Lives of the Most Eminent Painters Sculptors and Architects, Vol. 04 (of 10): Filippino Lippi to Domenico Puligo

In Short

This volume serves as a foundational pillar of art history, detailing the lives and professional trajectories of iconic figures from the late fifteenth and early sixteenth centuries. Through anecdotal accounts and critical observations, it traces the evolution of style from the early, painstaking efforts of the Renaissance to the "modern manner" achieved by giants like Leonardo da Vinci and Raphael. It remains essential not just for its biographical data, but for the way it captures the competitive, volatile, and profoundly human spirit that drove the creation of Western art’s most celebrated masterpieces.

The Story

The narrative begins with the transition from the rigid, labored techniques of earlier generations toward a new era of artistic grace and naturalism. It opens with Filippino Lippi and follows the careers of painters like Pinturicchio, who is remembered for his whimsical and tragic obsessions, and Pietro Perugino, whose work captures a serene, divine beauty that initially captivated the public. The text documents how these masters labored in convents and papal palaces, often working in competition with one another, as they sought to solve the problems of perspective, anatomy, and oil painting.

As the narrative progresses, the focus shifts to the revolutionary impact of Leonardo da Vinci. His arrival marks a definitive turning point; the account describes him not only as a painter who endowed figures with "motion and breath" but as a man of vast curiosity, whose presence in a city could command the attention of entire crowds. His influence is felt throughout the following lives, setting a standard that even the most accomplished contemporaries struggle to match. The arc of the volume carries the reader through the rise of these masters to the height of the "modern manner," where technical difficulty gives way to a fluid, divine harmony.

Interspersed with the lives of painters are the accounts of architects like Bramante, whose obsessive study of ancient Roman ruins allows him to redefine the landscape of the city, and sculptors whose works—whether in marble or bronze—are described as living flesh. The text does not shy away from the darker or more erratic aspects of these lives, such as the pride of Torrigiano or the tragic decline of Raffaellino del Garbo, who begins with immense promise only to end in obscurity.

The story concludes by examining the immense, almost miraculous output of Raphael. His life is portrayed as a summit of artistic achievement, where he manages to orchestrate large-scale projects like the Vatican tapestries, which are described as being so lifelike they defy the limitations of their woven medium. Finally, the narrative bridges the gap to the author's own time, reflecting on his personal involvement in the architectural restoration of Florence’s Great Hall. This final act serves as a reminder that the history of art is not merely a record of the past, but a living, continuous enterprise, where the ambitions of the past are physically integrated into the structures and spaces of the present.

How It Unfolds

The emergence of a new manner The account describes the transition away from the "dryness" and "hardness" of earlier masters. It explains how the discovery of ancient statues like the Laocoon provided artists with a model of grace that replaced the strained efforts of their predecessors.

The arrival of the masters Figures such as Leonardo da Vinci and Raphael enter the scene, defined by their ability to breathe life into canvas. The text maps their movements between cities like Florence, Milan, and Rome, illustrating how their reputations grew through direct competition and public admiration.

The professional struggle Life for these artists is a series of commissions, religious duties, and volatile personal rivalries. The book details the pressures of working for popes and dukes, and the physical toll of creating works like the Vatican frescoes and large-scale architectural designs.

The final legacy The volume transitions to the author's own architectural work in Florence, providing a sense of closure to the historical arc. It leaves the reader with a vision of a city where the works of the masters become the permanent, defining architecture of the state.

The People

The figures in these pages are driven by a singular, often all-consuming ambition to achieve perfection in their respective crafts. Leonardo da Vinci stands out as the ultimate polymath; his intellectual reach and technical subtlety create a "third manner" that leaves his peers in awe. In contrast, Pietro Perugino is defined by his contribution to a new, harmonious style of colouring, though he is often plagued by the technical instabilities of his early experiments with oil paint. Pinturicchio represents the more eccentric, mercurial temperament of the artist, whose life is punctuated by petty grievances and sudden, dramatic ends.

Bramante acts as the bridge between antiquity and the modern age; his life is defined by a rigorous, solitary commitment to measuring the ruins of Rome to inform his own architectural designs. Raphael emerges as the epitome of the successful master—courteous, beloved, and capable of managing massive, complex projects that seem to transcend human skill. Raffaellino del Garbo provides a cautionary counterpoint, showing how the trajectory of a career can falter despite a brilliant start. Each of these individuals is shaped by their environment—the support of patrons, the rivalry of their peers, and the relentless demand of the church—and ultimately, they are differentiated by their ability to either sustain their genius or succumb to the pressures of their craft.

In Its Own Voice

"Now Pinturicchio, like the strange and whimsical man that he was, made such an outcry at this, and repeated it so often, that finally in despair the friars set themselves to carry it away."

The author describes the volatile personality of the painter Pinturicchio during his time working in a Sienese convent.

"He returned to Florence, where he found that the Servite Friars had entrusted to Filippino the painting of the panel for the high-altar of the Nunziata; whereupon Leonardo said that he would willingly have done such a work."

This moment captures the competitive professional atmosphere between Leonardo and his peer Filippino Lippi.

"For in the face of that Madonna was seen whatever of the simple and the beautiful can by simplicity and beauty confer grace on a picture of the Mother of Christ."

The author reflects on the profound, almost spiritual impact of Leonardo’s famous cartoon.

What It's Really About

At its core, this book examines the transition from technical labor to artistic "grace." It argues that art is a progress—a movement from the primitive, rigid styles of the past toward a resolution of form and color that reflects the beauty of nature itself. Beneath the anecdotes of individual lives lies a deeper inquiry: what constitutes a master? The text suggests that true greatness requires both "divine grace" and the "subtlety of nature," while also acknowledging the fragility of this status. It questions the role of the artist in society, contrasting the artist's internal obsession with the external demands of patrons and the eventual, often devastating, judgment of time.

Why Read It Today

Readers who enjoy the slow, deliberate pace of historical biography will find much to admire here. The prose is warm and vivid, focusing on the personalities behind the art rather than dry technical analysis. You will be drawn into a world where artists are treated as heroes and their works as miracles, providing a unique look into the Renaissance mindset.

However, the modern reader should be prepared for the book's long, winding sentences and its period-specific attitudes, which occasionally prioritize the author's moral or personal conclusions over objective fact. The text is dense with names and locations that may require a bit of patience to navigate. What stays with you, however, is the human element: the image of an artist laboring over a panel, the sudden collapse of a house, or the joy a crowd feels upon seeing a new masterpiece. It is a work that feels remarkably personal, written by someone who viewed these painters not just as historical subjects, but as the architects of a world he was proud to inhabit and document. If you want to understand how the Renaissance perceived its own genius, this volume is an essential, if lengthy, companion.