“Now amongst the worthy painters who excelled herein, Raph. Urbine was not the least who performed his workes with a divine kind of maiesty; neither was Polidore”—[Polidoro Caldara da Caravaggio]—“much behind him in his kinde, whose pictures seemed as it were passing furious; nor yet Andreas Mantegna, whose vaine showed a very laborious curiositie; nor yet Leonard Vincent”—[Leonardo da Vinci]—“in whose doings there was never any error found in this point. Wherof amongst all other of his works, that admirable last supper of Christ in Refect. S. Maria de Gratia in Milane maketh most evident proofe, in which he hath so lively expressed the passions of the Apostles mindes in their countenances and the rest of their bodies, that a man may boldly say the truth was nothing superior to his representation, and neede not be afraide to reckon it among the best works of oyle-painting (of which kind of painting John de Bruges was the first inventor). For in those Apostles you might distinctly perceive admiration, feare, griefe, suspition, love, &c.; all which were sometimes to be seen together in one of them, and finally in Judas a treason-plotting countenance, as it were the very true counterfiet of a traitor. So that therein he has left a sufficient argument of his rare perfection, in the true understanding of the passions of the mind exemplified outwardly in the bodie. Which because it is the most necessary part of painting, I purpose (as I say) to handle in this present booke. I may not omit Mi. Angelo in any case, whose skill and painfulnesse in this point was so greate, that his pictures carry with them more hard motions expressed after an unusual manner, but all of them tending to a certaine bould stoutnesse. And as for Titian, he hath worthely purchased the name of a great painter in this matter, as his pictures do sufficiently witness; in each whereof there shineth a certain mooving vertue, seeming to incite the beholder unto the imitation thereof. Of whom this saying may well be verified, that he was beloved of the world and envied of nature. “Finally, mine old Master Gaudentius (though he be not much knowne) was inferior unto fewe, in giving the apt motions to the Saintes and Angels; who was not onely a very witty painter (as I have elsewhere showed), but also a most profound philosopher and mathematician. Amongst all whose all-praiseworthy workes (which are almost infinite, especially in this point of motion) there are divers mysteries of Christe’s passion, of his doing, but chiefly a crucifix called Mount Calvary at the Sepulchre of Varallo; where he hath made admirable horses and strange angels, not only in painting, but also in plasticke, of a kinde of earth wrought most curiously with his own hand cleane rounde”—[_di tutto rilievo_]—“through all the figures.