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NOTES TO THE FIRST BOOK OF THE COURTIER had inherited from antiquity a fondness for seeking superiority or inferiority in matters between which there exists such a diversity of character as to render comparison unprofitable. According to Vasari, Giorgione maintained "that in one picture the painter could display various aspects without the necessity of walking round his work, and could even display, at one glance, all the different aspects that could be presented by the figure of a man, even though the latter should assume several attitudes, — a thing which could not be accomplished by sculpture without compelling the observer to change his place, so that the work is not presented at one view, but at different views. He declared, further, that he could execute a single figure in painting, in such a manner as to show the front, back, and profiles of both sides at one and the same time. . . . He painted a nude figure, with its back turned to the spectator, and at the feet of the figure was a limpid stream, wherein the reflection of the front was painted with the utmost exactitude: on one side was a highly bur- nished corselet, of which the figure had divested itself, and wherein the left side was reflected perfectly, every part of the figure being clearly apparent: and on the other side was a mirror, in which the right profile of the nude form was also exhibited. By this beautiful and admirable fancy, Giorgione desired to prove that painting is, in eff'ect, the superior art, requiring more talent and demanding higher effort." In one of his letters, Michelangelo wrote: "My opinion is that all painting is the better the nearer it approaches to relief, and relief is worse in proportion as it inclines to painting. And so I have been -wont to think that sculpture is the lamp of painting, and that the difference bet-ween them might be likened to the difference between the sun and moon. . . . By sculpture I understand an art which operates by taking away superfluous material; by painting, one that attains its result by laying material on. It is enough that both emanate from the same human intelligence, and consequently sculpture and painting ought to live in amity together, without these lengthy disputations. More time is wasted in talking about the problem than would go to the making of figures in both species." Note 134, page 68. In his "Treatise on Painting," Leonardo da Vinci says: "The first marvel we find in painting is the apparent detachment from the wall or other plane, and the cheating of keen perceptions by something that is not separate from the surface." Note 135, page 68. " Grottoes," i.e. the Catacombs. Speaking in his autobi- ography of the remains of ancient art found in the Catacombs, Benvenuto Cellini says: "These grotesques have received this name from the moderns because they were found by scholars at Rome in certain subterranean caverns, which had anciently been rooms, chambers, studios, halls and the like. Since these scholars found them in these cavernous places (-which had been built by the ancients on the surface and had become low), and since such low places are known at Rome by the name Grottoes, for that reason they received the name grotesques." Cellini here tries to explain the origin of the name applied