DOI Page / Citation link:
https://doi.org/10.11588/diglit.75271#0063
the natare of the materials of which they are composed will possibly
allow. May even a miracle be wrought in their favour, as them-
selves are some of the greatest instances of the divine power, which
endued a mortal man with abilities to perform such stupendous works
of art.
After him no other matter must be named for expression, unless
for particular subjeds, as Michelangelo for infernal, or terrible airs.
Amongst others, I have the drawing he made for the caron in the
famous pidure of his Last Judgment, which is admirable in this kind;
and which (by the way) Vasari, who was well acquainted with him,
says, he took from these three lines of Dante, an author he was very
fond of:
Caron demonio con occhi di bragia
Loro accennando tutte le raccoglie
Batte col remo qualunque fadagia.
Julio Romano has fine airs for masks, a silenus, satyrs, and the
like, And for such stories as that of the Decii, the 300 Spartans,
the destruHion of the giants, &c. he is equal, if not superior to his
great master. I have several proofs of this. Others have suc-
ceeded well in this part of the art, as Leonardo da Vinci, Poly-
dore, &c. but these are the principal only for portraits; and herein,
next to Rafaelle, perhaps, no man has a better title to the preference
than Van Dyck: no, not Titian himself, much less Rubens.
But there is no bettter school than nature for expression: a
painter therefore should, on all occasions, observe how men look,
and a£l, when pleased, grieved, angry, &c.
0/
allow. May even a miracle be wrought in their favour, as them-
selves are some of the greatest instances of the divine power, which
endued a mortal man with abilities to perform such stupendous works
of art.
After him no other matter must be named for expression, unless
for particular subjeds, as Michelangelo for infernal, or terrible airs.
Amongst others, I have the drawing he made for the caron in the
famous pidure of his Last Judgment, which is admirable in this kind;
and which (by the way) Vasari, who was well acquainted with him,
says, he took from these three lines of Dante, an author he was very
fond of:
Caron demonio con occhi di bragia
Loro accennando tutte le raccoglie
Batte col remo qualunque fadagia.
Julio Romano has fine airs for masks, a silenus, satyrs, and the
like, And for such stories as that of the Decii, the 300 Spartans,
the destruHion of the giants, &c. he is equal, if not superior to his
great master. I have several proofs of this. Others have suc-
ceeded well in this part of the art, as Leonardo da Vinci, Poly-
dore, &c. but these are the principal only for portraits; and herein,
next to Rafaelle, perhaps, no man has a better title to the preference
than Van Dyck: no, not Titian himself, much less Rubens.
But there is no bettter school than nature for expression: a
painter therefore should, on all occasions, observe how men look,
and a£l, when pleased, grieved, angry, &c.
0/