PROEMIUM OF
PART THREE
OF THE LIVES
It was a great monument to the Art1,n,Architecture,Painting,and Seoul of the excellent Ma,Jlri,which we have of,fcricti finui,in the fruitful part 
of 'luefle u1te; .Adding to the coffers of the first1,Rego!:t,Ordme,Mfur11,D,fegno,et
mameraJe not belching perfectly, so much at/within my hand
a{ uero:.che i Ter,d1 chinoi r,gionamo da 'fUí auanti, poter poter tramite 'luel lume,folleuarf, & condurre/i a la fomma pe,f˜:,,s!_ime, doue 
aMiam' lecofe moderne di maggior pregio,& pi� feste - Ma percf,e prii chiaro ancora'[, conofcao/4 9ua!Ar tefia;nan fard fard faire de propojito 
d,clarifying in a few words she five additions that I named: Et di[i:orrer' fuccintamen te donde f,a nato 'luci uero buono;che fuperato 1lfecolo 
antico,
f.t 1/ modano J“ gloriofo. It was the rrgola in the architecture, the way of the m, to make the anric!:/1and, ojferuando le pia te de gli edificij 
ttntichi, in the modern works: The order was the order of 11ide1 and a Genre from f f other ji that touches to ni body the limbs fue;& not 
f“cambiaJ!The Doric, Nico, Cotintio, & Tofcano: The mifura was unified in the Archirecttura, as in the Sculpture/area of the bodies of the 
righteous, righteous, with the limbs or, g, anizatiparimente, & the j“mile in the painting: The d,fegnofu the Imitate the most beautiful of,1 nature, 
in all the ft.gure,cof,fcolp,ie come dipinti }a'fua/' par 'r111iene da lo au,re la mano & f ingegno, che raporti tutto, Il quello che u,a, fuf fuf 
piano,˜ di difegni ˜ in fu fogli, .l tauola,˜ alrropianoiiufliflimo & ˆpunro;& cofi d, nlieuo in (culture: La maniera uenne po, la pi� bella, da l'aum, 
mejfo in ufo ,lfr,'luenre ritratre le cofe p pi�, belle; & d.i quer piœ bello ñ m.tni ñ refi, ñ corpi ˜g imbe agit/gnerle injieme; et fare una figura di 
tutte 1uell, bell,zst cl,e pi� fi poteua; & metterela in ufo in ogni opera per tutte f,gureche per queflo fe dice ella e/J�re bella minier..,. Q.1efle 
cofe non fueuaua made Giotto ne que' primi artifici[, well eglino aueuano [coperto i prinetpij d1 tutte 1uef/e dijf,culra;& tocwele infupeificie, co 
me nel d,fegno,pi� uero che e non m1 prima, & pi� fimi/e alla natura,& with the union of the colours, & the compositions of thek figures 
n,lleflorie; & many others with (and of which at baflan it has been reasoned - Mafe ben i fecondi a,umentai-onog,-andernente ˆ quelle arti tutte 
le coft dette difopr.t,e!le weren't so perfect cl,elle finiflmo di igiugnm ˆ fintero della perfez:tf.1.Since we are still missing in the roll, a good thing 
is that we have not been able to make a mistake in the, -and then you/he/she is flare up to make a confusion, ñguaflare up to order,... here! 
Your need for a muenon, a copy of all the coffers, and of a certain beauty,,...and continued in every little detail, cli, mo flraJ]is all that order 
with more ornament. In the mifure macaua a straight cranium;,,, Jo, who was the one who made the figures soar to mifur, c te, au, jfero in 
those gradn';(! cl/elle eran'farre,,ma gra':1;!.4
ez..,
that surpasses/is the mifura- In the di(rgno non u'e,-anogli eflremi delfinefoo, perchŽ febene e'facuano a un braccio roondo, & ,.nagamf,a 
drrirta;non era rictrca con mufioli con quella fac,
lrtˆgra':s!_˜fa & dolce,che appariffefraf uedi & non uerl,;co -:... me fanno!..., carne & le cofe uiue:M.t elle erano crude <tfc¡" ticat,,chefaceM 
d,jf,cu!tˆ ˆgliocchi,& durezZJS mllam1tniera - .A!laqu.1she lacks a denegiadria to do fue!re, & gra::i;_,,ofi all jii;ure,& m.tjf,me le females et 
iputti cole
mm:br.1 n.rtur.di, like Jgli IJUomini:maricoptYte by <pttlle
<trajJ�,z'{S & carnofir,“,,he's not as clumsy as the nat1trali
"':na artefizjate dal d,fe.-no & dalgiudizjo.vi mancanouano an,-a la copta de' belli abittittane d,a uarietˆ d,tante bizane,la uagl,ez-:,z,a d,a, 
colori,la uniucr/altˆ ne' Cafamenti; & la !shame & uariet4 ne' paefi:& auuegna clu many of them cominadjsino as .Andrea Verrocchto,Antonio 
del Pallaiuo lo,& many other more modern) try to make the !a more fluid figure, & which appears to us in it more than worthy; it conquers more 
f,mile,& more J point to the natural coffers:It is not less true, that it is not yet all that we have seen, that the good is still in the air; and that he, 
however, is still fruitful in the works of the ancients, as was the case when the fifth cn'OCchio made the Marjia of Cafa Medici in Ftren' a link 
with the Marjia of Cafa Medici in Ftren':{J,manrandoloropure una fine,& una eflrema perf,;z-:(J,'one ne' ptrdi;ancora che il burp delle 
membra,Jia accordato con rantico, & ahbta un4 , certa corrifPonden'a giuf/a in mifare .Cl,e �glino aueflino auuto 9uelle mmue de i Jini,che 
fono la perf,z,;},,ne & il fiore delf arte;arcbbono auuto anch,-a unag";gi1drdez-za rijoluta nell'oere loro;& nefa,-ebbc conftgutto la leggiadria, & 
una pulitez... The people who have not had the gracefulness and gracefulness; yet they still use the slow of the d,! the people who give the 
{them of{ art,} in the beautiful figures of their paintings. The end and what we lack, of course, can't be put in the same way, but rather in the 
same way, in the same way that we can do it, in the same way that we can do it, in the same way. Well you'll find him:tron"'pot after them, in 
the last night, in the third day,-4 certain old things, mentioned, by Plinto de le pi� Jarno/e ti Lacoont,,, L'ercole,& t!To,fogrojf˜ di bell' uedere, 
cofila Venus, l.s Cleopatra/o .Apdlo,& infinite a!tre:lequafi nella loro dolce -;;:._a,& nelle loro' afj,re-;;:,':{! con termtm carnofi, & c;tuari d,{
lem-!ggior b,ll,:z del ui;con taluni 4tti che non in tutto fi flonono,maf“u.inno in alcuni parti mouendo;ji moflrano con un.i gra:{jof“fsima gra::,r,'a . 
