THE FIRST BOOK OF THE COURTIER
both touch upon excess, which is always offensive and contrary to that pure and charming simplicity which is so pleasing to the human mind.
"You see how ungraceful a rider is who strives to sit bolt upright in the saddle after the manner we are wont to call Venetian,74— as compared with another who seems not to be thinking about it, and sits his horse as free and steady as if he were afoot. How much more pleasing and how much more praised is a gentleman who carries arms, if he be modest, speak little and boast little, than another who is forever sounding his own praises, and with blasphemy and bluster seems to be hurling defiance at the world! This too is naught but affectation of wishing to appear bold. And so it is with every exercise, nay with everything that can be done or said in the world."
28.— Then my lord Magnifico9 said:
"This is true also with music, wherein it is a very great fault to place two perfect consonances one after the other, so that our very sense of hearing abhors it and often enjoys a second or seventh, which in itself is a harsh and intolerable discord. And the reason is that repetition of perfect consonances begets satiety and exhibits a too affected harmony; which is avoided by introducing imperfect consonances, and thus a kind of contrast is given, whereby our ears are held more in suspense, and more eagerly await and enjoy the perfect consonances, and sometimes delight in that discord of the second or seventh, as in something unpremeditated."
"You see then," replied the Count, "the harmful effect of affectation in this as in other things. It is said also to have been proverbial among some very excellent painters of antiquity, that over diligence is harmful, and Protogenes is said to have been censured by Apelles because he did not know when to take his hand from the tablet."75
Then messer Cesare said:
"Methinks our friend fra Serafino has this same fault, of not knowing when to take his hands from the table, at least until all the food has been taken from it too."76
The Count laughed, and continued:
"Apelles meant that in his painting Protogenes did not know
