perpetually and largely bestowed on it by the different historians. And thus it has appeared to me, that, for all the above-named causes, I am bound, not only to describe the lives of the older masters with all possible diligence, but likewise to apportion to each his due measure of praise, with all love and confidence, as I have done. Nor do I think that it can be wearisome to my brother artists to hear these, my narrations, or to see the manner of those masters considered, nay, they may possibly derive no small aid from my work. The conviction of this would be most grateful to me, and I should consider it the dearest reward for my labours, in which I have sought no other end than their benefit, and to administer—so far as I am able—to their enjoyment.
And now that we have raised these three arts, so to speak, from their cradle, and have conducted them through their childhood, we come to the second period, in which they will be seen to have infinitely improved at all points: the compositions comprise more figures; the accessories and ornaments are richer, and more abundant; the drawing is more correct, and approaches more closely to the truth of nature; and, even where no great facility or practice is displayed, the works yet evince much thought and care; the manner is more free and graceful; the colouring more brilliant and pleasing, insomuch that little is now required to the attainment of perfection in the faithful imitation of nature. By the study and diligence of the great Filippo Brunelleschi, architecture first recovered the measures and proportions of the antique, in the round columns as well as in the square pilasters, and the rusticated and plain angles. Then it was that the orders were first distinguished one from another, and that the difference between them was made manifest. Care was taken that all should proceed according to rule; that a fixed arrangement should be adhered to, and that the various portions of the work should each receive its due measure and place. Drawing acquired force and correctness, a better grace was imparted to the buildings erected, and the excellence of the art was made manifest: the beauty and variety of design required for capitals and cornices were restored; and, while we perceive the ground plans of churches and other edifices to have been admirably laid at this period, we also remark that the fabrics them-
