what more than all perhaps gives proof of wisdom in a man, he constantly maintained the equanimity of mind which disposed him to content himself with such events as time and the world presented, so that he supported the good and evil apportioned to him by fortune with a calm and equal mind. And of a truth, it would not be possible that words should sufficiently declare the extent to which modesty, and an irreproachable walk in life, add honour to all the arts, but particularly to those which derive their birth from the intelligence of noble and exalted minds; wherefore every artist should be careful to render himself no less acceptable for the purity of his conduct than for his excellence in art. Finally, and towards the end of his life, Ambruogio painted a picture at Monte Oliveto di Chiusuri, which greatly increased his fame; and a short time after having completed this work, he passed happily, and in the spirit of Christian love, to a better life, in the eighty-third year of his age.[1] His works date about the year 1340. The portrait of Ambruogio, from his own hand, may be seen, as we have already said, on the base of his picture at St. Procolo, bearing a cap on the head. His capabilities in drawing may be judged from my book, wherein are certain designs of tolerable merit bv his hand.
THE ROMAN PAINTER PIETRO CAVALLINI.
[born....—died 1364?]
Rome had been despoiled for many ages, not only of sound learning and the glory of arms, but of all the sciences and arts,[2] when it pleased God that Pietro Cavallini should be
- ↑ The life of A. Lorenzetti terminates, in the first edition of Vasari,
with these words: “And his fellow-citizens, reflecting on the honour
which lie had done to his country, mourned long and deeply for his death,
as is seen by the following epitaph:—
“ Ambrosii interitum quis satis doleat?
Qui viros nobis longa aetate mortuos
Restituebat arte et magno ingenio.
Picturse decus vivas astra desuper.” - ↑ This assertion, as we have before remarked, is wholly untenable;
