Summary

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

There is no doubt that the emulation to which artists are impelled by their desire for glory is for the most part to be highly extolled, but whenever it happens that he who thus strives for distinction is too much inflated by vanity and pride, the ability of which he has sought to obtain the reputation is usually seen to resolve itself, after a certain lapse of time, into mere smoke and mist. Never will that artist advance to perfection who cannot perceive his own defects, and who has no fear of flnding himself surpassed by the works of others
Source: Wikisource

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

Amico of Bologna, [2] Girolamo da Codignuola and Innocenzio da Imola, all painters who, living in Bologna at the same period, were so bitterly envious of each other, that nothing worse could well be imagined. [3] Nay, what is yet more, the pride and self-sufficiency of these artists, not being founded on the possession of great abilities, seduced them from that true path which does eventually lead all those to immortality who labour in the hope of doing well, rather than with the purpose of merely becoming victors in the struggle.
Source: Wikisource

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

In a word, there is scarcely a church or street in Bologna which does not exhibit some daub from the hand of Amico. [21]
This artist painted not a little in Rome also; and in the church of San Friano, at Lucca, he decorated a chapel, Avhich, with many strange and extravagant fancies, has some things worthy of praise, as are, for example, the Stories of the Cross, and others from the life of St. Augustine, wherein there are numerous portraits of distinguished persons belonging to the city of Lucca. [22] This was indeed the most meritorious fresco in varied colours ever executed by Amico.
Source: Wikisource

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