And it was a roll and ease of leuar' u1a certain hands,rafecca,et cruda,et tagl1ere,che per lofauer- d,io f/ud10 aueuano lafc1ata m que/la arte 
Pietro dell.e Fracefca, La::i;jrO V afari,.Alejfo Baldvuinetti,Andrea dal Cafla gno,Pefello,Ercole Ferrarefe,G1ouan Bellim,Cof,mo Ro/falli,L'.Abate 
d,San Clemente,Domenico delG/,irlandaio,San dro Botricello, .Andrea Mantegn4,Filippo,et Luca signore! lo : The 9uali pei- sforz-zar(,,, 
cercau, ino, ino fare l'impoftibrle dell'ar te con le fatitiche & mefsime ne glifcorti,& nelle uedute fj,�t ceuoli:cheJ“come erano a loro dure ˆ 
condurrele; co(“ erano af pre & d,jfici/1 ˆ gli occhi di chi le guardaua.And again, that /4 most of them were well d,fcgnate,&fenz.t errors;ui 
manuaua pure onej,iriro diprontezz...a;che non ce l'cifiede mai; & una dolcezz.:the united colors; that it began to be used in the French 
countryside by Bolognefe,& Pietro Perugino; and the people in the world to see it, as a matter of fact, the beauty of the new and your beauty: 
it seems to them that it could never be done better. But the error of the co-fiorium then dimoflrarono then hey" ramente le opere di Lionardo 
da Vmcz I/quale dando principio a 9uell,t terza maniera, che noi uqgliamo call la modern.t,olrra lagagliarde-za & brauez-zg del difegno, &
ez
o/between the contrajfarefottt1i{similarly all the minuz,/and d,ll,t na rura cofi apunto come elle [ono;con buon4 regola;migliore OI' dine;retta 
mifura,difegno perfetto;& gra-:,,ja diuina;aMondantifsimo di Copte,& profondifiimo di .Arte;dette ueramen re alle fae figure 11 moto,et il fiata. I 
will follow after him again that 11lqut1nto fight, Gio,;gione da Caflelfranco; Il9uale sfum˜/e faepitture, et dette una terribi/' mouenzja ˆ certe 
coft come �, ma floria nella [cuoia di San Marco a Vene;,J,4,doue J un t<- po torbido che tuon1t,et trema il dipinto et le f“guref“muou1r,
no,& f,jj,iccano da latauola,perund certain ofcuri'tˆ of shadows well imefe.ne less than cojlui said to the foe paintings Jor?::_!t,rili,uo,dolce-z & 
gratia ne' colorifra Bartolomeo di San Mar ro: Mapiu dituttiilgra-xjof,jiimoRajfaello da Vrbino,il'jUale Jludiando le'fatitiche de' mae/lri uecchi,& 
9uek"e de' moderni: prtfe by all the best; and made by all the best, ,rrrnchi' to make you of the painting of that whole pe,fŽ');_,':>:;f,ime 
that,bhero antlc,t mind the figures of .A pelle,& d, Zeuf,,& ptu;fe (i potefsi d, re˜ mef/rarel opere di qu1lli ˆ quejlopar11gone. La onde la, natura 
njl˜ uim a da iuoi colori,& I'inuen-;,Jone era in luiji facile & prop,-ia quanto pu˜ giudicre11re chiede le /loriefue, le 9ualifono jim,li 
alli[critt1;mof/randoci tn those f,ti fimi/i, & gli ed,ftcij,coji as in o-emi nof/rali & j/rane,le cere, & gli abui,(econdo che egli Ca uoluto; !between 
the gift of the gr,c:,Ja of the tejle,youthful,old,etfemmine,referring to the fashion Jle the modeflia,l,fciue the lafi.iuia;& a iputti now i ui;,,ij ne' gli 
occhi,& ora ig1uochi neqe attitudes.And with your clothes bent, not too fimplic, not too much imrr;ati,ma con una guifa che paion' ueri.segul 
in queff a modo ma ptu dolce di colore,to et ptu dolce di colore,to et nota_{agl,arda .Andrea del sarto:J/qual (I can say that it was/. is rare, 
because his works were errors.ne /“pu/i efj,rimere le leggiad,-ifsime uiuppe uiueue who made mthe works fue.Antonio da Comggio,filando 
ifao,cap,lli with a way,no of that way,that J11ceu11no gli innan-:i:_f ˆ !utch' was difficult to raglrente & fecca:ma d'ima piumojitˆ soft that 
f,fcorge- uanole filan,llafaci!itˆ de{Jar/,;chepar<uano loro,& pi� belli che I uiu1;iqu11li ref/ano uimi daifuoi coloriti.Jl fmilefa cc Francef�o 
Parmigianofuo created;i{9uale in motu parttdi gra:?Ja,& di orn11mem1>t di bella maniera lo auan;:;:g: come /“uede m/“uede m molte pitture 
fue !equa! laugh in the uifo & of the eyes u,ggono uiuacifiimamente jcorgendoji il batter' de poi[, come piupiac'iueue alfao pennello.Ma chi 
conjider t opera delle fdcciare di Polidoro & diMatHrino,uedirˆ l, figure fa cpe',o-,j/,;che /'impofsibile non pu˜ f.trr: & flwpirˆ com, e' fi 
po/J;,non r.-igionare con la lmgua ch'e facile, m.1 efPrimer, co'lnnello le pnnello le terribilifsime inuenom,meffe d.1 loro in ope ra con tanto 
pratica & dejlrz...:,;rapprefentand1 ifatti,i, i, Romani,come ,'erano propriamente. & how many of them are there,,re �he h.tnno dato ulta alleloro 
f gureco ne morti? How,! Ro/J˜,Fr,1 Scbaf/iano,Giulio Romano,Pmn del V a l" . Why drniui that for fi medejimo was known(simi, no1')
ecade 1ui r<1:gionare. But he, among the dead, and to whom he leads
l.tpalma,& tref,ende,& rirnopretutti e ilDiuino M�:h,f" gnio!o Buonarrott:1l'/11al non folo tien 11 principttto di una di 9uefle arti,m.1 di tutte tre 
in/“,-me - Coffui fapera & umc, non(ol.1memetttcoflorochehanno 9udji che umto giˆ la natura, ma 'luell, ffe(sif.tmof,fsimi antteh1;cf,e J“ 
lodat.tmen te Juor d'gni d,.bb,o l.ifupera,-ono,Et unuogwjlamentc /i trionf.t of 'fUli, of 'f-cfli, and of her: Not imagining just that, as some of the 
signana(s), & so much dijf,cde;che lui con la ,.irr� del d,uin'uin'ifsimo ing;fnofuo;mediante ltt ind11ft,�, 1/ di fagno,t arte, ilgiudi;z;Jo & 
lagra;z;Ja,digran lung a non la trii pefsi. Et nan j˜lo nella Pittura,ne' colori;fo1to il9ualzð nere /i comprendono tntte le forme, & tutti ico,-pi retti 
"':na artefizjate dal d,fe.-no & dalgiudizjo.vi mancanouano an,-a la copta de' belli abittittane d,a uarietˆ d,tante bizane,la uagl,ez-:,z,a d,a, 
colori,la uniucr/altˆ ne' Cafamenti; & la !shame & uariet4 ne' paefi:& auuegna clu many of them cominadjsino as .Andrea Verrocchto,Antonio 
del Pallaiuo lo,& many other more modern) try to make the !a more fluid figure, & which appears to us in it more than worthy; it conquers more 
f,mile,& more J point to the natural coffers:It is not less true, that it is not yet all that we have seen, that the good is still in the air; and that he, 
however, is still fruitful in the works of the ancients, as was the case when the fifth cn'OCchio made the Marjia of Cafa Medici in Ftren' a link 
with the Marjia of Cafa Medici in Ftren':{J,manrandoloropure una fine,& una eflrema perf,;z-:(J,'one ne' ptrdi;ancora che il burp delle 
membra,Jia accordato con rantico, & ahbta un4 , certa corrifPonden'a giuf/a in mifare .Cl,e �glino aueflino auuto 9uelle mmue de i Jini,che 
fono la perf,z,;},,ne & il fiore delf arte;arcbbono auuto anch,-a unag";gi1drdez-za rijoluta nell'oere loro;& nefa,-ebbc conftgutto la leggiadria, & 
una pulitez... The people who have not had the gracefulness and gracefulness; yet they still use the slow of the d,! the people who give the 
{them of{ art,} in the beautiful figures of their paintings. The end and what we lack, of course, can't be put in the same way, but rather in the 
same way, in the same way that we can do it, in the same way that we can do it, in the same way. Well you'll find him:tron"'pot after them, in 
the last night, in the third day,-4 certain old things, mentioned, by Plinto de le pi� Jarno/e ti Lacoont,,, L'ercole,& t!To,fogrojf˜ di bell' uedere, 
cofila Venus, l.s Cleopatra/o .Apdlo,& infinite a!tre:lequafi nella loro dolce -;;:._a,& nelle loro' afj,re-;;:,':{! con termtm carnofi, & c;tuari d,{
lem-!ggior b,ll,:z del ui;con taluni 4tti che non in tutto fi flonono,maf“u.inno in alcuni parti mouendo;ji moflrano con un.i gra:{jof“fsima gra::,r,'a . 
