of Sforza and of the Medici. This picture was executed by Antonio di Donnino,'[1] a painter who gave considerable animation to his figures, and in the distance of whose picture there was so admirable a skirmish of cavalry, that this artist, reputed to be of no great distinction, was found on that occasion to have succeeded much better than some others who were great men, but only according to report. In the fifth painting was seen the Duke Alessandro invested by his Imperial Majesty with all the ensigns of his ducal dignity: the device was a Magpie, with a Branch of Laurel in its bill, and the arms on the frieze were those of the Medici and of Toledo. This picture was by the hand of the Venetian, Battista Franco.[2]
The last of all these pictures exhibited the Marriage of that same Duke Alessandro, which had been decided on in Naples, and in the device were two Crows, the crow being an ancient symbol of marriage. The arms on the frieze were those of Don Pietro, viceroy of Naples, and this work, which was by the hand of Bronzino, was painted with so much grace that it surpassed, as that before-mentioned had done, all the stories that were executed by the other masters. Aristotile himself depicted a frieze on the Loggia, with small historical representations and warlike trophies; they were exceedingly well done, and the whole work pleased the Duke greatly; his Excellency therefore rewarded Bastiano very largely.[3] That artist thenceforward continued for some
- ↑ A disciple of Francia Bigio, in whose life he has been mentioned. See vol. iii. p. 343.
- ↑ Whose Life follows.
- ↑ It is to be regretted, as the learned Quatremere de Quincy has remarked, in relation to the works of similar kind prepared by another San Gallo on the Piazza San Marco at Venice, that these labours—some of which might have been of the utmost value to art, had they been executed in durable materials—should have been so treated as to have glittered for a moment only, and then departed, leaving no trace: by engravings only, adds the writer above-mentioned, can we hope to perpetuate such works, the preservation of which might perhaps be more advantageous to art than at a first glance we might imagine. Qnatremere proceeds to explain his idea at more length, and to his writings wre refer our readers, who will not fail to perceive the advantages to be derived from the preservation of works, the very slightness of which permitted the masters to give the reins to their imagination in a manner which the cost would render impossible, where buildings in permanent forms, and to be executed in expensive materials, were to be designed.
