ch I, who would fain make it much, am able to give them.

[Illustration: PIETA

(_After the panel by =Giovanni Buonconsigli=. Vincenza: Pinacoteca,
22_)

_Alinari_]

FOOTNOTE:

[5] It is now generally accepted that these two men are
one, under the name of Lazzaro Bastiani.

[6] This master has been identified with Il Bassiti, under
the name of Basaiti.

[7] See note on p. 57, Vol. I.

[8] See note on p. 57, Vol. I.

JACOPO, CALLED L'INDACO

LIFE OF JACOPO, CALLED L'INDACO

PAINTER

Jacopo, called L'Indaco, who was a disciple of Domenico del
Ghirlandajo, and who worked in Rome with Pinturicchio, was a passing
good master in his day; and although he did not make many works, yet
those that he did make are worthy of commendation. Nor is there any
need to marvel that only very few works issued from his hands, for
the reason that, being a gay and humorous fellow and a lover of good
cheer, he harboured but few thoughts and would never work save when
he could not help it; and so he used to say that doing nothing else
but labour, without taking a little pleasure in the world, was no
life for a Christian. He lived in close intimacy with Michelagnolo,
for when that craftsman, supremely excellent beyond all who have
ever lived, wished to have some recreation after his studies and his
continuous labours of body and mind, no one was more pleasing to him
for the purpose or more suited to his humour than this man.

Jacopo worked for many years in Rome, or, to be more precise, he
lived many years in Rome, working very little. By his hand, in that
city, is the first chapel on the right hand as one enters the Church
of S. Agostino by the door of the facade; on the vaulting of which
chapel are the Apostles receiving the Holy Spirit, and on the wall
below are two stories of Christ--in one His taking Peter and Andrew
from their nets, and in the other the Feast of Simon and the
Magdalene, in which there is a ceiling of planks and beams,
counterfeited very well. In the panel of the same chapel, which he
painted in oil, is a Dead Christ, wrought and executed with much
mastery and diligence. In the Trinita at Rome, likewise, there is a
little panel by his hand with the Coronation of Our Lady. But what
need is there to say more about this man? What more, indeed, is
there to say? It is enough that he loved gossiping as much as he
always hated working and painting.

Now seeing that, as has been said, Michelagnolo