so much power of design as Rondinello, he was nevertheless held in great account by the people of Ravenna. It was his desire to be buried in Sant’ Apollinare, where he had painted certain figures, as we have said, wishing that in the place where he had lived and laboured, his remains might find their repose after his death.[1]
FRA GIOCONDO, LIBERALE, AND OTHER ARTISTS OF VERONA.
[Flourished from about the middle of the 15th century, to the early decades of the 16th century.]
If it were given to the writers of history to live some few years beyond the number commonly granted as the extent of human life, I make no doubt but that after a certain time they would make numerous additions to •such things as they had previously written; for as it is not possible that any one man, however diligent he may be, can make himself certain in the short time accorded to him, of the exact truth of all that he is required to record, so is it clear as the sun at noonday, that Time, who is said to be the father of truth, is daily making known new verities to those who are studious of such. Had I, many years since, when I first wrote and published these Lives of the Painters and other Artists, then possessed that full notice with which I have since been furnished of the Veronese Fra Giocondo, a man of extraordinary and universal distinction in all praiseworthy acquirements, I should without doubt have made that honourable mention of him which I am now about to make for the advantage of artists generally, or rather of the world; nay, this may be said not of him only, but of many other Veronese masters, who have likewise been truly excellent in our vocation.
Nor let any marvel that I range them all under the effigy of one only, for I am compelled to do this, because I have not been able to procure the portraits of all, but not on that
- ↑ To the long list of mere names here given, Vasari, according to the principal authorities, should have added still another, a Madonna with Saints, for the Church of the Observantines of Parma namely; this, as Lanzi affirms, being the best work of Francesco Codignuola.
