PREFACE.

A GERMAN writer has remarked that, "No man exhibits his own character so effectually as when engaged in pourtraying that of another." The justice of this observation is not unfrequently exemplified in the Biographies written by Vasari; and how charming is the character of himself thus unconsciously revealed! It is always pleasant to find that an author who has obtained your attention, is deserving also of your esteem; a book may amuse, or may inform, but if it fail to command respect for the writer, how serious a drawback is this on the pleasure derived from it. To such disadvantage the reader of Vasari will not be exposed: for he cannot but esteem his author.

Three hundred years have now elapsed since our distinguished critic and biographer first enriched the world with the work before us; and from that time to the present his compatriots and admirers have continually employed themselves in writing Annotations, Commentaries, or Criticisms upon it. His statements are sometimes impugned, and his dates are not always strictly accurate; but he has never wanted able and zealous defenders. He may not have attained perfection, but in him later writers have generally found their best resources.

On his book almost every subsequent

performance in the same department is based; nor do we open a work on the Arts in any language without finding his authority extensively cited.

Of the many Italian editions of Vasari published from time to time, the most important are the first and second, which appeared in 1550 and 1568 respectively, both under the superintendence of the author himself; and the fourth, published at Rome, in the year 1759, embellished with portraits, and enriched with elaborate annotations by the learned ecclesiastic, Giovanni Bottari.

The sixth edition, published at Siena, was superintended by the Padre Della Valle, whom Cicognara accuses of having "rendered Vasari more voluminous, with no better result than an increase of bulk, coupled with a decrease of value".* The many original documents presented in this edition may, nevertheless, be consulted with advantage; especially those relating to the School of Siena.

The tenth Italian edition, that published by Passigli, of Florence, 1832-38, is perhaps, upon the whole, the most valuable. It was edited, first by the laborious and accurate Montani, of Cremona, and, on his death, by that highly competent authority, and most impartial critic, Giovanni Masselli. The latest edition of Vasari, commenced in 1846, is still in course of publication. It is superintended by an association of learned Italians, and has great value, as giving the most recent intelligence respecting the locality and condition of many of the works of art described by the author: but for its

* Catalogo ragionato de' Libri d'Arte, 2 vol. 8vo., Pisa 1821.

best notes this new edition is indebted to that superintended by Montani and Masselli.

There is, besides, a German translation; and here, as elsewhere, the Germans have brought their unconquerable patience of research, and conscientious minuteness of investigation, to the work before them. The world has, consequently, to thank them for an admirable version, and for annotations which are invaluable. The French have also given what they call a translation; but this is an impertinent travesty, of which no more need be said.

In our own language, no translation, previous to the present, has appeared; but an abridgement of a few of the lives was published in a thin 4to, London, 1719.

Of the mode in which the present attempt has been performed, the reader will form his own judgment. The object of the translator has been to give Vasari as he is, without the slightest deviation from the letter of the text. In doing this, certain sacrifices have not unfrequently been called for in respect to style. The reader whose taste has been formed on the more polished models of the present day, will, doubtless, be frequently reminded that Vasari wrote three hundred years since, and, even with this qualification, may sometimes think him rendered in too homely a manner; but the excellent Giorgio was a man of plain words, and we would not have him say to us, as Donato said to Duke Cosmo, "This mantle, that thou hast given me, is too dainty for my wear."*

From the vast amount of notes and commentaries accumulated in the different editions of our author, the

* Spicilegium Romanum. "Vita di Cosmo." See also p. 489, note, of the present work.

translator has selected carefully, according to the best of her judgment; contributing such additions of her own as frequent visits to the principal galleries of Europe have enabled her to offer. A profound sense of what is due to her author, and a firm conviction that no writer should presume to place before the public anything short of the best that he can produce, have impressed on her the necessity of shrinking from no amount of labour required for the due performance of her task. The result she begs the reader, in the words of Vasari himself, to accept: "Not as what I would fain offer, but as what I am able to present."