is necessary, if you wish to arrange and balance a composition,
to put it first on paper. "In fact the mind can not very well see or
perfectly imagine its own creations, if it does not reveal and explain
its thought to the eyes of the body which will aid it in judging--we
must add that in drawing on paper one succeeds in filling the mind with
beautiful conceptions and learns to make natural objects from memory
without being obliged to have them always before you." (Vasari, Ed.
1811, Vol. III, pp. 427-428.) The whole point of view of Florentine art
of the sixteenth century is in this naive avowal.

[159] Tintoretto had long studied Michelangelo. He had brought to him at
great expense casts of his statues which Ridolfo says he lighted by a
lamp and drew in bold relief. (Ridolfo; "Delle maraviglie dell' arte in
Venetia," 1648.)

[160] This fever attacked the art of other countries which were filled
with caricatures of Michelangelo, Maarten van Heemskerck, "the Dutch
Michelangelo," Frans Floris, "the Flemish Michelangelo," and their
innumerable followers, not to mention the French and Spanish imitators,
the Freminets and the Cespedes.

The following have been corrected (note of ebook transcriber):

insteading=>instead

Pollojuolo=>Pollajuolo

Muller=>Mueller

Raffaelle, Raffaelli=>Raffaello da Montelupo

Baif=>Baif

Rafaellino=>Raffaellino

cecrare=>cercare

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