And it was a roll and ease of leuar' u1a certain hands,rafecca,et cruda,et tagl1ere,che per lofauer- d,io f/ud10 aueuano lafc1ata m que/la arte 
Pietro dell.e Fracefca, La::i;jrO V afari,.Alejfo Baldvuinetti,Andrea dal Cafla gno,Pefello,Ercole Ferrarefe,G1ouan Bellim,Cof,mo Ro/falli,L'.Abate 
d,San Clemente,Domenico delG/,irlandaio,San dro Botricello, .Andrea Mantegn4,Filippo,et Luca signore! lo : The 9uali pei- sforz-zar(,,, 
cercau, ino, ino fare l'impoftibrle dell'ar te con le fatitiche & mefsime ne glifcorti,& nelle uedute fj,�t ceuoli:cheJ“come erano a loro dure ˆ 
condurrele; co(“ erano af pre & d,jfici/1 ˆ gli occhi di chi le guardaua.And again, that /4 most of them were well d,fcgnate,&fenz.t errors;ui 
manuaua pure onej,iriro diprontezz...a;che non ce l'cifiede mai; & una dolcezz.:the united colors; that it began to be used in the French 
countryside by Bolognefe,& Pietro Perugino; and the people in the world to see it, as a matter of fact, the beauty of the new and your beauty: 
it seems to them that it could never be done better. But the error of the co-fiorium then dimoflrarono then hey" ramente le opere di Lionardo 
da Vmcz I/quale dando principio a 9uell,t terza maniera, che noi uqgliamo call la modern.t,olrra lagagliarde-za & brauez-zg del difegno, &
ez
o/between the contrajfarefottt1i{similarly all the minuz,/and d,ll,t na rura cofi apunto come elle [ono;con buon4 regola;migliore OI' dine;retta 
mifura,difegno perfetto;& gra-:,,ja diuina;aMondantifsimo di Copte,& profondifiimo di .Arte;dette ueramen re alle fae figure 11 moto,et il fiata. I 
will follow after him again that 11lqut1nto fight, Gio,;gione da Caflelfranco; Il9uale sfum˜/e faepitture, et dette una terribi/' mouenzja ˆ certe 
coft come �, ma floria nella [cuoia di San Marco a Vene;,J,4,doue J un t<- po torbido che tuon1t,et trema il dipinto et le f“guref“muou1r,
no,& f,jj,iccano da latauola,perund certain ofcuri'tˆ of shadows well imefe.ne less than cojlui said to the foe paintings Jor?::_!t,rili,uo,dolce-z & 
gratia ne' colorifra Bartolomeo di San Mar ro: Mapiu dituttiilgra-xjof,jiimoRajfaello da Vrbino,il'jUale Jludiando le'fatitiche de' mae/lri uecchi,& 
9uek"e de' moderni: prtfe by all the best; and made by all the best, ,rrrnchi' to make you of the painting of that whole pe,fŽ');_,':>:;f,ime 
that,bhero antlc,t mind the figures of .A pelle,& d, Zeuf,,& ptu;fe (i potefsi d, re˜ mef/rarel opere di qu1lli ˆ quejlopar11gone. La onde la, natura 
njl˜ uim a da iuoi colori,& I'inuen-;,Jone era in luiji facile & prop,-ia quanto pu˜ giudicre11re chiede le /loriefue, le 9ualifono jim,li 
alli[critt1;mof/randoci tn those f,ti fimi/i, & gli ed,ftcij,coji as in o-emi nof/rali & j/rane,le cere, & gli abui,(econdo che egli Ca uoluto; !between 
the gift of the gr,c:,Ja of the tejle,youthful,old,etfemmine,referring to the fashion Jle the modeflia,l,fciue the lafi.iuia;& a iputti now i ui;,,ij ne' gli 
occhi,& ora ig1uochi neqe attitudes.And with your clothes bent, not too fimplic, not too much imrr;ati,ma con una guifa che paion' ueri.segul 
in queff a modo ma ptu dolce di colore,to et ptu dolce di colore,to et nota_{agl,arda .Andrea del sarto:J/qual (I can say that it was/. is rare, 
because his works were errors.ne /“pu/i efj,rimere le leggiad,-ifsime uiuppe uiueue who made mthe works fue.Antonio da Comggio,filando 
ifao,cap,lli with a way,no of that way,that J11ceu11no gli innan-:i:_f ˆ !utch' was difficult to raglrente & fecca:ma d'ima piumojitˆ soft that 
f,fcorge- uanole filan,llafaci!itˆ de{Jar/,;chepar<uano loro,& pi� belli che I uiu1;iqu11li ref/ano uimi daifuoi coloriti.Jl fmilefa cc Francef�o 
Parmigianofuo created;i{9uale in motu parttdi gra:?Ja,& di orn11mem1>t di bella maniera lo auan;:;:g: come /“uede m/“uede m molte pitture 
fue !equa! laugh in the uifo & of the eyes u,ggono uiuacifiimamente jcorgendoji il batter' de poi[, come piupiac'iueue alfao pennello.Ma chi 
conjider t opera delle fdcciare di Polidoro & diMatHrino,uedirˆ l, figure fa cpe',o-,j/,;che /'impofsibile non pu˜ f.trr: & flwpirˆ com, e' fi 
po/J;,non r.-igionare con la lmgua ch'e facile, m.1 efPrimer, co'lnnello le pnnello le terribilifsime inuenom,meffe d.1 loro in ope ra con tanto 
pratica & dejlrz...:,;rapprefentand1 ifatti,i, i, Romani,come ,'erano propriamente. & how many of them are there,,re �he h.tnno dato ulta alleloro 
f gureco ne morti? How,! Ro/J˜,Fr,1 Scbaf/iano,Giulio Romano,Pmn del V a l" . Why drniui that for fi medejimo was known(simi, no1')
ecade 1ui r<1:gionare. But he, among the dead, and to whom he leads
l.tpalma,& tref,ende,& rirnopretutti e ilDiuino M�:h,f" gnio!o Buonarrott:1l'/11al non folo tien 11 principttto di una di 9uefle arti,m.1 di tutte tre 
in/“,-me - Coffui fapera & umc, non(ol.1memetttcoflorochehanno 9udji che umto giˆ la natura, ma 'luell, ffe(sif.tmof,fsimi antteh1;cf,e J“ 
lodat.tmen te Juor d'gni d,.bb,o l.ifupera,-ono,Et unuogwjlamentc /i trionf.t of 'fUli, of 'f-cfli, and of her: Not imagining just that, as some of the 
signana(s), & so much dijf,cde;che lui con la ,.irr� del d,uin'uin'ifsimo ing;fnofuo;mediante ltt ind11ft,�, 1/ di fagno,t arte, ilgiudi;z;Jo & 
lagra;z;Ja,digran lung a non la trii pefsi. Et nan j˜lo nella Pittura,ne' colori;fo1to il9ualzð nere /i comprendono tntte le forme, & tutti ico,-pi retti 
& non retttp,tfp,1bili & impalpabi!;u,j“b,li& not u,Jiblli: mtt nellaeflremarotitadeancorade' bodies, &with the tip of thefunfcarpell1.Et de le 
fatigues de cofi bcll.t & fruttifera pi:t ra,fan d,fleji�tanrirami,&Jionorati;.che oltra lo au,-,' pieno 11 mondo in J“difufatafoggia de pi� fapor1tiji-
1mi eh, f - no/,anno ancora,d.,to /'ultimo termine a 'l'"f/- tr, nobiltj1ime arti con t,tnta,& fi ma,-auigliofa perfizz.t'on, che ben' fi fitñ dire,& 
/icurameme,le fue ftatue in qualfiuoglia p,m, di9uelle,ejfer' piu piu belle ajfˆi che le amich,. Conofcendoft in the 
merure,“p.vw>one,teile,mam,braccia,&pi,difon11ti d11 f1iito & da l'altro;stare in 9uefle of coflui a certain fonda. The first, a more entirely 
gracious one, and a much more perfect one, with a certain d,jfzcul, it will be easy in his own way: that he and he will never see better. J/che 
medefimamente per confequenafi pu˜ believe de le fue Pitture. Which, (and for the sake of flattery, the 9 famojiflime Greek or Roman 9uclle 
famojiflime to be able to compare: T anto, -ef/they would be more valuable, & more11 honoured; Q_anto p1n apparifi.ono le fue [culture 
fuperior to all friends. But[e tanto fmo da noi ammirati que' Jarno[ ,fimi,fimi,che prouocati con /ieccefliuiuiui premrj, et con tanto felicitˆ, dando 
uita alle opere loro: anto douamo noi magziormen te celeb,-,n-e & mettere in Cielo qu,jli rarif?rmr?ing,gni, cf1e nofolofen?:Jt premij,ma in una 
poumˆ mzferabilefannofruttiJipreoji? Credaji & ajfermrf, so that in this noflrofecolof ujJ� lagiujlaerem11neraone,f, they would make the most 
vain & much better, which did not make m,1igl1 ancient.But the,111ere to fight more with hunger than with fame, remains strong, ...,,ati i mif,rt 
ingnime e;/1 lafcia(colpa & ue1;gogna di ch,fall,,uare.e;fipotr,bbe & non fe ne rnra)
.far[, conrfcere. Et t.rnro b41i ˆ 9u,jlo proJo(“to;ejJ�ndo tem_po di oraam.1i tornare ˆ le urrr,rrattando diflmtamtamtamtnte di tutti quei,d1e 
hanno farto ope,-e celebrate,in qu,jl.1 ter::s:_a manitra;II pnncipio della jti.tlefu Liona,-do da Vinct'. From/which we will begin.

