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”.[1] 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.
