[371] This glimpse of Bembo in his Paduan villa is very pleasing.  Lib. i. cap. 94.

[372] “Quei diavoli di quei gentiluomini tedeschi.”  This is, however, the language he uses about nearly all foreigners—­Spaniards, French, and English.

[373] Lib. i. cap. 96.  “Io ero tutto armato di maglia con istivali grossi e con uno scoppietto in mano, e pioveva quanto Iddio ne sapeva mandare,” &c.

[374] Lib. i. cap. 98.

[375] Ib. cap. 101.

[376] See lib. i. cap. 38, 43.

[377] The Governor, perplexed by Cellini’s vaunt that if he only tried he was sure he could fly, put him under strict guard, saying, “Benvenuto e un pipistrello contrafatto, ed io sono un pipistrello da dovero.”

[378] Lib. i. cap. 125.

[379] Lib. i. cap. 105.

[380] “Il Papa diventato cosi pessima bestia,” lib. i. 58; “Il Papa entrato in un bestial furore,” ib. 60; “Quel povero uomo di Papa Clemente,” ib. 103.

[381] Ib. 36, 101, 111.

[382] The scene is well described, lib. i. 127.  The Pope was wont to have a weekly debauch, and the cardinal chose this favourable moment for his appeal:  “Gli usava una volta la settimana di fare una crapula assai gagliarda, perche da poi la gomitava....  Allora il papa, sentendosi appressare all’ ora del suo vomito, e perche la troppa abbundanzia del vino ancora faceva l’ ufizio suo, disse,” &c.

[383] See Vol.  I., Age of the Despots, p. 485.

[384] See especially the visit to the Paris workshop, lib. ii. cap. 15, and the scene in the Gallery at Fontainebleau, ib. 41.

[385] His quarrels, for example, with the Duchess of Florence.

[386] Lib. ii. cap. 83, 84, 87, 70, 71.

[387] “That beastly big ox, Bandinelli.”  Cf. cap. 70 for the critique.  It may be said here, in passing, that the insult of Bandinelli, “Oh sta cheto, soddomitaccio,” seems to have been justified by Benvenuto’s conduct, though of course he carefully conceals it in his memoirs.  After the charge brought against him by Cencio, for instance, he thought it better to leave Florence.—­Ib. cap. 61, 62.

[388] Edgar Quinet, Les Revolutions d’Italie, p. 358.

CHAPTER X

THE EPIGONI

Full Development and Decline of Painting—­Exhaustion of the old Motives—­Relation of Lionardo to his Pupils—­His Legacy to the Lombard School—­Bernardino Luini—­Gaudenzio Ferrari—­The Devotion of the Sacri Monti—­The School of Raphael—­Nothing left but Imitation—­Unwholesome Influences of Rome—­Giulio Romano—­Michael Angelesque Mannerists—­Misconception of Michael Angelo—­Correggio founds no School—­Parmigianino—­Macchinisti—­The Bolognese—­After-growth of Art in Florence—­Andrea del Sarto—­His Followers—­Pontormo—­Bronzino—­Revival of Painting in Siena—­Sodoma—­His Influence on Pacchia, Beccafumi, Peruzzi—­Garofalo and Dosso Dossi at Ferrari—­The Campi at Cremona—­Brescia and Bergamo—­The Decadence in the second half of the Sixteenth Century—­The Counter-Reformation—­Extinction of the Renaissance Impulse.