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he repeatedly says, "Some like to ornament their rooms with the works of , others, with those of ," and so on, as if professing to give a variety of tastes. I can only account for this in one way: the author lived in Milan, and it would appear, that the taste of Leonardo, closely allied as it was to that of the schools of Central Italy, long continued to influence the Milanese amateurs as well as the Milanese painters.
I pass over the musical instruments, which, beside their chief use, "piacciono assai al'occhio," especially when made by Lorenzo da Pavia, or Bastiano da Verona. Donatello, Michael Angelo, Alfonso Lombardi, and Cristoforo Romano, are the sculptors he enumerates. The terra cottas are by Pagaino da Modena; the bronzes by Verocchio and Pollaiuolo. Beside antique medals, he admires those of Giovanni Corona of Venice, together with the chasings of Caradosso. Among the works of the latter, he mentions a silver inkstand in basso rilievo, "fatica d'anni venti sei! ma certo divina." Cameos and intaglios should be, he thinks, by the hand of Pietro Maria, Tagliacarne, &c. but above all by Giovanni di Castello.
Now for his list of painters: Filippo Lippi, Mantegna, Giovanni Bellini, Leonardo da Vinci, although, he adds, he left but few works.[1] Then follow the younger Lippi, and Perugino, and, heralded with appropriate honours, Raphael, accompanied by Giulio Romano. Pietro della Francesca, and Melozzo da Forli, are characterized well, as indeed are all the painters. He next mentions some artists, all monks, who wrought in inlaid wood; (commesso, tarsia;) but his highest praises in this department are reserved for Fra Damiano da Bergamo, the artist of the choir of S. Domenico at Bologna. The engravings he speaks of are by Albert Durer and Lucas van Leyden.
Tapestries from Flanders, carpets from Syria, Turkey, and Barbary, figured leather from Spain, are all admitted to be desirable ornaments: "Tutti questi ornamenti ancora commendo perchè arguiscono ingegno, politezza, civilita e cortegiania." The author next describes his own treasures; but, except a head by Donatello and some rare books, he has nothing to boast of. His tastes are characteristic of the age: though a priest, his ambition is to have a collection of arms and armour, if wrought by a good Italian or German armourer; and above all, he aspires to the possession of a large steel mirror, of the kind made by Giovanni della Barba, a German: the mirrors of glass then in use, were, it appears, very small and imperfect. The author's judi-
- ↑ The author says he was an eye-witness of the Gascon crossbowmen making a target of Leonardo's model for the equestrian statue of Francesco Sforza.
