many times that he regarded it as
a greater thing to make a masterly stroke with the pen than with the
chisel." (_Ibid._, Second Part.)

[138]

Sense is not love, but lawlessness accursed;
This kills the soul....
(Translation of J. A. Symonds.)

[139] "Or for sluggards like Sebastiano del Piombo." He had a quarrel
because of this remark with Sebastiano, who tried to persuade him to
paint the Last Judgment in oils.

[140] "Aborriva il fare somigliare al vivo" (Vasari).--"Michelangelo
never would paint a portrait."--(Journal de Bernin, Gazette des Beaux
Arts, Vol. XVII, p. 358.) "His rule," says Vasari, "was never to make
any likeness of a living person unless he was of transcendent beauty."

[141] "Flemish painting generally is more pleasing to the devout than
Italian painting."

[142] Francis of Holland, "Quatre Entretiens sur la Peinture," held in
Rome in 1538-1539, written in 1548, published by Joachim de Vasconcellos
(translation into French in "Les Arts en Portugal," by Comte Raczynski,
Paris, Renouard, 1844). To prove the theory of Michelangelo, Vittoria
Colonna, who presided over this talk, undertook the defense of the
religious and consolatory art of the North.

[143] We find the same ideas, more exuberant and more confused, in the
writings of Lomazzo, "Idea del Tempio della Pittura" (1590).

[144] Idea del Tempio, etc.

[145] Lomazzo became blind when he was twenty-three, but that did not
prevent him from judging of painters and their works until his death
when over sixty.

[146] Perino del Vaga made this declaration when he refused to undertake
the drawings for the jewel-box of Cosmo de Medici, when he found that
they had addressed themselves first to Michelangelo. (Jay, "Receuil de
Lettres sur la Peinture." Claude Tolomei a Apoll. Philarete.)

[147] Luigi Lanzi; "Storia Pittorica d'Italia, Bassano, 1795-96," Vol.
I, p. 167.

[148] Tintoretto himself, under the influence of Michelangelo, says:
"The most beautiful colours are black and white because they give relief
to figures by light and shade," and at the end of his life, abandoning
the principles of the Venetian School, he gives the preference to
drawing, "Draw, draw now and always."

[149] Daniele da Volterra was also more a sculptor than a painter, and
ended by giving himself up to sculpture. He made casts of the statues of
the Medici and also some statues of his own. Some of his pictures, like
the David a