acquired by means of long-continued study in drawing, with frequent and careful imitation or copying of works by good masters; he who is not supplied with these facilities to progress, however powerfully aided by natural dispositions, can never attain perfection till a large portion of his life has been spent.
But to return to the antiquities of the garden. In the year 1494, Piero, son of the above-named Lorenzo, was banished from Florence, as has been previously related; when the greater part of the treasures contained in the garden were dispersed, all being sold to the highest bidder: the larger portion of them were nevertheless restored to the illustrious Giuliano, in the year 1512, when he, with the other members of the house of Medici, returned to his country; they are now for the most part preserved in the Guardaroba of the Duke Cosimo.[1]
The example thus given by Lorenzo, was a truly magnificent one, and whenever it shall be followed by princes and other personages of importance, they cannot fail to do themselves great honour, and must derive perpetual glory from such imitation: seeing that he who aids and protects men of exalted genius in their noble labours, he who favours those from whom the world receives so much credit, utility, convenience, and beauty, well deserves that his fame should live eternally, and that the benefits which he has conferred should be held in perpetual remembrance.
Among those who studied the arts of design in the abovementioned garden, were the following, all of whom became excellent masters: Michael Agnolo di Lodovico Buonarroti,[2] Giovanni Francesco Rustici, Torrigiano Torrigiani[3] Francesco Granacci, Niccolo di Domenico Sazzi, Lorenzo di Credi, and Giuliano Bugiardini, all Florentines. From other parts of Italy were Baccio da Monte Lupo, Andrea Contucci, of Monte San Savino, and others, of whom mention will be made in their due place. Torrigiano thep, of whom we are now to write the life,
