tation of excellence in his profession, perceives some competitor of exalted genius suddenly rising up in the same art, and at the moment when he least expected such a result, not only equalling himself, but in the course of time even greatlv surpassing him; there is no iron so hard but that such men will gnaw it in their rage; no injustice so great, but they will inflict it on the offender if it be in their power; to such people it seems too grievous an affront in the eyes of all men, that children, whom they saw born, should at once, and as it were even from their cradle, attain to the summit of distinction; for these men do not consider, that in the vigorous days of youth, a firm will, joined to adequate power, enforced by study, and rendered efficient by practice, is capable of accomplishing all things; they will not see that youth, with such aids as these, must, of necessity, advance to the utmost perfection: the old, on the contrary, if once they are seized by fear, or permit themselves to be influenced by pride, or impelled by ambition, very frequently become altogether incapable of action, the more they labour the worse they succeed; while believing they are making progress, they do but walk backwards; envious and unjust, they will then never accord the due meed of praise to the perfection apparent in the works of the young, even though they may clearly perceive it; but if, in the obstinacy possessing them, they then make some great effort to show what they can themselves perform, their works, thus accomplished, often prove to be ridiculous, and calculated only to afford occasion for jesting; a result of which examples are not wanting.
It is indeed certain, that when artists have attained to such an age that the eye can no longer be trusted, and the hand trembles, they do well, if they have secured the means of life, to content themselves with giving counsels to younger men. The successful practice of sculpture and painting requires that the mind should be vigorous, free, and unencumbered, as it is at the age when the blood still dances; it demands that the spirit should act with an ardent will, yet restrained within just limits, and, above all, determined to remain unfettered by the pleasures of the world; he who cannot practise abstinence, or at least temperance, as regards
biography, this artist was called Pietro, although Vasari subsequently calls him Torrigiano Torrigiani.—Ed. Flor., 1832-8.
