Wherefore I sometimes said to myself, Why should it not be in my power to attain, by assiduous labour and study, to that eminence and greatness which so many others have acquired? They, too, were but of flesh and bones as I am. Impelled by these strong impulses therefore, and by the need which I perceived my family to have of me, I disposed myself to endure every extremity of fatigue, and to shrink from no labour, no hardship, no watchfulness, and no eifort, that might contribute to the desired end. With this aim constantly in view, I set myself to design all the best works that I could find, nor was there anything remarkable at that time, whether in Rome, Florence, or any other place wherein I sojourned, that I did not copy in my youth, works ancient and modern, in sculpture and architecture as well as paintings. To say nothing of the advantages obtained from designing the ceiling and chapel of Michelagnolo, there was no work by Raphael, Polidoro, or Baldassare of Siena, which I did not likewise copy, in company with Francesco Salviati, as has been related in his Life.
And to the end that each of us might have designs of every work, we did not both copy the same thing on the same day, but different ones, and when night came we copied each other’s drawings for the purpose of sparing time, and also to advance our studies; nor did we ever breakfast in the morning, except on what we ate while standing, and that very frugally.
After these excessive labours, the first work that proceeded from my hand, or, as it were, out of my own forge, was a large picture with figures the size of life, representing Venus surrounded by the Graces, who are adoring and doing her homage. The commission for this painting I received from the Cardinal de’ Medici; but I need not say much of its qualities, since it was but the work of a youth. Indeed, I would not mention it here, were it not that I find pleasure in the recollection, even of these first beginnings, and of the aids then afforded to me for the acquirement of my art; let it suffice to say then, that the above-mentioned Prelate and other persons gave me to understand that there was a certain something intimating a good foundation, vivacity, facility, and boldness therein.[1] Among other particulars I had taken it into my
- ↑ A more extended description of this painting will be found in a letter written by Vasari to Niccolò Vespucci, and dated Rome, Feb. 8th, 1540. See the Passigli edition of our author’s work, Florence, 1838.
