her left side. His expression might be translated thus :
Look upon such beauty and die ivith longing. This figure,
clothed in a short kirtle and fluttering sash, would verily
appear to enact the part of a handmaiden to the bride,
Trapdvvixcjio^ or vvixKJievTpia. A second putto, looking up
from under her right leg, caresses the left foot, displaying
unmistakable admiration by his upturned glances directed
at the attendants.
Alexander, a fair youth with flowing locks, wears a
cloak, armour, and leggings, and his helmet stands upon
the ground before him. Advancing with an engaging
smile towards the couch, he tenders Roxana an Eastern
crown. A third Cupid precedes him, and, having wound
a scarf or girdle round Alexander's right leg and left
shoulder, is drawing him as it were towards felicity. A
fourth crouches under Alexander's greaves, which he holds
with both hands ; apparently either to ease his shoulder
from the burden, or more probably because he is playing
at hide-and-seek with a comrade. A fifth conceals
himself behind the figure of Hymen.
THE MARRIAGE OF ALEXANDER 137
A little way behind Alexander, in a very fine group, stand
Hymen and Hephaestion, who appear rapt in admiring
wonder at Roxana's beauty. Hymen is represented as a
beautifijl youth with hyacinthine curls, and a countenance
in which the feelings of admiration and desire are consum-
mately mingled. Raising his right arm, he gathers upon his
hip, with the left, the folds of the long mantle that leave the
larger portion of his body exposed. Hephaestion, resting
his hand on Hymen's right shoulder, likewise directs his
glance at the central group. Garbed like Alexander in
cloak, armour, etc., he holds as groomsman, a lighted torch
in his right hand : viz. Trapo^o?, vvyif^ayioyo^t Trdpavvfi(f)o<;.
His features are broad, somewhat coarse, and the coun-
tenance naturally expresses greater realism than his
companion's. A sixth Cupid, crouching behind Hymen,
beside the pilaster by the entrance to the chamber, leans
upon his right hand, and, holding Alexander's lance in
his left, rests the weapon against his right shoulder. He
has wound Alexander's scarf round his body, and his
glance is turned towards the fourth Cupid. Two more
Loves follow bearing a third, the smallest of their number,
on Alexander's shield ; or rather they are letting both fall
in their fi-ight on perceiving the fourth member of their
group, who has blackened his face to resemble a negro,
and having crept inside Alexander's cuirass, which stands
at the extreme right of the picture, darts up suddenly
while the shield-bearers march past in triumph. The
tiniest of the Loves borne upon the shield starting
backwards, clutches the ground with his left hand. The
pu^ft in this group seem to be wingless. Their leader and
the blackamoor wear fillets round their heads, while No. 2
is clothed in a short garment or kirtle. The expression of
all three is most attractive.
The open country beyond forms the background ; a
landscape where horsemen are seen riding past. Some
cross a bridge, and are galloping along the road leading
in the contrary direction. A steep hill on the opposite
138 SECOND VISIT TO ROME
river-bank rises, crowned by a castle, at the foot of which
nestles a group of houses.
Amorini swarm everywhere in the bridal chamber. At
the entrance we meet two, flying downwards with Alex-
ander's sword, bow and quiver. A third, poised above
Hephaestion's head, bow and shaft in hand, points with
his right hand at the bridal pair, whom Love's bolt has just
struck. Next to him a fourth hands an arrow to a fifth,
who advances from behind the curtain over the canopy to
receive the gift. Three other Cupids shoot their arrows
right and left. Two more stand on the side of the canopy
facing the entrance ; one of whom has drawn the curtain
around his body, so that only the eager little face, the legs,
and part of the figure are visible. His companion crouches
behind him. Two more Loves stand behind the canopy :
one in the centre peeps through the curtain ; the other
at the left corner, intent upon extricating himself from the
drapery, looks downwards at the female attendants. Yet
another Cupid, flying above the head of the latter, dis-
charges his arrows at Alexander. The action of this band
o{ Amorini r^c\\i\r^s> no explanation. The scene enacted
before our eyes breathes an atmosphere of intense reality,
allied with exquisite refinement in the infinite variety of
their attitudes ; and induces in the beholder a sense of
deep and consummate harmony.
