The Influence Of Vasari Upon The Art Poems Of Robert Browning
THE INFLUENCE OP VASARI UPON THE ART POEMS OFROBERT BROWNINGbyFrederick Willis NorthropA Thesissubmitted to he faculty of theDepartment of Englishin partial fulfillment ofthe requirements for the degree ofMaster of ArtsIn the Graduate CollegeUniversity of Arizona1940
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6? 7 ? //?&op.*-TABLE OP 00STENTSCHAPTERPAGEI.INTRODUCTION.1II.DISCUSSION OF MISCELLANEOUS REFERENCESTO VASARI A R T I S T S .26III.ANALYSIS OF "FRA LIPPO L I P P I " .41IV.ANALYSIS OF "ANDREA DEL SARTO".78ANALYSIS OF "OLD PICTURES IN FLORENCE". . .96V.VI.CONCLUSIONS.s BIBLIOGRAPHY. 02933116123
THE INFLUENCE OP VASARIUPON THE ART POEMS OF ROBERT BROWINGCHAPTER IINTRODUCTION ,-But at any rate I have loved the seasonOf 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 *slove of Italian art.They are more than just that.They also reveal his knowledge of ’’Art's spring-birth” ; and it was fromVasari, as much as from any other source, that this love andappreciation sprang.Every artist mentioned in these linesabove Is found In Vasari,Few poets have possessed such anardent love of art that it has assumed such a large place intheir works.In all. Browning has written over thirty poemsthat can be classified as art poems, some nine of which dealwith the Florentine and artists of related schools; and inaddition there is a great ntaaber of scattered references toItalian artists and their works throughout his entire writings.Artists of more recent times, of whom some were contemporariesand friends, also feature in some of his writings.Maclise
was on of these,whose picture “The Sereaede" la the found ation for 0In a Gondola” .However, all such referencesare greatly outnumbered by those made to the Italian primi tive and Renal aonce artists.In this, study then, an effort will be made to showthe influence of Giorgio Vasari*s Pelle V i t e d e Piu deEcoelentl Plttorl. Scultori, ed Archltettorl.upon the artpoems of Robert Browning by means of as close an analysisas possible, with the allowance for error accorded to anyone who proposes to suggest what lies in the mind of genius and from what well-spring of knowledge his inspirationflowed.There will first be a description of Vasari*sLives; than a record of mentions made by Browning, his .wife,and orltles concerning Vasari; and last a review of thepoet's love of art and preference for Italian schools re sulting from M searly associations, his reading of Vasari,and his residence in Florence.Then some attempt will-bemade 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.rFollowing will be chapter# devoted to an intensive line-byline study of the-three poems w M e h employ Vasari as thechief source.From this, interpretations will be made andconclusions will be drawn to sum up the extent and natureSons, 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 theRenaissance and art, these will not be considered except asthey enter Into Browning*8 interpretation of Vasari*problem of Browning *a attitude toward Baldlnueel and Vasariwill be treated in the discussion of the critic1s opinionsabout the Indebtedness of Browning to Vasari, " .:1I;:’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 SeventyMost Eminent Painters, Sculptors, and Architects),It is anart history written by Giorgio Vasari, himself a painter underMichael togelo, Andrea del Sarto, and others.Tills work wasundertaken by him in 1546 under the patronage of Cosimo deMedici, to whom it is dedicated,and was first published in1550,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 thewriting of the work.And Vasari evidently felt that theprogress in art going on around him justified extensive re vision and addition to bring the Lives up to date in 1568,1Baldlnueel, Delle Hotizle d e * Professor! delDeselgno da Cimabue in Qua, Edlsslone accrealcut a diAnnotisionl, in Firenze, 1767-1774, 20 vols.
