“Besides in the vault of the Chappell of S. Mary de Gratia in Milane he hath wrought most naturall angels, I meane especially for their actions; there is also that mighty cube of St. Mary de Serono, the Cupola of S. Maria at Saronno, full of thrones of angells set out with actions and habites of all sortes, carrying diversity of most strange instruments in their hands. I may not conceal that goodly chapel which he made in his latter time, in the Church of Peace in Milan, where you shall find small histories of our Lady and Joachime showing such superexcellent motions that they seem much to revive and animate the spectators. “Moreover, the story of S. Roccho done by him in Vercelli, with divers workes in that city; although indeede almost all Lombardy be adorned with his most rare workes, I will not conceal one saying, which was that all painters delight to steale other men’s inventions, but that he himself was in no great danger of being detected of theft hereafter. Now this great painter, although in reason he might for his discretion, wisedome, and worth be compared with the above named in the first booke, cap. 29, yet notwithstanding is he omitted by George Vasary in his lives of the famous painters, carvers, and architects. An argument, to say no worse of him, that he intended to eternise only his own Tuscanes. But I proceede to the unfoulding of the originall causes of these motions. And first for our better understanding I will beginne with those passions of the mind whereby the body is mooved to the performance of his particular effects” (Id., Book ii. pp. 7, 8). What Gaudenzio said was that all painters were fond of stealing, but that they were pretty sure to be found out sooner or later. For my own part, I should like to say that I prefer Giovanni Bellini to Gaudenzio; but unless Giotto and Giorgione, I really do not know who the Italian painters should stand before him. Bernardino Luini runs him close, but great as Bernardino Luini was, Gaudenzio, in spite of not a little mannerism, was greater. The passage above referred to by Lomazzo as from his twenty-ninth chapter runs:—