco; composition, coloring—have been translated consistently. The one exception has been conterfeytsel, translated either as “likeness” or as “portrait.” Otherwise no effort has been made to render one word with a single equivalent, so his many uses of uitnemend and uitmuntend, for example, have been translated variously as “excellent,” “outstanding” and “surpassing.” Two evaluative words that Van Mander uses with some frequency are (in modern Dutch spelling) “aardig” and “schoon.” In today’s Dutch, these respectively mean “nice” and “clean,” but in the sixteenth century, their ranges of meaning were far wider. To come as close as possible to the flavor of Van Mander’s Dutch text, English words with the same sort of semantic broadness have been used. So “aardig,” which in Van Mander’s time could mean artistic, artful, pleasant, friendly, kind, distinctive or odd, has often been translated as “curious,” with the Oxford English Dictionary meanings of “exquisite, excellent, fine,” “surprising, strange, queer,” and “elaborately or carefully made.” The word “schoon,” more purely positive, ranged in meaning from beauti- ful through cleanly to neat and tidy, and has been translated with the English “fair.” In the translator’s opinion, modern English alternatives such as “lovely,” “beautiful” or “attractive” too easily give a gushing register to an authorial tone that is generally matter-of-fact even when 248 Karel van Mander piling on words of praise. “Beautiful” has been used when Van Mander qualifies “schoon” with “zeer” (meaning “very”). It is a sound maxim of the trade never to translate alone. Valuable assistance on particular points of phrasing or identification has been provided by Gisèle Alençon, Roel Daamen and Sheila Barker, while Christel Germonpré and Lee Preedy reviewed the whole translation and provided necessary corrections regarding both style and content. So too did Paul Taylor. The translator is very grateful for their assistance. Excerpts of the Lives of Italian Artists from the Book of Painters Karel van Mander The Life of Federico Zuccaro, Painter from Sant’Angelo in Vado It is not every day that Nature distributes equal shares of her noble gifts to two brothers, but in the Duchy of Urbino, by the Apennines, at Sant’Angelo in Vado, just this came to pass to Taddeo and Federico Zuccaro, both of whom so excelled in the art of painting that many who are not lacking in good judgment are nevertheless little able to tell their works apart. In the year 1550, when still a small child, Federico Zuccaro and his mother were brought to Rome by his father Octaviano, to ob- tain the Jubilee [indulgence] and at the same time to visit his son Taddeo, who was then 20 years old and already well practiced and renowned in artistry. After Octaviano (who was burdened with a large family, having seven sons and a daughter) had spent some time with this son, he left Federico with him to go to school there and be trained up, and departed thence with his wife. When Federico had been to school some time, and could read and write tolerably well, Taddeo had him spend his time on learning to draw, with much more convenience than he himself had en- joyed, and found the lad not only well inclined, but very able to reach perfection.
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