six years before his death.The biographies vary in length, from one to fifty, pages3th nsttsl length, hQwwer, is about tv/enty.Eaoh life usuallyincludes lnforaati m eoneemlng the artiste parentage andstories of his ehlldhood, with the invariable addition of ex pression of wonderment and awe on Vasari*s part concerningMbtalent; and stories of his period of apprenticeship toldto characterize him and distinguish his own particular talent.From there the life discussea his works, in their properorder, describing the condition of their creation, and themaking of each, and giving a description and history of thepicture 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 knowledgeof the arts.Finally the circumstances of the artist *s deathare given, and there is a summarizing discussion of M s great ness.The lives are written in a style, pleasantly direct,except for M sdetailed descriptions, and possess a remarkableair of the familiar, which arises no doubt from the many per sonal allusions of the author to M s acquaintance with theartist or his works.In addition to the lives of the Italianartists are those somewhat briefer and less colorful lives ofFlemish, Dutch, andSpanish painters, which reveal theauthor's desire to treat M s subject fairly and completely.11Vannrl, Lives, I, Ui-preface; als, v, ggl
Also there is included at the end an account of Vasari's ownlife 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 constitutejust a desirable amount for an evening's reading.It wouldbe especially desirable as well to read them in a room of theColleggio built by Vasari, as the Brownings did in there resi dence there.One-word more about the editions and translations ofthis 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 waspublished in a thin quarto, London, 1719.This pamphletprobably caught the attention of Browning or hts father*The reason for so saying is that the father as well as theson was. very much interested in the lives of oainters andenjoyed "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 ElizabethBarrett we can gather that he was familiar with Vasari beforehis residence in Florence. He probably discussed the Lives ". .2'.——with Mrs. Jameson in particular. Even though no mention is1 W.Hall Griffin and H.e.Minchiu, The Life of tobertBrowning, revised edit ion; I ndon: Methuen FHo.7l9 8,p.82 Letters of Robert Browning and Elizabeth Ba?rettBrowning, 1845-457 2lew York: Harper and brothers, 1899,1,570.
made of this panphlet *s being In the library of his father atthe time of the auction, .1896* in a lifetime many thlnga conhappen to a single small volume lent to friends, as were thehookc of the Browning library of some six thousand volumes.Drowningis copy of Vasari used in Italy at the time of hiewriting his Italian lyrics and monologues, 1846, must havebean in the original Italian, as it bore the date in his ownhand, "Florence, 1846-1857".But Hrs. Foster's translationof 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 andMasaelli, friends or correspondents of Browning, seems to boan adequat equivalent of the edition Browning used.It we M e custom as it had been his father's to seek early andoriginal editions and consequently ho had probably seen all'of the important editions before 1846 as well as the new oneIn pTOgreos.That Browning had seen a first edition adcountis evident from his characterisation of Lucresin In "Andrea2 .''del Sarto". Vasari's 1550 and 1568 editions differed some what in the tiaraoterisntlon of Lucresla.Browning critics on the whole have little to say con clusively concerning Vasari's Influence on Browning except1DeVano. Parleyings. p. 169 .2 G. w. Cooke, Browning Guide-Book, Houghton Mifflin GoBoston and How York, 1891, pp. ll-llV”
that he is a sourco of this fact or that poem*BroYmlng’aown w r 4 s about Vasari must have been in the main spoken, orwritten in letters, since destroyed.In the letters whichwe have. Browning, himself, mentions Vasari but once, whenwriting to Professor Etowden in 1886, regarding correctionconcerning Fra Lippo Lippi Ibelieve the strange confusions and mistakes ofVasari are set tolerably right now*.**1 suppose Lippoto have been born, as Baldinucci says, about 1400. 1In the correspondence between Browning and Elizabeth Barrettthere occurs one mention of Vasari.Kiss Barrett in July,1846, writes for explanation of M s title Bells andPomegranates * and in addition makes a replying comment asfollow#:"Than for Vasari, it is not the handbook of the s'world, h o w e w r It may be for Mrs* Jameson1s.M This seems tofollow as a mild reproof of the abstruseness of the title.This can only be implied, however, os the conversation orletter that provoked this statement of Mios Barrett islacking;' -v ,. '. '' -Bswever, Browning, in his final publication of hisjust-completed series. Bells and Pomegranates, published In1841—46, attaches the following note of explanation of thetitle in appendage as follows:121 Letters from Robert Browning to Various Correspondent d. by T. J» Wine, 2 vols., London, 190 1908, Rndoeries, p. 112Browning— Barrett Letters * II, 570./