This wonderful composition was clearly inspired
by Lucian's description of a picture by Action,^ and
Lucian writes : tcrnv r] cJkwv iv 'IraXia Kayw elSov, wcrre kol croi iciv
ciTrciv cxpi/XL. OdXa/Jio? ecrri TrcptKaW'^s kol kXivt] vu/x^ik^, kol rj Poi^dvrj
KaOtfai, irdyKokov Tt )(prj[Jia trapOevov, e? yyjv bpStcra alSovfJLevrj kuTdra tov
' AXi^avhpov' "EpwTcs 8e tives /xetSioJVTCs 6 fjikv kotottlv i(f)(TT(iy<s airdyeL t^5
K<jia\.r]<; ttjv KaXvTrrpav kol SeiKvvai tw vvfjifftLO) rrjv 'Pta^dvrjv, 6 Se Tt5 fxdXa
SouXiKws a.(f}aipu. to (ravSaAiov ck tov ttoSos, ws KaTaicXivotTo ^Sr;, oAXos r^?
^Xavioos ToS 'AXc^avSpov iTreLXrj/J,fX.evo^''lSip(o^ koI ovtos cXkci auTOV irpbs t^v
Poi^avT^v Trdw ^latcos iTncnr(j)p.evos, 6 f^aatXev^ Se auTos ftev (rTecf>av6v Ttva
opeycL Tg TraiSt, Trdpo^os Se kol vu/x.<^aya)yos 'H^aicTTtW (TVfXTrdpiCTTL Baoa
Kaio/xfvrjv e;(0)v />ieipaKta> Trdw wpato) eTrepeiSoju.o'os, 'Y/Aevaios oTfiaC ka-Tiv' ov
yap CTTiycypaTTTai Tovvofj.a. eripwdi St t^s ci/covos aAXoi "EptoTts irai^ovtrw
DRAWINGS 139
it may be advantageously studied in connection
with the numerous drawings, in the various public
and private collections throughout Europe, so
long attributed to Raphael, and also with the
frescoes by one of the master's pupils (possibly
Perino del Vaga), painted in the so-called Villa of
Raphael on the Pincian Hill, now preserved in the
Casino Borghese in Rome. It should be observed
that two contemporary writers ^ agree in recording
a drawing by Raphael representing this very sub-
ject, which was, according to Vasari,^ engraved by
Agostino Veneziano. How far this drawing may
have influenced Bazzi, or whether he even saw it
before executing his work, must ever remain a
matter of conjecture ; but it would seem that the
sketch for the principal figures, in the Ufifizi Collec-
tion (Case 343, No. 1479), generally accepted {pace
Foerster) as the work of Bazzi, may very well have
been a rough copy by him, from some drawing
originally sketched by his friend Raphael, and in-
iv TOis OTrXots Tov 'AXe$dv8poVy 8vo fx-ev ttjv \dy;(r/v airov </)6poi/Tcs, fUfiovfxevot
Tois a.^6o(f>6pov<;, oirore Sokov (f)povTe<; (3apolvTo, aAAot 8k 8vo va nva ctti
r^5 aarTrC8o<; KaraKet/xcvov, /SacrtXia 8rj6ev kol aurov, avpovai twv o^^avwv ttjs
cto-TTtSo? 7rttX7//it/xevot, CIS 8k 8r] e? tov dwpaKa icreXOoiV vtttlov KCLfievov Xo^wvTi
eOLKev, o)S (fiofirjcreuv avrou?, ottotc Kar airov yevoivro oT^povTcs. Cf. Adolfo
Venturi, Tke Farnesina, pp. 67 e seg. : Rome (Edelweiss Series), 1891.
Foerster remarks that it is not evident how Bazzi became acquainted
with Lucian's description, but it was probably through a I^tin trans-
lation ; since the Greek word o-rc^avos = a wreath, becoming corona = a
crown, has been represented by the painter as an actual diadem.
