all the parts of their bodies, which is something very serious compared with the quiet and light work of the painter, using only his mind and hand. Moreover, they lay very great stress on the fact that things are more noble and more perfect in proportion as they approach more nearly to the truth, and they say that sculpture imitates the true form and shows its works on every side and from every point of view, whereas painting, being laid on flat with most simple strokes of the brush and having but one light, shows but one aspect; and many of them do not scruple to say that sculpture is as much superior to painting as is truth to falsehood. But as their last and strongest argument, they allege that for the sculptor there is necessary a perfection of judgment not only ordinary, as for the painter, but absolute and immediate, in a manner that it may see within the marble the exact whole of that figure which they intend to carve from it, and may be able to make many parts perfect without any other model before it combines and unites them together, as Michelagnolo has done divinely well; although, for lack of this happiness of judgment, they make easily and often some of those blunders which have no remedy, and which, when made, bear witness for ever to the slips of the chisel or to the small judgment of the sculptor. This never happens to painters, for the reason that at every slip of the brush or error of judgment that might befall them they have time, recognizing it themselves or being told by others, to cover and patch it up with the very brush that made it; which brush, in their hands, has this advantage over the sculptor's chisels, that it not only heals, as did the iron of the spear of Achilles, but leaves its wounds without a scar.
To these things the painters, answering not without disdain, say, in the first place, that if the sculptors wish to discuss the matter on the ground of the Scriptures the chief nobility is their own, and that the sculptors deceive themselves very grievously in claiming as their work the statue of our first father, which was made of earth; for the art of this performance, both in its putting on and in its taking off, belongs no less to the painters than to others, and was called "plastice" by the Greeks and "fictoria" by the Latins, and was judged by Praxiteles to be the mother of sculpture, of casting, and of chasing, a fact which makes sculpture, in truth, the niece of painting, seeing that "plastice" and painting are born at one and the same moment from design. And they say that if we consider it apart from the Scriptures, the opinions of the ages are so many and so varied that it is difficult to believe one more than the other; and that finally, considering this nobility as they wish it, in one place they lose and in the other they do not win, as may be seen more clearly in the Preface to the Lives.
After this, in comparison with the arts related and subordinate to sculpture, they say that they have many more than the sculptors, because painting embraces the invention of history, the most difficult art of foreshortening, all the branches of architecture needful for the making of buildings, perspective, colouring in distemper, and the art of working in fresco, an art different and distinct from all the others; likewise working in oils on wood, on stone, and on canvas; illumination, too, an art different from all the others; the staining of glass, mosaics in glass, the art of inlaying and making pictures with coloured woods, which is painting; making sgraffito[2] work on houses with iron tools; niello[3] work and printing from copper, both members of painting; goldsmith's enamelling, and the inlaying of gold for damascening; the painting of glazed figures, and the making on earthenware vessels of scenes and figures to resist the action of water; weaving brocades with figures and flowers, and that most beautiful invention, woven tapestries, that are both convenient and magnificent, being able to carry painting into every place, whether savage or civilized; not to mention that in every department of art that has to be practised, design, which is our design, is used by all; so that the members of painting are more numerous and more useful than those of sculpture. They do not deny the eternity, for so the others call it, of sculpture, but they say that this is no privilege that should make the art more noble than it is by nature, seeing that it comes simply from the material, and that if length of life were to give nobility to souls, the pine, among the plants, and the stag, among the animals, would have a soul more noble beyond compare than that of men; although they could claim a similar immortality and nobility in their mosaics, seeing that[Pg xxviii] there may be seen some as ancient as the most ancient sculptures that are in Rome, and that they used to be made of jewels and fine stones. And as for their small or smaller number, they declare that this is not because the art calls for a better habit of body and greater judgment, but that it depends wholly on the poverty of their resources and on the little favour, or avarice, as we would rather call it, of rich men, who give them no supply of marble and no opportunity to work; in contrast with what may be believed, nay, seen to have happened in ancient times, when sculpture rose to its greatest height. Indeed, it is manifest that he who cannot use and waste a small quantity of marble and hard stone, which are very costly, cannot have that practice in the art that is essential; he who does not practise does not learn it; and he who does not learn it can do no good. Wherefore they should rather excuse with these arguments the imperfection and the small number of their masters, than seek to deduce nobility from them under false colours. As for the higher prices of sculptures, they answer that, although theirs might be much less, they have not to share them, being content with a boy who grinds their colours and hands them their brushes or their cheap stools, whereas the sculptors, besides the great cost of their material, require many aids and spend more time on one single figure than they themselves do on very many; wherefore their prices appear to come from the quality and the durability of the material itself, from the aids that it requires for its completion, and from the time that is taken in working it, rather than from the excellence of the art itself. And although that does not suffice and no greater price is found, as would be easily seen by anyone who were willing to consider it diligently, let them find a greater price than the marvellous, beautiful, and living gift that Alexander the Great made in return for the most splendid and excellent work of Apelles, bestowing on him, not vast treasures or high estate, but his own beloved and most beautiful Campaspe; let them observe, in addition, that Alexander was young, enamoured of her, and naturally subject to the passions of love, and also both a King and a Greek; and then, from this, let them draw what conclusion they please. As for the loves of Pygmalion and of those other rascals no more worthy to be men, cited as proof of the nobility of the art, they know not what to answer, if, from a very great blindness of intellect and from a licentiousness unbridled beyond all natural bounds, there can be made a proof of nobility. As for the man, whosoever he was, alleged by the sculptors to have made sculpture of gold and painting of silver, they are agreed that if he had given as much sign of judgment as of wealth, there would be no disputing it; and finally, they conclude that the ancient Golden Fleece, however celebrated it may be, none the less covered nothing but an unintelligent ram; wherefore neither the testimony of riches nor that of dishonest desires, but those of letters, of practice, of excellence, and of judgment are those to which we must pay attention. Nor do they make any answer to the difficulty of obtaining the marbles and the metals, save this, that it springs from their own poverty and from the little favour of the powerful, as has been said, and not from any degree of greater nobility. To the extreme fatigues of the body and to the dangers peculiar to them and to their works, laughing and without any ado they answer that if greater fatigues and dangers prove greater nobility, the art of quarrying the marbles from the bowels of mountains by means of wedges, levers, and hammers must be more noble than sculpture, that of the blacksmith must surpass the goldsmith's, and that of masonry must be superior to architecture.
They say, next, that the true difficulties lie rather in the mind than in the body, wherefore those things that from their nature call for more study and knowledge are more noble and excellent than those that avail themselves rather of strength of body; and they declare that since the painters rely more on the worth of the mind than the others, this highest honour belongs to painting. For the sculptors the compasses and squares suffice to discover and apply all the proportions and measurements whereof they have need; for the painters there is necessary, besides the knowledge how to make good use of the aforesaid instruments, an accurate understanding of perspective, for the reason that they have to provide a thousand other things beyond landscapes and buildings, not to mention that they must have greater judgment by reason of the quantity of the figures in one scene, wherein more errors can come than in a single statue. For the sculptor it is enough to be acquainted with the true