-9-Here ends my first series of Bells and Pomegranatesand I take the opportunity of explaining* in reply(this you will note was prompted /by his wife's letter)to inquiries, that I only meant by that title to indie- /cate an endeavor towards something like an alteration,or mixture of music with discoursing sound with sense.which looks top ambitious, thus expressed so the symbolwas preferred. It.is little to the purpose that such i#one actually of the most, familiar of the many Rabbinicalacceptance of the phrase "# t. suppose the bare words, insuch juxtaposition, would sufficiently convey the desired;V'" meaning. Faith and Good Works’ is another fancy for. instance, and perhaps ho easier to arrive at; yet Giotto”)placed a pomegranate fruit in the hand of Dante, anda, Raffaelo orowned his Theology with blossoms of the same; .Vas if the Bellari and Vasari would be sure to come after and explain that it was merely a symHol, 1Bellari wrote the life of Dante, and Vasari, of course, thatof Giotto and Raff aelo.That Browning knew Vasari then isevident from this note.The only other inklings concerning Browning’s interest *in Vasari are to be gathered from Mrs. Browning’s letters from2 .Italy.,. In 1846 she writes to Miss Hit ford from PisaiWe have rooms close to the Duo mo and Leaning Tower;in the great Colleggio built by Vasari.I mean to knowsomething about pictures some day. Robert does, and Ishall get hi to open my eyes with a little instruction.In this place are to be seen the first steps of art. 2Here we can see two things:first that the Brownings wereliving in the building erected by Vasari himself; and second /that Mrs. Browning is.wishing her husband to teach her somethingof art.These two may cast some shadow of explanation on their121 The Complete Poetic and Dramatic Works of Robert.Browning. Cambridge edition. Boston and New York, HoughtonMifflin Co., ed by Horace, Scudder,, 1895f p.1282 Mrs.Sutherland Orr, Life and Letters of Robert Browning.Revised by John Kenyon; London: Bell and Sons, 1902,p . U S
reading of Vasari together» which is mentioned in a letter toHorne by Mrs. Brownings.We live here in the most secluded manner, November, 1846,eschewing English visitors, reading Vasari, and dreamingdreams of seeing Venice this summer. 1Browning's only other references to W e a r 1 lie in hispoems themselves.In "Old Pictures in Florence,” he directlymentions Vasari:What, not a word for-.Stefeno there.Of brow once prominent and starry, . . .' \For his peerless painting? (See Vasari).Another direct mention occurs In the poem "Andrea del Sarto” :( 'Tic copied, George Vasari sent it m e ).This refers to Vasari s friendship with his painting master,Andrea del Sarto.Beyond these there are no direct referencesby Browning himself.Since the &igllsh translation of the Lives of Vasarihas made comparlson between Browning and Vasari easier, theindebtedness of Browning to Vasari has been regarded, for themost part, as being ns obvious as that of Shakespeare toPlutarch; with little thought concerning its nature and extent.Mrs. Sutherland Orr in her life and handbook of Browningleaves the matter without more than the usual cursory mention.George Willis Cooke, however, does make an attempt to estimateBrowning's indebtedness in that he quotes passages from Vasariparallel to or explanatory of the poems, particularly for11Mrs. Sutherland Orr, op. clt. . p.143
-10-*Pra Lippo Lippi", nAndrea del Sarto", and *Old Picturea InFlorence*.In discussing "Andrea del Sarto*, he says:Broiming took his conception of "Andrea del Sarto*from Giorgio Vasari»s Lives of the Most Eminent-Painters,Sculptors, and Architects, in which the painter Is describedin these words: 1(Quotation from Vasari follows.)He then calls attention to the fact that Browning probablyfollowed Vasari’s first account of Lucreala’s charactersThis poem is in a large measure a poetic renderingof the prose account of Vasari, even to the characterof Lucrezia. In the first edition of his work Vasarigives a quite full account of her, but this is abbrevi ated and softened somewhat in the second.-;The follow ing is the full aeount given in the first edition,from which Browning evidently drew his picture of thisfascinating and selfish woman. 2Cooke in discussing the poem *Fra Lippo Lippi" again saysthat it is a "versified aeount of Vasari’s Lives":He (Browning) has more or less fully versified theaccount there given of him, (in Vaearl).He has addedmany touches of his own, such as were needed to makethe story of Lippo’s life fit for his poetic purposes.Vasari’s account, as translated by Mrs. Foster, con tains some items about the life of this painter notmade use of by .Browning; 3In the discussion of "in a Gondola*, Cook makes the sug: gestlon: ;'' : ; ' """ ' : :'"One or two incidents in his life, a Vasari artist.1Cooke. Browning Guide-book»pt. 112Ibid.3Ibid. p. 123