^ Lodovico Dolce, Dialogo della Pittura : "L'Arefi'no." Venezia, 1557
{French and Italian) ; Firenze, 1735 ; Milano (Biblioteca Rara), vol. x.
1863. Gio. Paolo Lomazzo, Trattato delP Arte della Pittura e della
Scultura. Milano, 1584.
^ Vasari, Op. cit., vol. v. p. 415, note. It is now generally agreed
that Jacopo Caraglio, and not Agostino Veneziano, was the author of this
engraving.
I40 SECOND VISIT TO ROME
tended as a note for his own proposed composition.
The words " di rafel da Urbin " below, which seem
to be contemporary with the drawing, and have led
to so much discussion, are, we believe, in Bazzi's
own handwriting,^ and would indicate the likeli-
hood of the drawing being a copy, made by an
artist not too proud to accept a suggestion, in the
form of a fragmentary conception that pleased
his fancy. That Bazzi did not actually adopt that
very grouping of the figures, we know ; and that
the painter of the inferior frescoes did, would
suggest the conclusion, that this particular mode
of illustrating Lucian's text was Raphael's. An
exhaustive examination of all these drawings would
require a volume to itself, and a digression here
would occasion a serious break in the sequence of
our narrative. We would therefore postpone the
task, referring the student instead to Foerster's
painstaking studies.^
"Sodoma's fresco" (he continues), "in my opinion, ranks
among the finest productions of the Classical Revival
of Renaissance art. If inferior to the School of Athens
^ A comparison with his known handwriting certainly lends colour
to this supposition.
2 The drawing mentioned by Foerster on p. 12 of his essay in the
Jahrbiicher {Hochzeit, etc.) and numbered 3, which he believes to be
lost, may perhaps be traced in a design belonging to Mr. J. P. Hesel-
tine (196, Queen's Gate, London). This sketch answers to Foerster's
description exactly. It was bought by its present owner at Sotheby's
(Mr. Tiffin's sale), June 20th, 1891, where it was marked Lot 206. It had
been in the possession successively of Timoteo Viti, Crozat, the Marquis
de Legoy, Dimsdale, and Sir T. Lawrence in whose collection it was
numbered 63 and marked " T. L." It is signed " Raffael da Urbino."
Another interesting drawing is recorded by Frizzoni {Op. cit., p. 142) :
A design for Roxana^s Red, No. 177 (formerly attributed to Baccio
Bandinelli) in the Taylorian Museum at Oxford.
FOERSTER'S VIEWS 141
only in depth of grandeur of conception, this is due to the
subject depicted, rather than to any inherent shortcoming
in the execution ; and I deem it one of Sodoma's best
paintings, if not actually his masterpiece. The beneficent
influence exercised over the artist by Leonardo da Vinci
is clearly manifest. Sodoma's nature could not have
reached those summits unaided, nor was his character
capable of the sustained energy that sinks all other
considerations in the work before him. Industry and the
careful attention to details, without which no work can
be perfected, are not everywhere equally evident. For
instance, Alexander's and Hephaestion's garb are some-
what sketchily treated. Yet Leonardo's good genius or
Sodoma's good fortune have piloted the undertaking to
a triumphant conclusion. Roxana herself, and all acces-
sories pertaining to her, are perfect : whether we admire
most her form, attitude, colouring, expression, or drapery.
Her head may well be considered the climax of creative
fancy. Thus, too. Hymen, the attendants, and the Cupids ;
than all of whom, nothing finer and more subtly emotional
can be conceived or drawn. The harmonious construction
and beauty of the composition, the attraction of its inward
meaning are unequalled anywhere ; and I know of no
painting by Sodoma to which Paolo Giovio's judgment
applies in so marked a degree : Sodomas . . . quum
impetuosum animum ad artem revocat admiranda perficit
et adeo concitata manu, ut nihilo secius, quod mirum est,
neminem eoprudentius atquetranquilliuspinxisseappareat}
Foerster rejects the statement of various
critics ^ that Bazzi went to classical antiquity for
his single figures. But although we may admit,
comparing our artist's studies from the antique
with those of Raphael, that in this respect he may
^ Giovio, Op. cit.