The end of the Proem.

LIONARDO DA 
VINCI PAINTER 
AND SCULPTOR OF 
FIORENTINO. 

Great gifts rain down on them 
by cdeli mflufsi cdeli, nor human bodies 
many times naturally:et fopra na 
turali taluolta lirabocchcuolmŽte ac
...and put them in a body, beauty, 
thanks to, & virtue; in a way that 
whichever one of his actions is so much of the same, that he is behind all the other men, and he was clearly known to them because of the 
extent (as it is) spread by the I or, and not acquired by human art. This was heard by men in Lionardo da Vin; in which the beauty of the body, 
never praised: the bafiance, was the grace more than infinite in any action:& nanny, & then made them the uinu, which doufiq; the souloll� in 
the col� d,ff“cili, with ease makes them ua{folucc. The hole.a m he was very much & united with joy; the soul is the royal & but gnanymic heart: 
And the fomJ of his name widened so much, that it was not held in high esteem in his time, but peruenne still much more in the pol“eri d0pola 
death was yours. And truly the sky sometimes sends us some, who do not relate to humanity fob, but the d,uinitl i/lclf.i,: from that one as a 
model, imitating it, we can welcome ourselves with the soul and with the excellency of the whole bed to the fomme parts of the sky.And for 
the sake of our experience, we give you those who, with some accidental illusion, follow the horoscope of these marvellous spirits, when the 
medeGmo does not do anything, even though they do not even join the gods of their own gods, who are part of that godliness. So it was 
admirable & ccldle was Lionardo, nephew of Ser Piero da Vmci, who was truly a nephew of his uncle & relative in helping him in his youth. -
And as a teacher in the erudition and principles of the letters: in which he would have made great profit, but he was not full of breath in his life, 
so he learned many things, and then began to abandon it.Behold, in the ab baco he, in a few apple trees, who is an attitude, did so much 
watery: that by dying of such doubts and difficulty to the flower that inflects him, he is well founded.Saying that the time was a bit short for the 
muGca, but the G returned to the idea of founding the lyre, like the one that gives nature its own fpiric, elevated and full of gracefulness, 
waves over it sang to the improuify. N G dimeno ben che lui a G uarie cofe attende ife non laf˜ mai il difcgnare,& il fare cli r“lieuo,come 
cofeche gli va va a fantaGa more than any other. When I have seen Ser Piero here, and confided in the elevation of that intellect, I preface a 
few of his defences to Andrea del Verrocchio, who was a very good friend of mine. He amazed Andrew when he heard the great/beginning 
principle of Lard, and comforted Ser Piero who made him wait for him, so he ordered him to go to Andrew's shop with Li on fire, which is 
where he had to go. The same Lionardo, who also had the opportunity to speak in a different way. And he did not make a blow 
profefection, but all those who have the interucniua G defect: Et auendo una intelletto tanto diuino & ma
r,uigliofo)chc dffendo bonifiimo Giometra not folo- worked in the f�ulcura & nell'Jrchitettura,but the profef... fione fua uolfe che fo!Te la pittura 
. But nature has so much ingenuity in the gambles of Lionardo, that he did not make with natural reasons to silence the dots. He was ready & 
witty, & with a perfect art of perfuaGon Molhaua the difLlicult of his ingenuity, that in the coffers of numbers he made the mountains change,, 
he drew on the peG,& fr.1 the other words moflrat1a uolere raise the temple of San Giou.inni di fiorenza & !˜ttomettcrui le fcalee, fo,za 
ruinarlo,& con (i forti r.1g1oni lo perfuadeua that seems to be pofsibile, although ciafruno then that 's (i had left,conofref!� per te medeGmo, la 
impofsibilid di cotanta imprefa. It was so pleasant in the conuerfazione, that it pulls to fc the souls Jelle gŽ ti. And not at all; he can say 
nothing, & little laurelando,dcl continued to keep suppliers & securities,of which (he loved a lot,& particularrnent of all the other animals,who 
with great love & patience fopportaua & gouernaua. And the man, who, by pumping from the places, was able to make the birds, by his own 
hand, by caging them with a cage, and paying them the price that was the price of their hair, the wolf in the air to a single person, by finding 
them in the air, and by the long lasting hberd, the wave, the nature so much as to make them proud, that everywhere is the proud penis, the 
head, and the head. The soul, I mofiro so much dininitl in the coffers fue,chc in giving perfection,d, readiness uiuacid,bontadc,vaghczza,et 
grace,ne!Nothing else was ever equal to him. It finds(í , that Lionardo for the intelligence of the art began many coffers,& ne!Tuna mai ne ne 
nl,parendoli that the hand aggiugncre hand could not! Te perfection of the art in the coffers that he (the imaginauaua(ia) that forms them in the 
idea some diilicultl 
so much marauigliofe,chc with the hands still that she was a child,they never-ever-have been greased by your whims,that by philosophizing of 
the co-fenaturals,they can intŽrpate the property of the grasses,by continuing and smelling the motion of the sky,the corpus of the Moon,and 
the trends of the sun. Perilche made in the soul, a heretical concept that is not accepted by them: the religion of religion, by ending for the 
sake of adventure at least more the philosopher elf, than Chrilian. 
(
hey, Ser Piero's uncle was your uncle in the boyhood of art. 
