Summary

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

Thus did the genius of Cronaca enable him to avail himself of the works of others, and even to make them become almost as his own, a thing which few succeed in accomplishing; for the difficulty does not consist in merely becoming possessed of drawings and copies from fine works, but in knowing how to use them in such sort that they shall be in harmony with that to which they are applied, and shall conduce to the beauty, grace, and convenience of the whole, in due measure and proportion.
Source: Wikisource

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

It is not sufficient that an artist, when he has completed his work, shall remark, as many do, in excuse for its defects, “it has the exact proportions of the antique and has been copied from good masters,” seeing that a sound judgment and correct eye avail more in all cases than does the mere admeasurement with the compass. But the cornice executed by Cronaca was adapted, as we have said, with infinite art to that palace
Source: Wikisource

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

Finding that they could make nothing of Caparra, the young men desired him to tell them who there was in Florence that would be likely to prepare them what they wanted, but the smith fell into a violent rage at this request, and drove them out of his workshop with violent abuse.
Niccolo Grosso would never work for Jews, declaring that their money was dirty and had an evil odour; he was an upright and religious man, but very whimsical and obstinate; he could never be prevailed on to leave Florence, though very great offers were made to him; so there he lived and died.
Source: Wikisource

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