Summary

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

Design was the imitation of the most beautiful parts of nature in all figures, whether sculptured or painted, and this requires that the hand and mind of the artist should be capable of reproducing, with the utmost truth and exactitude, on paper, panel, or such other level surface as may be used, whatever the eye beholds—a remark that also applies to works of relief in sculpture.
Source: Wikisource

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

This master surpasses and excels not only all those artists who have well nigh surpassed nature herself, hut even all the most famous masters of antiquity, who did, beyond all doubt, vanquish her most gloriously: he alone has triumphed over the later as over the earlier, and even over nature herself, which one could scarcely imagine to be capable of exhibiting any thing, however extraordinary, however difficult, that he would not, by the force of his most divine genius, and by the power of his art, design, judgment, diligence, and grace, very far surpass and excel
Source: Wikisource

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

This last wanted the grace which imparts lightness and softness to all forms, more particularly to those of women and children, which should be represented with as much truth to nature as those of men, but with a roundness and fulness, never bordering on coarseness, as may sometimes happen in nature, but which in the drawing should be refined and ennobled by the judgment of the artist. Variety and beauty in the vestments were also wanting, with many other rich and multiform fancies. The charm of colouring, namely, the diversity of buildings, the distance and changeful character of landscape
Source: Wikisource

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