which was that all painters delight to steale other men's inventions,
but that he himself was in no great danger of being detected of theft
hereafter. Now this great painter, although in reason he might for
his discretion, wisedome, and worth be compared with the above named
in the first booke, cap. 29, yet notwithstanding is he omitted by
George Vasary in his lives of the famous painters, carvers, and
architects. An argument, to say no worse of him, that he intended to
eternise only his own Tuscanes. But I proceede to the unfoulding of
the originall causes of these motions. And first for our better
understanding I will beginne with those passions of the mind whereby
the body is mooved to the performance of his particular effects"
(Id., Book ii. pp. 7, 8).


What Gaudenzio said was that all painters were fond of stealing, but
that they were pretty sure to be found out sooner or later.

For my own part, I should like to say that I prefer Giovanni Bellini
to Gaudenzio; but unless Giotto and Giorgione, I really do not know
who the Italian painters should stand before him. Bernardino Luini
runs him close, but great as Bernardino Luini was, Gaudenzio, in
spite of not a little mannerism, was greater.

The passage above referred to by Lomazzo as from his twenty-ninth
chapter runs:-


"Now if any man be desirous to learne the most exact and smallest
parts of these proportions, together with the way how to transfer
them from one body to another, I refer him to the works of Le.