'll"*Giorgio Barbarelll, may have some suggestion for thepoet in the writing of this poem. 1Perhaps this:troubetionr painter fits Into this poem,- which isa poetic description of Macliso s picture "The Serenade", butthere are few evidences of a nature concrete en u#i to pro*vide anj real proof.Again in his comment on MOld Picturesin Florence" and in talking about Giotto in particular, Cookesays:The comparison which Browning makes between Giotto1sperfect and his uncompleted Campanile was drawn fromthe reading of Giorgio Vasari's Lives of the MostEminent Painters, Sculptors, and ArcElFects. S THere, however, he goes on to give some general facts aboutVasari, himself, and comments as follows:wIt (Vasari's Lives)is one of the most interesting works connected with the his: .' 3 V - - ;' tory of art.n He then tells of Browning's living in the housebuilt by Vasari and of Mrs. Brovming's mention of Vasari inher letters already discussed He also requests the readerto H see Vasari as translated by Mrs. Jonathan Raster in Bohn'sLibrary.”the translation used in the forthcoming analysis.Cooke's last reference to Browning'a use of Vasari is foundin his treatment of "Pacchiarotto*, where he says:The Qommentary added to the Florentine edition ofof Vasari's Lives, 1855, gives an aceoxmt of"PaecMarotto” .14321Cooke, 02 . cit., p. 2172Ibid., p.;2183 Ibid., p. 2184 Ibid., p. 219
. It is this w M e h Broking followed In writing M spoe*/' T y ' /- :;; ":':r. "'' -'' '/-: -These'conclude Coolt#1s mention of Browning and 'Veswi- inhis Gulde«&K)lc,which he describes as being by ho mean con clusive.Cooke," however, is regarded by all later criticssuch as J. A. Armstrong, M w a r d Berdoe, S. A. Brooke, andunreservedly so by William Clyde DeVane, as an authorityon this question.1-;;:DeVane, . however,discreditsof- - -rather-/-- '- '. '. - the-- amountT y yx rtr T '. - '. '. .- ' TVasari influence in favor of Baldinucci*s influence throughhis Dalle Botlzle d e * Professor! delle Deselgnp da Cimabue,and says: RThe best account- of Browning *s indebtedness toVasari is to be found in Cooke, pp# 11-13, 144-148, 218 St, r--.': .-.: - "g . :v "(Pages just reviewed).Some relevant material is found in DeVane*s BrowningHandbook as well.In discussing Pra Lippo Lippi*# he say#: Ittiile visiting the galleries and collecting oldpictures in Florence, the Brownings were assiduouslyreading Vasari*s Le VIte Pittori;.and Baldinucci sliotizle. It was Tromthis account of Lippi, inaccurateand rather highly colored, that Browning drew mostof the facts for his noem.Beyond the bare outline, of Lippi *s life. Browninggot-many hints for his poem from Vasari»s accountjsuch as the names of Lippi's*pictures— St. Jeromedoing penance, ”which is now in the guardarohla of' - 'Duke Cosimo," and the many pictures based on thestory of John the Baptist, concerning which Vasari121Cooke, op. cit., p. 273.; ;2DeVane, Parleylngs* p.169.(footnote #9),
speaks In praise of, Mthe address of Herodies, theastonisiment of the guestG, and the Inexpressiblesorrow when the head is presented n a charger*.Vasari calls attention too, to Lippi *s Coronationof the Virgin, with the self portrait in th lowerright-hand corner. Vasari also supplied thecharacter of Lippi not only through his actions,but in downright comment . 1Yet DeVane feels that many of Browning *o ideas in the poem"are barely hinted at in Vasari", and that he goes toWe know this toBaldinueci for verification and expansion.be true, to a certain extent, from the letter of Browningto Dowden referred to above.In his Browning Parleyings,DeVane goes Into the matter more fully and shows the parallelsbetween Baldinueci and Browning to be closer in sustained/thought and feeling than those between Vasari and Browning, /particularly in the three poems "Fra Lippo Lippi," "Andreadel Sarto," and "Old Pictures in Florence."Further hegivea three corrections of Vasari by Baldinueci which setmto have been accepted by Browning:a correction in the ageof Lippi, a correction in the matter of making Massacelo astudent and not the master of Lippi, and the correction inthe date of the painting of Lippi1s St. Aqibroglo.DeVaneadds two other matters that are treated by Vasari, but notas fully as by Baldinueci:the psychological realism of/Lippi's paint
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
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