res, and gave a sublime movement to his works by means of a
certain darkness of shadow, very well conceived; and not inferior to
him in giving force, relief, sweetness, and grace to his pictures,
with his colouring, was Fra Bartolommeo di San Marco. But more than
all did the most gracious Raffaello da Urbino, who, studying the
labours of the old masters and those of the modern, took the best
from them, and, having gathered it together, enriched the art of
painting with that complete perfection which was shown in ancient
times by the figures of Apelles and Zeuxis; nay, even more, if we
may make bold to say it, as might be proved if we could compare
their works with his. Wherefore nature was left vanquished by his
colours; and his invention was facile and peculiar to himself, as
may be perceived by all who see his painted stories, which are as
vivid as writings, for in them he showed us places and buildings
true to reality, and the features and costumes both of our own
people and of strangers, according to his pleasure; not to mention
his gift of imparting grace to the heads of young men, old men, and
women, reserving modesty for the modest, wantonness for the wanton,
and for children now mischief in their eyes, now playfulness in
their attitudes; and the folds of his draperies, also, are neither
too simple nor too intricate, but of such a kind that they appear
real.

In the same manner, but sweeter in colouring and not so bold, there
followed Andrea del Sarto, who may be called a rare painter, for his
works are free from errors. Nor is it possible to describe the
charming vivacity seen in the works of Antonio da Correggio, who
painted hair in detail, not in the precise manner used by the
masters before him, which was constrained, sharp, and dry, but soft
and feathery, with each single hair visible, such was his facility
in making them; and they seemed like gold and more beautiful than
real hair, which is surpassed by that which he painted.

The same did Francesco Mazzuoli of Parma, who excelled him in many
respects in grace, adornment, and beauty of manner, as may be seen
in many of his pictures, which smile on whoever beholds them; and
even as there is a perfect illusion of sight in the eyes, so there
is perceived the beating of the pulse, according as it best pleased
his brush. But whosoever shall consider the mural paintings of
Polidoro and Maturino, will see figures in attitudes that seem
beyond the bounds of poss