With Andrew del Verocchio: The same way, after the baptism of St. G. and H R 1 s T o, Liori'ardo praised an Angkle, which holds a few ucfii, 
and although he was so young, he was much better than Andrew's figures to be Lionard's angel. The reason was that Andrew never touched 
any colour, as a child does not touch any colour there 
pelfc piu d, him . He was allocated there for a door, which he did in Pia!The golden and feta feta tell�ta, to send to the King of Porcogallo, a 
cartoon of Adam and Eua, when in the earthly Paradiph, they sin: where with the brush made Lionardo of light and white lead - eaten of white 
lead - a meadow of infinite herbs with some animals, who in a world can tell them, that in diligence and naturalness to the world we have 
given ingenuity to make them not the flesh of the earth. He is the fig tree or I, between the flesh of the leaves, and the two branches, I pray 
with so much love, that the ingenuity will make them suffer, like a man who has so much peace. He still has a palm tree that has the 
roundness of the wheels of the palm laurelated with the grac dc art & marauigliofa, what else but the madness & ingenuity of Lionardo nor 
could he do it. Laquale ope ra otherwise non li free : so the cartoon is today in Pio rŽza in the happy cafe of the Magnifico Ottauiano de 
Medici, donated to him by Lionardo's uncle. From the villa, he was sought after by a friend of his father, who was a fig tree that he had 
plucked in his hand! The farm, with your hand on a wheel, that in Fiorenza he was not able to paint and that he was happy and willingly to 
leave it, making the villa very practical in the most difficult to find out more about his life, and frruendo(“““ grande mente di lui Ser Piero a quefii 
efcrcizii efcrcizii. The wave makes her lead to Florence, otherwise she would have told Lianardo who she (she) was looking for that he would 
have made some mistakes. Lionardo brought(í vn giorno tra le mani que/1:a rotella, veggŽdola torta, mal lauora ta & gotfa,la di rizz˜ con 
l'fuoco,& daula a vn torn torn tornnato re,di roza & golfo che ella era, fece la ridotto delicato & pari: Et appreffo ingelfatala,& acconciatala a 
modo fuo,cominci˜ a pen!The only thing that could have been painted by her was that she was able to help those who came to her against 
the effect of the elf, that the you/1: the you already of Madufa. So he brought Lionardo for that effect: so it was your dance that did not come 
in/is not a folo, Lu 
Carabiners,Ramarri,Shackles,Crickets,Fertile,Butterflies,Locul1:e,Notto le,& others llrane fpezie di lim,li animals : From the multitude of which 
you are adapted in (together, can be a very horrible animal & fpauŽtofo;which is the one with his breath,&the air of fire: And he made a stone 
fcura & fpezzJta,funny as you can see 
leno from the open throat/fire from the eyes, & fomo d'al nafo (“ llranamente,Žhe _ �he _ � pareua monllruofa & orri
bil bonnet. And so much so, that in that llanza it was the disease of the dead animals too cruel, but not fentito da Lionardo, for the great love 
that leads to art. When that work, which was no longer a research, was finished, neither by the villain nor by his uncle; Lionardo told him, that 
at any comfort he would send him for the wheel, which was finished here for him. So Ser Piero went one morning for the wheel: he was 
beaten at the door, Lionardo opened it, saying, that he was a little bit afraid: he came back in the second half of the morning, he fixed the 
wheel at 111 me in the bookcase, and then he fixed the light, which made him to see it again.Ser Piero, in the first sight, not dangling at the 
same time, and fellowship them, not believing that that crazy wheel, I painted that figurative figure that is on his heels: and returning with the 
palph to the back, Lionardo held it, saying, that work of art for what it is made: take it, then, and bring it: that is the end, that of the works is 
waiting.He spoke that thing more than a miracle to Ser Piero; and praised greatly the whim of Lionardo's whim: then he bought it in the 
haberdasher's shop another.1 He gave it to the villager who gave it to the villager who bought it for himself less than three years, and then Ser 
Piero bought the one of Lio nardo fecretamŽte in FiorŽza at certain markets, one hundred ducats: And in brief she peruŽne in the hands of 
Fr5cel�o Duke of Milan uendutagli CC C. ducats from these merchants, Lionardo then made a Nollra woman in a painting, which apprclfo 
Pope Clement v 1 ,. very excellent: And among other things, which were made, contrafecevna carafe full of water with some flowers den tro, 
doue other the marauille t1ella uiuezza alletta imi
To Antonio Segni, your friend/your friend, made in a sheet of paper a Neptune conducted with great diligence to defend himself, who seemed 
to be completely wrong. VedeuaG,I mare turbato, & il carro foo foo pulled by 'sea caualli with fantaGmc, l'Orche, & i note, & alcuni telle di Dei 
marini bell“fsimc. Ilyualc difegno was donated by Fabio your son to M. Giouanni 
Gaddi, with that epigram. 
Pmxit v,i;gi!ts Neptum;Pinx1t Homerm 
Dum m.1r� und,phoni per uada fieEl:it equos, Ment, 9u1dem uates illum conjpexit 11ter9ue
Vincim 4/ oculis;iurŽ9ue uincit eos

He was brought to Milan with great repudiation Lionar do a'l the Duke France fco, who was very much there delighted of the fuono de la lira, 
because phonalfe, & Lionardo brought 
That signature, which he has of your hand made of silver granite, which makes harmony stronger and more vocal. The waves, all the mulices, 
who were here together to make the sound, were the best sayer of rhymes to the improuifying of the time. When the Duke heard Lionardo's 
admirable reasoning, he fell so in love with his virtues that it was unbelievable. And when he prayed to the Duke, he had an altarpiece made in 
the pit tura in which a natiu,tˆ was sent to the Duke and the Emperor. He made the aunts still in Milan and the friars of St. Dominic at St. 
Mary's dc thank their aunts in the cenacle, so beautiful and marvelous, and to the tcphies of the apophiolis he gave so much maefil & beauty; 
that the one of the H R I s T o laf tha t was imperfect, not even being able to give her that diuinitl cclefic, which the image of HR r s T o require 
there. Laqualc opera remaining coli for finished, is breathed by Milan e/i tenuta dd cotinuo in great veneration, & by the :other forcfiicri 
still.atte/o that Lionardo ii imagined & riufcigli to cfprimere that fofpctto that had entered in the A pollo li,di voler' fa pere pere chi tradua il loro 
maei\ro. Someone there sees in the life of all of them the love, the fear, and the disdain, or the pain, of not being able to understand the soul 
of H R I s r o. Laqual cofa does not cause less marauille, that the conofccrf“ to the incon 
The hatred - and betrayal in Judah - is that every little part of the work, a great deal of diligence is credible. It is a forgery of the work of the 
telfute, in a way that the reindeer does not show the true best. The nobility of that painting there for 11 fulfillment, there for effe re finished with 
incomparable diligence, made the King of France want to lead it in the "The King of France". egno, so that he tried by every route, so that he 
made us fufsi, flato architetti, that with trauate of wood, & of irons, the little helper brought to arm it in a way; that she led them foolishly; frnza 
with a“pefa liderare that you fulfe could make them, so much the deliderauaua. But the elephant was made in the wall, so that it was Maefla's 
wish that she would do it again to Milaneli. While he waited for this work, he proposed to the Duke that he make a bronze bronze guarantee of 
greatness; he allowed the image of the Duke to be remembered, and so great he began it, that he never put them down. It is believed that 
Lionardo, like the others who did it, began it, even if he was not there, because he started it with such greatness that he wanted to throw it 
away in one piece, and it was very difficult to make it perfect. It was at that time in Milan that the King of France arrived:In order to ask 
Lionardo to do some work, he went to Lyon, who walked around a lot, then he lost his chest, & moflro all full of lilies, and in Milan he went to 
1' MILAN and for this reason he was created, who was a vague hive of joy. of beauty, with the beautiful, beautiful hair, curly, and unclothed, 
dc which Lionardo delighted them much; & to him he infused many colas of art & certain degrees, which in Milan the lfcic of Safoi'furqpo ri.,. 
touched by Lionardo, he returned to Renza, where he found, that the brothers of Serni had lodged in Filippino the bee king of the Tau ola of 
the Altar of the nuptial nuptiate; for i) it was said by L! onardo, that he would gladly make vna limi! cofa. As he was J, he took it away from you, 
and the brothers took it away from you, because Lionard painted it; and so they took it down, making the bees for him and for the whole 
family: and he kept them in practice for a long time, and nothing ever began. In that time he made a cartoon in the middle of the day, and in 
the middle of the day he made a carton, and in the middle of the day he made a Santa Anna with a vn' and H R, s T o; not in the lake. 
