Frescos in Perugia of about 1505 show a new monumental quality in the figures which may represent the influence of Fra Bartolomeo, who Vasari says was a friend of Raphael.

Vasari also says that Raphael had also been born on a Good Friday, which in 1483 fell on March 28.

He was very closely associated with Titian ; Vasari says Giorgione was Titian's master, while Ridolfi says they both were pupils of Bellini, and lived in his house.

This, says Vasari, was with the view of protecting the painting from damp ; but in course of time the parts executed with this vehicle scaled away, so that the great secret he hoped to have discovered turned out a failure.

At Rome in 1532 he painted the chapel of Cardinal Enckenvoirt in the church of Santa Maria dell ' Anima ; and Giorgio Vasari, who knew him, says with truth that he fairly acquired the manner of an Italian.

Renaissance art biographer Giorgio Vasari does not even mention Fiorenzo's name, though he probably refers to him when he says that Cristofano, Perugino's father, sent his son to be the shop drudge of a painter in Perugia, who was not particularly distinguished in his calling, but held the art in great veneration and highly honoured the men who excelled therein.

Lippi left a son ten years old ( the future artist Filippino Lippi ) to the care of Diamante, who, having received 200 ducats from the commune of Spoleto, as the balance due for the work done in the cathedral, returned with the child to Florence, and, as art biographer Giorgio Vasari says, bought land for himself with the money, giving but a small portion to the child.

Vasari says that Michelangelo copied one of his engravings, in the Trial of Saint Anthony.

The earliest reference to it is by the biographer Giorgio Vasari who, writing in the mid 16th century, says that the work was created while Leonardo was in Florence, as a guest of the Servite Monastery.

Vasari says that for two days people young and old flocked to see the drawing as if they were attending a festival.

Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari.

He had already shown talent, according to Giorgio Vasari, who tells that Raphael had been " a great help to his father ".

Vasari emphasises that Raphael ran a very harmonious and efficient workshop, and had extraordinary skill in smoothing over troubles and arguments with both patrons and his assistants — a contrast with the stormy pattern of Michelangelo's relationships with both.

Baviero Carocci, called " Il Baviera " by Vasari, an assistant who Raphael evidently trusted with his money, ended up in control of most of the copper plates after Raphael's death, and had a successful career in the new occupation of a publisher of prints.

The promotion of the fine arts over the decorative in European thought can largely be traced to the Renaissance, when Italian theorists such as Vasari promoted artistic values, exemplified by the artists of the High Renaissance, that placed little value on the cost of materials or the amount of skilled work required to produce a work, but instead valued artistic imagination and the individual touch of the hand of a supremely gifted master such as Michelangelo, Raphael or Leonardo da Vinci, reviving to some extent the approach of antiquity.

* Madonna of the Divine Love, school of Raphael, which Vasari said had been commissioned by the cardinal's father, Leonello da Carpi ; it passed to the Farnese and in now at the Capodimonte Museum, Naples.

In the book Vasari was attempting to define what he described as a break with the barbarities of gothic art: the arts had fallen into decay with the collapse of the Roman Empire and only the Tuscan artists, beginning with Cimabue ( 1240 – 1301 ) and Giotto ( 1267 – 1337 ) began to reverse this decline in the arts.

Vasari claims he had toyed with the ambition of becoming a Cardinal, perhaps after some encouragement from Leo, which also may account for his delaying his marriage.

His revolutionary approach to oil was such that a myth, perpetuated by Giorgio Vasari, arose that he had invented oil painting.

At the time in which Vasari was writing, Italy had experienced a century of building in the Classical architectural vocabulary revived in the Renaissance and seen as the finite evidence of a new Golden Age of learning and refinement.

According to Leonardo's contemporary, Giorgio Vasari, "... after he had lingered over it four years, left it unfinished ...." Leonardo, later in his life, is said to have regretted " never having completed a single work ".

Vasari coined the term " Renaissance " ( rinascita ) in print, though an awareness of the ongoing " rebirth " in the arts had been in the air from the time of Alberti.

Vasari stated, about the Mona Lisa by Leonardo http :// en. wikipedia. org / wiki / Mona_Lisa, that it had been commissioned by Francesco del Giocondo and that he had left it unfinished.

A half-century after his death Correggio's work was well known to Vasari, who felt that he had not had enough " Roman " exposure to make him a better painter.

Vasari mentions an important event in Giorgione's life, and one which had influence on his work, his meeting with Leonardo da Vinci on the occasion of the Tuscan master's visit to Venice in 1500.

Vasari said of him " He did nothing but make bozzetti and finished little ", and modern commentators have remarked on the vitality of Bandinelli's terracotta models contrasted with the finished marbles: " all the freshness of his first approach to a subject was lost in the laborious execution in marble ... A brilliant draughtsman and excellent small-scale sculptor, he had a morbid fascination for colossi which he was ill-equipped to execute.

According to Vasari, Andrea resolved never to touch the brush again because Leonardo, his pupil, had far surpassed him, but later critics consider this story apocryphal.

The painting, tempera on panel, displays such an unusual palette for this period that Vasari wrote that it had been painted in oil.

Vasari had used true fresco, while Zuccari had painted in secco.

Dismissed by Vasari as just another of the witty painter's gags, which his " clumsy " contemporaries had misunderstood and foolishly imitated, the Camposanto frescoes are actually scattered with texts, a possible indication of the veracity of Vasari's remark.

Vasari discusses various paintings by the artist which no longer exist, and many of which had already perished by the time of Vasari's writing in the sixteenth century.

According to Vasari, the young Italian architect Filippo Brunelleschi had designed an unusually large and heavy dome for Santa Maria del Fiore, the cathedral ( Duomo ) in Florence, Italy.

According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice " despite the tears of his mother ".

Vasari wrote that it was impossible to distinguish their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop.

Giorgio Vasari, a former pupil in Bandinelli's workshop, claimed Bandinelli was driven by jealousy of Benvenuto Cellini and Michelangelo ; and recounts that:

According to Vasari, he apprenticed in the workshop of Andrea del Verrocchio alongside Leonardo da Vinci, Domenico Ghirlandaio, Lorenzo di Credi, Filippino Lippi and others.

Giorgio Vasari, an artist and biographer of the Italian Renaissance, states that Pisanello also worked in the workshop of Andrea del Castagno, author of the painted equestrian monument of Niccolò da Tolentino ( 1456 ) in the Cathedral in Florence.

According to the Italian Renaissance biographer Giorgio Vasari, Agostino was born into a Sienese family of sculptors and architects, and studied in the workshop of Giovanni Pisano.

Pope Gregory XIII sent the leader of the massacres a Golden Rose, and said that the massacres " gave him more pleasure than fifty Battles of Lepanto, and he commissioned Vasari to paint frescoes of it in the Vatican ".

Salai executed a number of paintings under the name of Andrea Salai, but although Vasari claims that Leonardo " taught him a great deal about painting ", his work is generally considered to be of less artistic merit than others among Leonardo's pupils, such as Marco d ' Oggione and Boltraffio.

Among Bandinelli's pupils were Giorgio Vasari and Francesco de ' Rossi ( Il Salviati ).

According to Giorgio Vasari, his best pupils were Giovanni dal Lione, Raffaellino dal Colle, Benedetto Pagni, Figurino da Faenza, Giovanni Battista Bertani and his brother Rinaldo, and Fermo Guisoni.