^ Jansen, Op. cit., p. 102. Conze, Heroen und Gottergestalten, p. 32.
142 SECOND VISIT TO ROME
be said to have fallen behind his rival, it is never-
theless unquestionable that Bazzi did study the
sculpture of his predecessors and contemporaries
with more than common care and interest.
The frescoes on the east wall, though not without
considerable and even unusual merit of their
own, are decidedly inferior to the wonderful work
just described.
Above the chimneypiece Bazzi painted the
Family of Darius before Alexander: a composition
which cannot be more adequately described than
by quoting once more from Foerster s admirable
essay :
The principal wall-decoration of this side of the room
is Darius tent ; or, to speak more accurately, Darius
family before Alexander. A curtain, fastened to some
tree trunks, drapes the background ; whilst ornamental
hangings, suspended to the branches, form the tent roof
A landscape extends to the right and left of the tent. In
the centre are grouped the principal personages, and in
their midst we remark the most successful achievement
in the whole composition : a fully-draped female figure,
her hair bound with a fillet, her head and part of her form
wrapped in a shawl, kneeling before Alexander with
arms outstretched, and her countenance slightly upturned,
imploring mercy. Although no signs of age are visible
in her aspect, this is evidently intended for Sisigambis,
the mother of Darius. Her three grandchildren stand
behind her the two girls draped and the boy nude.
The first of these, with eyes downcast, clings in evident
despair to the left arm of her companion, who looks up
beseechingly at the king. A striking contrast is here
afforded by the action of the bold, fearless-looking boy,
who, clasping her right hand with both of his, draws
forward the female figure behind him. The latter is a
THE FAMILY OF DARIUS 143
mere girl ; her drapery discloses her arm and bust. She
holds her left arm across her bosom, the classic attitude
of Venus, and turns her head away from Alexander.
The circumstance that, amid her surroundings, this is
the most striking figure, justifies the conjecture that she
may be Darius' wife, and the mother of the boy. The
artist himself bears a share of the responsibility of our
uncertainty, for he has given her no special attribute, and
her mien does not appear more distinguished than that of
any of the other personages. Five females surround her ;
their attitudes betokening the status of onlookers. Their
glances are turned, some to the right and some to the left ;
whilst the fourth and fifth are represented holding each
other's hands. The first three, grouped right and left of
Darius' wife, are seen only down to the waist. A most
pleasing impression is produced by the fifth figure, already
mentioned, whom we see in profile to the right, evidently
gratified at the king's clemency. The two elder women,
standing behind the girls, are probably their duennas.
One of these, with downcast eyes, her head draped in a
shawl, lays her left hand upon the left shoulder of the girl
beside her ; whilst the other with her right hand caresses
the cheek of her charge.
Alexander and his followers occupy the right side of
the picture. Here again he is depicted as a youth with
flowing locks, wearing a helmet and a full suit of armour,
cloak, kilt, hose, leggings fastenedat the knees, and buskins.
Turning a genial countenance towards Darius' mother,
with an encouraging gesture of his left hand, he extends
his right towards her to assist her to rise. Beside him
stands a youth, similar to himself in appearance and garb,
Hephaestion, who, with left hand resting upon his
sword, directs a kindly glance upon Sisigambis. The
suite consists of warriors armed with lances, led by a
standard-bearer. The workmanship of this part of the
composition is very defective ; but Sodoma could not fail
to seize the opportunity of displaying his love for animals ;
144 SECOND VISIT TO ROME
and he introduces into the picture, behind Hephaestion,
a barking dog. A bridge in the background gives access
to a body of troops ; and a steep hill, topped by a castle,
towers above. There is a tent on the nearer side of the
bridge ; before which groups of warriors are seen engaged
in combat. The foreground is filled by horse and foot
soldiers. Mention must be made of the male figure with
bowed head, standing behind Sisigambis, who points with
the finger of his right hand at Alexander ; evidently
indicating him rather than Hephaestion, as the king.^
Below, divided into two portions by the fireplace,
is Vulcans Forge, concerning which Foerster
writes as follows :
To the left Vulcan in his Smithy, and to the right
Cupids bring their arrows to Vulcan to be sharpened.