She also made all the creators marvel; but it was over, and in the fleet lasted two days to go and see her, the men and women, the G1ouani 
and the old as well as the old:The foolish fools, to see the marauiglics of Lionardo, who made all of Guel's people haughty, so that the vision 
in the life of Noflra d6na, all that is beautiful and beautiful, can with femininity and beauty give grace to a mother of H R 1s T o:vo lendo 
moflrare guella modeflia & that vmild that in a virgin happy with the joy of seeing!The beauty of your son, who with tenderness is in your 
womb; and who, with a great deal of care, is in your womb, and who, with a great deal of beauty, is in the hands of Saint John, the peak of 
her beauty! The child, who is going to be whipped with a sheep's milk cheese: not the sneer of a saint Anne, who, full of joy, sees her earthly 
progeny become a child. He portrays the Gineura of Amerigo, and Ben cofa hel!ifsima:& abandoned the laurel to the friars, who returned it to 
Filippino, the same as he came from death, but he did not finish it yet. Lionardo prefers to paint for Francefco del Giocondo the portrait of 
Mena Lifa as his wife; & four years ago he painted her (this imperfect work of art today is appreciated by King Francefco of France m 
Fontanableo,l: he who wants to see how much art could imitate nature, ageually he could understand, because here we were contracted all 
the minutiae that I can make them with a fuckin' painting. Auumga that the eyes were like a few lilies & those swamps, which continuously see 
them nd viuo:& around efsi were all that rof figni liuidi, & the hair, which does not have great fuckin' faw po/fon faw. The eyelashes have made 
the way of nafccrc the hairs in the flesh, so they are thicker, thicker, and give. It is thinner, and turning the pores of the flesh fertile, cannot be 
more natural. The nafo with all those beautiful openings, slices and tenderness sees them as wine spheres. The mouth with that unraveling 
cones and fine vnitc from the mouth roll with the incarnation of the vifo, which does not colour but flesh really looks like. In the fontanelle of 
the throat, whoever intentifsimamente looks at it, sees it beating his thumbs: & in truth there he can say that this fufsi painted in a way, to 
make you tremble, & fear every bold creator, & there what he wants there:vfo ui still this art that clfcndo mona Li1.1 bellifsima, tieneua while 
that portraits her, who phonalfe or sings!The jesters who constantly jokes that make her cheerful, to let go of that melancholy that was to give 
the portraits that they make there a lot of painting. And in Lio nardo's work there was so much pleasure that it was more pleasant than 
humane to see him, and it was kept in the same way as a child. Therefore, for the excellence of the works of c1ue!lo diuinifsin10 the creator, it 
was so great that he was so famous, that all the perfone that delighted them of the art, indeed the whole of the entire city, that he had some 
memory of it: and he reasoned for all of them, to make him do some notable & great work, from where he was public!He was so adorned, and 
honoured by so much inge0no, grace, & judgement:z.io, quanro in the coffers of Li on fire there conofceua.And between the Gonfalonieri and 
the citizens, who had made the great foliage of the rabbit out of our own cloth, he gave it to them to paint some beautiful works: and it was 
given to them by Piero Soderini, then Gonfaloniere of Giuf“izia, to whom was allocated the said "fai a". For that reason, wanting to lead 
Lionardo, he began in cardboard to the Pope's fala dJ place in Santa Maria Nouella, inside which the fio ria of Niccol˜ Piccinina captain of 
Duke Philip of Milan, in which he defended vn groppo di caualli, who fought vna handiera, cofa that ccccllentifsima & di ora magifimo was 
held for the admirable conlideraio ni that he well! make that escape. But in e{fa} in e{fa} not less the anger, the disdain, the vengeance, and 
the revenge, not the men, than the men: between which two intertwined chaps with their legs in front of them do not do vengeance with their 
teeth, let it be done by the one who is cauaka in the fight against that flag;doue 'a beaten the hands vn faldato, with the strength of the balls, 
while he puts the cauallo in flight, riuolco he with the perfona, grabbed the af“e of the fiendardo, to fgufciciciarlo by force of the hands of 
9uattro that two defend him with a hand for a hand, & the other in the air with the fpade try to cut the aflc:  But on earth the legs of the man 
with his unrighteous legs, who fighting together, but three times on earth he has gone mad, who raised his arm as far as he could, with the 
greatest force he put the knife to his throat, to end his life: and the other with his legs and arms beaten, he does what he can to avoid death. 
And there he can see what Lionard0 did in the robes of the thunderbolts, the mind varied from him: he made the crests and the other 
ornaments; he made the incredible majesty that he enshrined in the shapes and lines of the garments: the trouble Lionard did better than any 
other maelard, of bravery, of muf�oli, & of gentle beauty. The notomy of ae“si flaying them in/together with guella de gli huomini, & the one & 
the other reduces them to the true modern light. He said that in order to dil�gnare the said cartoon he made an artificial building that there: 
ringing it up, it rises, and widening it, it is too much. And imagining that he wanted to paint on the wall with oil, he made a composition of me 
there: "Alas, I am glued to the wall: that, continuing to paint in the said fala, it began to leak; but it was black, which I kept a little bit 
abandoned. Aueua Lionardo's great soul, & in every action of his was generous. D1celi, that going to the bench for the prouif“one, that every 
mefe from Piero Soderini foleua take: the cafsiere the volfe give him certain carriages d, here and trini: & he does not want to take them: 
rifpondendoglt: I am not a painter of guattrini . When Piero Soderini blamed him for his arrival, he was murmured by Piero Soderini; because 
Lionardo did so much with his friends, that he gathered the money and portolli to renounce them: but Pietro did not want to accept them. He 
went to Rome with Duke Giuliano de Medici in the creation of Pope Leo, who waited a long time in Rome for Filofof“che,& mafsimame te to 
alchemy,endowments forming a palisade of wax, while that' caminaua made fucktilifsimimi animals full of wind, in the foff“ado trouble, made 
him fly through the air: but slapping the wind, they fell to earth. 
A marro, found by JlvignaruolodiBeluedere, who was very odd, of the faults of other lizards, flayed with dolphus wings and silvery milieu, 
which in the ford 
Caminauaua tremauano; & made them eyes with his mother & barIn, domefiicatolo, & keeping him in vna fcatola, all friends, to the 911ali lo 
mofiraua, per paura faceua fugua king. You must make him minutely d, scratch & purge the guts of a cafirato:& to such an extent that {they 
are held in the palm of your hand;}And you must cleanse me! 
In another bible there was a pair of blacksmith's bellows, and here I put them at the head of the said guts; and when I inflated them, I filled 
their guts, which was great; from two bifundae that brought Ife there in song who was there. Flitting those trafparenti & full of wind, to keep 
them a little bit with place in the beginning, he came to occupy a lot of them, equipping them to the virc(1. He made infinite of 9ue fle fle 
fleazzie; & ate/is to the mirrors:& tried firamf manners {imi in looking for oils to paint, & paint to keep!'opere fuck. He told us that he had been 
allocated by the Pope, because he had to go to Ilare or there & er be to make the paint; because it was said by Pope Leon, that it was not to 
do anything, and that's when he began to do it at the end in:izi the beginning of the work,1. It was [worthy of the great/extreme friar Michele 
Agnolo Buona Ruoti & him: why he left Fio RenzaMichelagnolo for the co ncoi renza, with the fcuffˆ of the Duke Giu“iano, who was taken by 
the Pope for the facade of San Lorenzo. Lionar. intending this he left, and went to France, where the King had a great deal of work to do, he 
was very fond of it. to:&didid he paint 11 cartoons of the HolyA11 na: but he, fruitful of his work, kept it in great fear. 
in a nutshell. At last he comes old, he bends?'ol you sick apple trees; & seeing/I see/I see,cmo alla morcc,d,fpu undo dc the catholic coffers, 
returning to the good way; :he gives them back to the Chrif“ian faith with my weeping. The confessional and contrite goddess, it is good that 
she could not stand upright; she made the fox in the arms of your friends and wounded the holy infant, who was so piglly and so constricted. 
