producing a good and bold commencement; but this promise is then found to remain unfulfilled, at the completion, and the effect attributable to that first fire is seen to have disappeared. And this occurs most commonly, because in finishing his work, the artist sometimes considers the separate parts, rather than the whole of that which he has in hand, and thus suffering his spirit to become cold, he loses the force of his powers. But Jacopo on the contrary kept himself always well and firmly to his purpose, bringing his first thought and intention by due degrees to its perfection, and for this he then was and ever will be very highly extolled.[1]
But although the works of this master are numerous, and all merit to be held in esteem, yet the best of all and a very surprising production, is without doubt the portrait of himself, which he took with the assistance of a mirror; he is clothed in a robe of camel’s hair, and there are locks of hair hanging about his head, which are so natural that better could not possibly be imagined. In this particular work the genius of Palma produced so admirable an effect, that the result was a performance of astonishing perfection and singular beauty, as all agree in affirming, this picture being presented to public view almost every year at the Festival of the Ascension. Nor is it without reason that the work is thus praised and celebrated, seeing that whether we consider the design, art, colouring, or, in short, the whole and every part, all is perfection, surpassing any work whatever that had been executed by any Venetian painter up to that time. Among other things to be observed in this portrait, is a living glance and turning of the eyes, exhibited in such a manner that Leonardo da Vinci and Michelagnolo Buonarroti could have produced nothing better. Of the grace, the dignity, and the many other excellencies to be remarked in this portrait, I think it better to remain silent, since it is not possible to say so much of its merits but that it shall still deserve more.[2]
- ↑ The opinion here given of Palma Vecchio’s works is more in harmony with that of Ridolfi, Zanetti, Tassi, and others, than are those implied by the introductory paragraph of this life, for which Vasari has not failed to receive castigation at the hands of certain critics among his compatriots.
- ↑ The warmth of this eulogium, which our author could not have exceeded for a Florentine, may serve as another proof, if any were required, of his impartiality as respects the portrait itself. We learn from Förster
