ruolo, a native, I believe, of
Romagna, who, besides some works executed in Rome, has painted many
scenes in fresco in a little palace that the same Lord Duke has caused
to be built in the Castle of Parma. There, also, are some fountains
constructed with fine grace by Giovanni Boscoli, a sculptor of
Montepulciano, who, having worked in stucco for many years under
Vasari in the Palace of the above-named Lord Duke Cosimo of Florence,
has finally entered the service of the above-mentioned Lord Duke of
Parma, with a good salary, and has executed, as he continues
constantly to do, works worthy of his rare and most beautiful genius.
In the same cities and provinces, also, are many other excellent and
noble craftsmen; but, since they are still young, we shall defer to a
more convenient time the making of that honourable mention of them
that their talents and their works may have merited.

And this is the end of the works of Abbot Primaticcio. I will add
that, he having had himself portrayed in a pen-drawing by the
Bolognese painter Bartolommeo Passerotto, who was very much his
friend, that portrait has come into our hands, and we have it in our
book of drawings by the hands of various excellent painters.

TIZIANO DA CADORE

[Illustration: TIZIANO: THE MADONNA OF THE CHERRIES

(_Vienna: Imperial Gallery, 180. Panel_)]

DESCRIPTION OF THE WORKS OF TIZIANO DA CADORE

PAINTER

Tiziano was born at Cadore, a little township situated on the Piave and
five miles distant from the pass of the Alps, in the year 1480, from the
family of the Vecelli, one of the most noble in that place. At the age
of ten, having a fine spirit and a lively intelligence, he was sent to
Venice to the house of an uncle, an honoured citizen, who, perceiving
the boy to be much inclined to painting, placed him with Gian Bellini,
an excellent painter very famous at that time, as has been related.
Under his discipline, attending to design, he soon showed that he was
endowed by nature with all the gifts of intellect and judgment that are
necessary for the art of painting; and since at that time Gian Bellini
and the other painters of that country, from not being able to study
ancient works, were much--nay, altogether--given to copying from the
life whatever work they did, and that with a dry, crude, and laboured
manner, Tiziano also for a time learned that method. But having come to
about the year 1507, Giorgione da Castelfranco, not altogethe