Summary

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

In the midst of all this triumph our beloved Giorgio was furthermore to be gratified by an invitation from Philip of Spain, who, by the mouth of Marcantonio Colonna, had despatched his request that Vasari would repair to the Spanish Court; but the latter refused, “desiring no higher glory than that already obtained; seeking no increase of riches, and resolving to attempt no new toils: being desirous, in short, of nothing more than the opportunity of reposing himself beneath the shadow of his own magnificent Sovereign.”
Source: Wikisource

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

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.
Source: Wikisource

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

These figures, which were of life-size and entirely nude, caused Alfonso di Tommaso Cambi, then a most beautiful youth, and very learned and accomplished, as well as good, kindly, and courteous, to desire that I would make a Portrait of himself, also nude and of life-size, in the character of Endymion, that hunter beloved of the Moon; the fair form of the youth and a landscape, of fanciful composition, amidst which it is seen, receive their light from the splendour of the moon
Source: Wikisource

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