The King,' who fpdfo & lovingly foleua lo foleua vi litaua kings: because of the fact that I had to use them as pillowcases, I was read, counting 
the evil you were, & the damnation of that rnoflraua tmtauia when it was God & the men of the world; not in the art, as it conueniua them. 
Waves 
...he was given a paroxysm of the beeches I was of death. For which the King, let the King, and let him prefect the tefla to help him. 
I will give them my heart, so that evil may lighten them; I will give them the spirit that was your spirit, who was the greatest of all, and I will be 
in the arms of that King, at the age of your years. Lxxv. It is the loss of Li on burns out of all those who have lost their way; why was it not 
perfect, that so much was done to the painting. He, with the splendor of his own life, what a beautiful thing he was, was able to reach every 
soul with the words he turned to them, and with the words he turned to no, with every intention he had. With the strength of his power, he 
retuned every violent fury: and with the torch he turned into the iron of the bread of the wall; and into the iron of Cauallo, as he was the 
fulcrum of lead. With liberality it was he who collected and made every friend, poor and rich, even if he had the ingenuity and virtue. OrnJua & 
honours you with every Aztec who wants to defend them & defamed them: so that he truly had a great gift in the r.afcere of Lionardo, & more 
than infinite loss in his death. In the art of painting, add him to the manner of oil painting, a certain ofcurid: from which they have given the 
modern great strength & rilieuo to their fi 
gure: Et in the fl:atuaria made pruoue in the three bronze figures that make up the door of San Giouanni from l:“ parte diTramontana made by 
GIOVAN FRANCEs and o Rulli ci, but ordered with the Conliglio of Lionardo; 
Which make the d1fegno,& d1fegno,& per-fezzionc,chc pu beautiful cast,which modernly make them anchor'vifio.Da I.io 
Nardo habbiamola Notomia de'caualli: & that of
Men a! Make it more perfect. The wave of time has been so long ago that much work has been done with the 
words, cbejco'fati, the no_me & fame (ya, they'll never fpgneranno already. For 1lche was said m vn fuo Epitaph

wins even though it's a cooler 
All the others; &uinceFidia, &uince .Apclle: Et all their fluo uvurofo. 

And more, to truly honor him,''.dia'e 
LEONARDVS VINCIVS. Q.YID PLVR.A DIVI
NVM INGENIVM, DIVINE MANVS, 
EMORIIN SINV REGIO 
MERVE. 
VIR.TVS ET FORTVNA HOC-MONVMENTVM 
CONTINGBRE GR.AVISS. IMPEN 
SI S CVRAVERVNT. 
Et gmrem, & parriam no.fi�: tihi gloria & mgen, 
Note efl, hac tegitur nam Leonardus humo . 
Pe>j}icuM piŽl-ur& umbr,u ,oleo'luc colores 
Illtiu ante alias doŽl-a mamu po[uit - 
Impress illehommum, diuum 'JUO'fue corpora in .ere: 
Et piEfio animam pretend nou1t e'luis 
He was a disciple of Lyonardogi o VANA NON I o Bo L. T R AFFI o Milancfe perfona molto pratica & inten-. pente;& cofiM A RC o VGG I o N I 
who in Santa Maria ddla Pace,fece il Tranf“to d1 Nofira donna & le nzze di Canagahlee . 


GIORGION



BRAMANTE FROM 
V R B I,N O ARCHES
BUZZER.

The great-grandful-jubilation at the Archi tettura was really the modern opc rare of Filippo Brunellel�o: "Auendo lui cŽmafatto !'opere egregie 
de'pi� dotti & marauigliol“ antichi , per efemplo toludalui, quellella nuoua imitazione del'buono, & a confermazione del bello, che egli poi 
feguitando gli cdilici,mife :duce nell'opere fue. But I am not even necdfario a'! not to create Julius II. Bridge/ice animofo, & in the lafciar 
memoirs of the curious fe/ifsimo; because that ardent desire of his was the source, which Bramante in this matter;nafcelfc time, I fcguitando 
the vefligie dt Philip focelfe to others after him Jlrada ficura in the profcfsionc of architecture, elfendo he d, soul, value, ingenuity, & fcienza in 
that art no folamentc theoretical, but practical & efercitato fommamcnte. Neither could nature form a more fpeditous ingenuity than 
efercitalfe & mcttelfe in work the coffers of art, with less innuendo, & perforates me: & with as much foundation as coffers. He rejoiced very 
much at the victory of the prince's trouarc; which to the great genius he rarely asks; to the fpefe of which, it is 
potelfe moflrare the value of ingenuity foo: & those amliciofe dif7icultl , which in architecture mo
Jlr˜ Bramante - The virw of which they are so eflefe so much in the builders he has made us, that the moldings of the 
frames, the lightning bolts of the columns, the grace of the columns, the grace of the capitals, the bafe, the menfole, the cantons, the vaults, 
the vaults, the tdcate, the ir“f ti; and every order of architecture pulled by the model of this creator; the r“ufc/ l�mpre marauigl“o for whoever 
saw it. The oblique wave of the wits, which have the wits, which fiudrnno fopra the ancient linings, it seems to me, that still owe it to 
Bramante's labours. Because even the Greeks were not aware of it; architecture and the Romans were imitators of Bramante's work, but still 
beauty and difficulty would increase much more than art, which is embellished for him today. He who was born in the Vrbino river, in the 
Vrbino river, of a perfect Ukrainian woman, but of good qualities; and in his childhood, beyond reading and writing, he saw it greatly in the ab 
baco. But the father who is wished that he should earn it, seeing that he was very much of them! I defended him; he still invented him in the 
art of painting: in which he made a lot of the art or me or, at other times, ita and a r no v AL E DA v R BI No; that he made the tauola of Santa 
Maria della Bella m Vrbino, but because he loved the architecture & the profprn“ua, he left them from caf“el Durante; & led them in.Lombardy, 
he went now to that town, now to that city, and he did the best he could; but he was not very good at it, 
or of great honor, I have not yet been named or litho. For the reason to see at least which one is notable, it was between{fed.In Milan to see 
the 11 cathedral of Joue, he went to Milan and ARE ARE C-E s A 1t I AN o, rept1tato buono Geometra, & buono A rchmttore, il quale 
coment˜vitruuio: & difperato di non auerne uutouto quella remunerazione che egli f“ aueua promef fa, dmcnt6 li firma, che non volfe pi� 
oper.1The king, and the protophalous man died more as a befiaiah than as a person. 