Vulcan presents a short, thick-set and ungainly appear-
ance. With his uncouth features almost hidden under an
unkempt beard, bushy hair and shaggy eyebrows, he is
as Alberius styles him a typical blacksmith. The pro-
portions of the right leg are somewhat curtailed, only the
toe touching the ground. The left knee rests on a wooden
block, while the uplifted right arm swings the hammer,
and the left hand grasps the pincers, with which he holds
an arrow, head downwards, on to the anvil. A Cupid
with fillet-bound hair leans on his quiver behind Vulcan's
right shoulder, and, smiling the while, draws out his arrows.
The painting fully merits the praise dealt out to it by
Vasari. Vulcan is well designed and carefully painted.
The Loves to the right of the fireplace are three in
number. The first carries his arrows on his left shoulder,
holding them with his right hand, the second steadies
them on his left shoulder with both hands, whilst a third
1 Foerster gives the following authorities as sources of inspiration
for this painting: Curtius, iii. 12, 15 seg.\ Diodorus, xvii. 37 seg.;
and Arrian, Anabasis, ii. 12, 6 seg.
ALEXANDER AND BUCEPHALUS 145
stoops to pick up a few that have fallen. The first-
mentioned is the best of the three figures.
The remaining frescoes are briefly described as
follows :
Alexander, on a prancing white charger, is observed
galloping across the scene to the right, scattering his
attendants before him. Others, among whom we notice
a man wearing an Eastern crown, perhaps King Philip,
watch the action with eagerly expectant mien. The
latter stands with his left foot resting on a barrier running
along the entire foreground, his right hand on the hilt of
his sword. Another figure stands beside him, resting his
folded arms upon an Ionic capital ; a third leans upon his
comrade's shoulder. The very unsatisfactory effect of this
painting is due to the ugly and distorted countenances of
the several personages, Alexander even included ; while
the architectural portion is undoubtedly the most notable
feature of the work. A temple rises behind Alexander,
in close proximity to a structure somewhat resembling
the Colosseum ; and further back we discern parts of
Constantine's Basilica, exactly as it stands to this day.
The pilasters on either side of the central vaulting alone
are visible. In the foreground lies the wolf, suckling
Romulus and Remus; and two camels look upon the
scene from behind.
The picture has been so cruelly restored as to
blot out all traces of Bazzi's original work. Doubt,
indeed, has arisen, whether the painting was
executed by him at all, and such is the irony
of fate it has even been attributed to the spiteful
Vasari himself.^ The primary conception is fine,
^ Foerster, with reason, points out that a rather ambiguous expression
in Crowe and Cavalcaselle {^History of Painting in Italy ^ vol. iii. p. 392)
can in no wise convey the idea that this painting was in their opinion
the work of Beccafumi.
10
146 SECOND VISIT TO ROME
and the composition as a whole has been paralleled
with Raphael's Expulsion of Heliodorus in the
Vatican ; to which it does indeed bear certain super-
ficial resemblance. It is unquestionably, however,
a vastly inferior work, and stands in unpleasant
contrast with the fine paintings which adorn the
adjacent walls.
It was during this visit to Rome, no doubt, that
Bazzi met and formed a warm friendship with
Pietro Aretino. This remarkable personality, a
true offspring of the Italian Renaissance,^ born
in 1492, out of wedlock, left Arezzo, his native city,
at an early age for Perugia, where he followed the
trade of a bookbinder. A passionate thirst for
knowledge led him to study attentively the works
that passed through his hands in the course of his
daily labours; and at the age of twenty, ambitious
for higher things, he started for Rome on foot, with
no clothes in his possession but those he actually
wore. Here he became acquainted with Agostino
Chigi, whose patronage procured for him the
honour of a presentation to Pope Leo X. If,
therefore, as we have endeavoured to prove, Bazzi's
work at the Farnesina was executed in 15 14, the
friendship between scholar and painter, so touch-
ingly alluded to in the charming letter, written to
the latter in August 1545,^ must have struck root
at this time.
