The best time to find out is during the, Lives of the Most Excellent Painters, Sculptors, and Architects, Kunsthistorisches Institut in Florenz (Max-Planck-Institut), Le vite de' più eccellenti pittori, scultori e architettori. Constantine, so it is said, did the same in the garden of Æquitius, in making the temple which he afterwards endowed and gave to the Christian priests. Architecture, as has been said, continued to maintain itself, if not so perfect, in a better state; nor is there reason to marvel at this, seeing that, as the great edifices were made almost wholly of spoils, it was easy for the architects, in making the new, to imitate in great measure the old, which they had ever before their eyes, and that much more easily than the sculptors could imitate the good figures of the ancients, their art having wholly vanished. The same could be said of S. Croce in Gierusalemme, which Constantine erected at the entreaty of his mother Helena, of S. Lorenzo without the walls of Rome, and of S. Agnesa, built by him at the request of Constantia, his daughter. But according to what Pliny writes, this came to Egypt from Gyges the Lydian, who, being by the fire and gazing at his own shadow, suddenly, with some charcoal in his hand, drew his own outline on the wall. [1] Casa Vasari in Florence, Portraits of the Artists | 'In the second edition of “Lives”, which was published in Florence in 1568, Vasari had not only extensively revised and added to the book, but also preceded the individual lives with a woodcut showing a portrait of the respective artist. In like manner the good sculptures and pictures which had been buried under the ruins of Italy remained up to the same time hidden from or not known to the men boorishly reared in the rudeness of the modern use of that age, wherein no other sculptures or pictures existed than those which a remnant of old Greeks were making either in images of clay or stone, or painting monstrous figures and covering only the bare lineaments with colour. But because Fortune, when she has brought men to the height of her wheel, is wont, either in jest or in repentance, to throw them down again, it came about after these things that there rose up in various parts of the world all the barbarous peoples against Rome; whence there ensued after no long time not only the humiliation of so great an Empire but the ruin of the whole, and above all of Rome herself, and with her were likewise utterly ruined the most excellent craftsmen, sculptors, painters, and architects, leaving the arts and their own selves buried and submerged among the miserable massacres and ruins of that most famous city. I have painted all your armour on the shield, and if there is anything else, tell me and I will add it.' A developmental period (augumento) was ultimately succeeded by the age of perfection (perfezione)--coincidentally Vasari’s own time and that of Michelangelo. And although those before them had seen remains of arches, of colossi, of statues, of urns, and of storied columns in the ages that came after the sackings, the destructions, and the burnings of Rome, and never knew how to make use of them or draw from them any benefit, up to the time mentioned above, the minds that came after, discerning well enough the good from the bad and abandoning the old manners, turned to imitating the ancient with all their industry and wit. And in describing the forms and features of the craftsmen I will be brief, seeing that their portraits, which have been collected by me with no less cost and fatigue than diligence, will show better what sort of men the craftsmen themselves were in appearance than describing them could ever do; and if the portrait of any one of them should be wanting, that is not through my fault but by reason of its being nowhere found. I say, then, it being true indeed, that they began late in Rome, if the first figure was, as is said, the image of Ceres made of metal from the treasure of Spurius Cassius, who, for conspiring to make himself King, was put to death by his own father without any scruple; and that although the arts of sculpture and of painting continued up to the end of the twelve Cæsars, they did not, however, continue in that perfection and excellence which they had enjoyed before, for it may be seen from the edifices that the Emperors built in succession one after the other that these arts, decaying from one day to another, were coming little by little to lose their whole perfection of design. Vasari wrote a second book, somewhat of a supplement to the Lives, entitled Ragionamenti sopra le Invenzioni. Read about our approach to external linking. Packed with facts, attributions, and entertaining anecdotes about his contemporaries, Vasari's collection of biographical accounts also presents a highly influential theory of the development of Renaissance art.Beginning with Cimabue and Giotto, who represent the infancy of art, Vasari considers the …

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