Heraui :!ncora vn' BERNA R D IN o da TRIVI CLI ˜ M,lanel� ingegni ere & archi retttore del dome,& di fegnatore grandifsimo;il quale da Lionardo 
da V mci era erati mci stato maelho raro: ancora che la fua fof. fc crudetta , &alquanto frcca in the paintings, Vedefi di cof“ui in tef“a del tef“a 
del chiof“ro delle grazie vna refurrefsio ne di CHRI STO, con alcuni l�orti bellifsimi: & in San Francefco vna Cappella a frefco, dcntroui la mor te 
di San Piero & di San Paulo, Ma per ritornare a Bra mante, confiderata che lui ebbe quaef“a fabbrica & co nofciuti quief“i engineers; li inaniml di 
forte: che egli {i rifolu� tutto, dararli a l'architettura. The wave of the waves from Milan, which came to Rome before the Holy Year of the M.D., 
after he had been awarded by some friends & paefe, & Lombardi, was given to him as a painter in San Giouanni Laterano over the Holy Door, 
which opens for the Jubilee, the arms of Pope Alphander Vr, graduated in Frelo, with angels & figures, which the fof“en gono. Aueua Bramante 
went to Lombardy, & wandered to Rome to make some coffers, money oaks; the here and there with a maliciousness gradifsima fpendeua: 
defiderofo poter viuer del fuo;& infieme l�nza auere to graduate, power to comfortably mifurnre all the ancient fabrications of Rome: Et 
mell˜ui hand, folitario & cogitatiuo fen'andaua: & in a short time fpazio of time mifur˜ how many buildings in 9uclk city & outside for the cam 
pagna, Et fcoperro in that way the soul of Bra mante. The Cardinal of Naples gave them an eye prefers to favour him. From which Bramante, 
following the lludium, e! fcame wanting to the Cardinal said d, to make the friars ddlaPace to remake the chiollro,diTreuertino,had the load of 
this chiof“ro. For, in defying the Cardinal to acquire the Cardinal's very gratuitousness, he is doing his work with all diligence and hard work; he 
prefectly and perfectly condulfs it. And again that he was not of all beauty: he gave him a great name for the many people in Rome who await 
him at the Ar, chitecture, with as much love, lludium, & preciosity as Bramante. Peruenne the fame of that pre!lez za to the ears of Giulio 
fecondo, who for this reason I'm in the hands of the work of the runners of Beluedere, the qua Ji were led by him with great pre!ly conducted. 
And the fury of him was so great that he, and of the Pope, so much so that it was his wish, that these fabricators did not mural there, but 
rather did nothing: that the founders would bring the fog and the firm name of the earth by night, and the cauauano of day in preference to 
Bramante; for he saw another king to found it. Which inauuertcnza, was the cause, that the feats of toil are you three cracked, & hedgehog 
bee to mine: as did that bullfighting medel“mo king, of which a piece of arms eighty ruined on the ground at the time d, Clement v 11. And it 
was remade by Pope Paul 111: and he still had it refounded and rebuild it, and rebuild it king. Sonod, you were in Heluedere many, you of all 
ages, making your high places fruitful, and your high places fatal, there, there, with the words of Doric, Ionic, and Corinthian, with so much 
grace. And he has made a model of everything, that with his breath he knows the marauigliolˆ: as still there, in the beginning of the first of 
these works, this work was imperfect. He made the one between the spiral was the columns that run through it, where it is the one that walks 
there: in which the D0rico enters the Ionic & col“ in the Corinthium & de l'vno fai. gono ne l'altro: conducted with grace & with artifice certainly 
excellent; which does him no man. cofa che lia quia quiui di man'fua. Perilche deserved from] Pope, who loved him for the fuevirn“ of elferes 
made worthy of the office of lead: in which he made a building to imprint the bubbles convna very beautiful life. The Pope decided to put all of 
Bramante's offices and reasons in Rome in a place, for the convenience of the negotiators who went to the shop in the foccŽde: he was 
constantly making very comfortable linen at that time. 
It was-[ Teuere sees them, in which is still vn tŽpioCorin tio non linito,cofa very rare, & the relocation of the principle of bellifissimo ruflica 
opera. He made in San Pietro Monto rio di Treuertino in the first round nail vn tcm, of which he cannot of proportion, order, and variety 
imagine them, & of grace the most gracious of them, & of grace the most graceful of them; & much more beautiful would make the whole 
factory of the nail that is not finished conducted as he sees in his own defense. He made in Borgo the palaz zo, which was Raffaello daVrbino's 
graduation of bricks & casting with coffee the columns & drafts of Dorica & rollers ca, very beautiful &inuenzion' nuoua, of making the cast 
coffers. It still made the difference and order of the ornament of Santa Maria da Loreto, which was then continued by Andrea Sanfouino; & in 
the end it finished the models of palms & temples i-, which are made in Rome & 
for Chiefa's fleet. It was so terrible the ingenuity of that marvellous creator: that he made a great effort to rebuild the Pope's palace. And so 
much had his soul cracked when he saw the Pope's phone-boxes, & his will was to correspond to the genius, & to the will, that he had the will 
to throw on earth the Chiefa of Son to Peter in order to rebuild him; he made him infinite differences. But among others, he made one of 
them, which was very admirable; for it was the intelligentsia, which could be more powerful. And with the Pope's determination to give 
principle to the g,:idi!iima & tmibilifsima fobbrica of St. Peter's-; n.He made the half of his hand a soul that of beauty, art, innuendo, & order, of 
greatness, as d, riches, & ornamentation, he dared to make all the fobbs that were made in that City by the Power of that Republic; & by the 
art & ingenuity of so many madh-i values; with the prefect fol“ca:1 founded it, & in large part before the Pope's death. And so, he threw it high 
Jino to the frame, and then J˜no the arches to all four piles(hi, & volt.˜ those with fommap1:dlezza & aree. He turned the main chapel, where 
the niche is, waiting together to have the chapel that calls them the King of France's chapel. In this way, he could find the way to throw the 
wooden kcaffedi, which he carved, come with his friezes and leaves of lime: and I will look in the arches, which are in this building, the way to 
turn them with the hanged pon; as we have seen the brothers of Anton of St. Gallen. You can see in that part, which is finished with you, the 
frame, which turns around inside and runs gracefully, that the defencelessness of that part can not n,cffuna hand better in elfa lcuare & 
fminuire.You can see how it happened to him, that I am like a leaf of your eyes - inside, and in all the Doric work of the time, I was very 
handsome, from the time I saw how terrible the soul of Brami te was: that in truth, if he had the same strength as his wits, that he would 
adorn his spirit: I have made you aurehbe more unheard of than he did. It was a joyful and pleasing perfonace, and it delighted them frm
to play to profuse fooi : And he said that he was not very inclined to religion: but he was the most ingenious of the 'e pcrfone ingegnofe, & 
fauoreuole, to 9urlle in what is possible: as he sees them, that he made him 1 parziofo l< offaello Sanzio da Vrbino,pittor celebrotifsimo,che 
Always fplcndididifsimomŽte honoured them, and vilfe:& at the rank, where the only ones to live the life of the chicken, was nothing that he 
had, in the face of that, that he would halo fpefo. The dilettantee of the Poe(s), and willingly said in prouify was the lyre, and he composed a 
few fonts, which he did not call as he did now, at least because of his faults. He was greatly imitated by the Prelates, and preferred by the 
infinite number of his sons, who knew him. He had a great cry during his life, and even greater after his death, because the factory of St. Piero 
king was behind him for many years. Viffe Bramante years Lxx.e in Rome with honored efeciuie was brought by the court of the Pope & all fcul 
tori tettori & painters. It was fepoltoin San Piero the year MDXIIII. And he is the one who was honoured with this epitaph.

Magnus .Alexander,m.-ignam cum condertt urbem
Niliacs; o,-i; , Dinocraten habuit. 
Sed Ji Bramantem teflm ant,qua tul,jf�t;
Hic Macedum Regigrat1or ej]�t eo.

It was of great loss to Bramante's death, who was the cause of many good deaths, adding to that, like the innuendo of throwing away the 
vaults, and the: "The one and the other was destroyed by the ancients, but breath was lost by their ruin until the end of time. Waves of those, 
who are mimicking the coffers of the architecture, find in Bramante's coffers no less science and defence than they do in any other. Waves of 
those, who are such a perfection as the rare geniuses, who have illusions about the fecundity of the universe. He made his friend GLI AN LE AN 
LE N o, who is worth much in the factories of the most faded tcm.