. ^ For a most just and able estimate of the character of this remarkable
man, the reader may be referred to a thoughtful essay by Arturo Graf,
entitled, Un Processo a Pietro Aretino {Attraverso il Cinquecento).
Torino : Loescher, 1888.
2 Pietro Aretino, Lettere : Parigi, 1609, lib. iii. p. 163; of also Mil.
Doc, vol. iii. p. 155, No. 92. Appendix No. 30.
THE "ROXANA" IDYLL 147
We may fairly submit, without fear of impu-
tation of partiality, that these Farnesina frescoes
give the lie to many of Vasari's insinuations.
Where in the Alexander and Roxana Idyll do we
detect a trace of lewdness ? The splendid young
conqueror, with his two handsome attendants,
advances with a bridegroom's ardour, hallowed by
respect towards his lovely bride. Roxana, her eyes
modestly cast down, receives him with demure
yet conscious grace ; whilst her maidens look on
with affectionate solicitude. The swarm of Cupid
attendants all express the purest and noblest
emotions. No coarse or suggestive antics mar the
exquisitely harmonious charm of the composition.
Here, if ever, was an opportunity for indulgence
if not in absolute obscenity at least in licence
bordering thereon.^ Chigi was a man of easy, even
dissolute habits. He had but just returned from
Venice with his beautiful mistress, to whom he only
consented to be united later, after eight years' co-
habitation, under urgent pressure from the Holy
Feather himself; and Bazzi would hardly have been
rebuked had he chosen to indulge in ribald plea-
santries. These compositions speak volumes to
the painter's credit ; and even J. Richardson the
Younger,^ in his violent abuse of these paintings
^ We have only to compare these works with those of Raphael's
pupils elsewhere : all contemporaries, be it remarked, of Bazzi. Notably
in the palaces at Mantua in the days of Isabella d'Este.
^ Trait'e de la peinture et de la sculpture, tom iii. p. 194. Amsterdam :
Herman Utwerf, 1728. "Except^ un certain air g^n^ral de I'Ecole
Romaine, les Peintures de cette Chambre sont bien le plus execrable
ouvrage que I'Art ait produit dans cet Age d'or, II n'y a pas un seul bon
Air de Tete, pas une bonne Attitude, pas un Membre bien dessine, ni
aucune Pensee qui se fasse remarquer par sa beauts. La Description de
148 SECOND VISIT TO ROME
as works of art, can find nothing to say against
their ideal conception.^
During this same sojourn in Rome, Ba.zzi, it is
probable, once more entered the orbit and came
under the influence of his good genius, Leonardo
da Vinci. The Master, we are aware, journeyed
to Rome early in 15 13 in the train of Giuliano
de' Medici, to attend the coronation of Leo X.,
and remained there until 15 15. His whilom
admirer, if not disciple, could thus scarcely fail
to have again sought his company. The asso-
nance between the drawings and paintings of
these two artists is so extraordinary, and has been
so fruitful in controversy and argument between
critics past and present, as to show conclusively
that their intimacy at some time in their lives
must have been close, and the influence of the
elder painter overthe younger, something altogether
surpassing the ordinary. The number of draw-
ings once attributed to Leonardo, which are now
generally (following Morelli) given to Bazzi, con-
Lucien vaut bien la peine qu'on la lise ; quand ce ne servit que pour se
consoler un peu de satisfaction qu'on a eu a voir cette mauvaise Peinture.
II est impossible que le Tableau ait surpass^ en beaute la Description que
cet auteur en fait." 'I'his writer also states that the smaller guide-books
to Rome in his day attributed these frescoes to two Mantuan artists,
Giovanni Battista Bertano, and Rinaldo.
^ For further discussion and informatioa the student may also refer
to Hermann Grimm, Ku77St und Kunstgeschichte, June 1880. Alfred
Woltmann und Karl Woermann, vol. ii. pp. 662-94, Part IV., div. iii. G.