the confirmation of the privileges he had acquired; but these were refused to him, by the intervention of Filippo Spano degli Scolari, who had just returned victorious over the Turks, as grand seneschal of the King of Hungary. Dello immediately wrote to the King of Spain, complaining of this injury, when the Spanish sovereign addressed the senate with so much earnestness in his behalf, that the due and desired honours were conceded to him without further dispute. We find it related that, as Dello was returning to his house with the ensigns of his dignity, mounted on horseback, and robed in brocade, he passed through the Yacchereccia, where there dwelt many gold-workers, who had their shops there, and had known him in his youth. From one of these, scoffing words, either in scorn or jest, assailed the ear of the master as he rode along. Dello is reported to have turned towards the spot whence the voice proceeded, making gestures, expressive of disdain, with both his hands, but not uttering a word, and continuing his way, so that the occurrence was scarcely noticed by any one but the person who had derided him. But this circumstance, with other intimations, caused the artist to believe that envy would be no less active against him in his prosperity, than malignity had been when he was very poor; wherefore he resolved to return to Spain; and, having written to the king, whose reply quickly followed, he departed to that country, where he was received with great favour, and gladly seen to fix his residence there. In Spain, therefore, our artist dwelt thenceforward, ever working, but living like a noble, and always painting in an apron of brocade. Thus then, he retreated before the shafts of envy, and lived honourably in that kingly court, where he also died, at the age of forty-seven, and was honourably entombed by the same sovereign who had so steadily protected him. The following epitaph was placed on his sepulchre
“Delius eques Florentinus
Picturae arte percelebris
Regisque Hispaniarum liberalitate
Et ornamentis amplissimus
h. s. e.
s. t. t. l.[1]
Dello was not particularly excellent in design, but was the first who gave a judicious prominence to the muscles in the
- ↑ That is, “Hic sepulto est. Sit terra tibi levis.”—Ed. Flor. 1846 -9.
