[225] I select these for comment rather than the frescoes at Spello, beautiful as these are, because they have more interest in relation to the style of the Renaissance. [226] The "Assumption" in S. Frediano at Lucca should also be mentioned as one of Francia's masterpieces. [227] His father was a muleteer of Suffignano, who settled at Florence, in a house and garden near the gate of S. Piero Gattolino. He was born in 1475, and he died in 1517. [228] In S. Domenico at Prato in 1500. He afterwards resided in S. Marco at Florence. [229] May 23, 1498. [230] In addition to the pictures mentioned above, I may call attention to the adoring figure of S. Catherine of Siena, in three large paintings--now severally in the Pitti, at Lucca, and in the Louvre. [231] In the Uffizzi. As a composition, it is the Frate's masterpiece. [232] See Vol. I., _Age of the Despots_, p. 487, for this consequence of the sack of Prato. [233] _L'Art Chrétien_, vol. ii. p. 515. [234] Two of our best portraits of Savonarola, the earlier inscribed "Hieronymi Ferrariensis a Deo Missi Prophetae Effigies," the later treated to represent S. Peter Martyr, are from the hand of Fra Bartolommeo. See Crowe and Cavalcaselle, vol. iii. p. 433. [235] See below, chapter vii. [236] This sonnet I have translated into English with such closeness to the original words as I found possible:-- He who can do not what he wills, should try To will what he can do; for since 'tis vain To will what can't be compassed, to abstain From idle wishing is philosophy. Lo, all our happiness and grief imply Knowledge or not of will's ability: They therefore can, who will what ought to be. Nor wrest true reason from her seat awry. Nor what a man can, should he always will: Oft seemeth sweet what after is not so; And what I wished, when had, hath cost a tear. Then, reader of these lines, if thou wouldst still Be helpful to thyself, to others dear, Will to can alway what thou ought to do. [237] See the letter addressed by Lionardo to Lodovico Sforza enumerating his claims as a mechanician, military and civil engineer, architect, &c. It need scarcely be mentioned that he served Cesare Borgia and the Florentine Republic as an engineer, and that much of his time at Milan was spent in hydraulic works upon the Adda. It should be added here that Lionardo committed the results of his discoveries to writing; but he published very little, and that by no means the most precious portion of his thoughts. He founded at Milan an Academy of Arts and Sciences, if this name may be given to a reunion of artists, scholars, and men of the world, to whom it is probable that he communicated his researches in anatomy. The _Treatise on Painting_, which bears his name, is a compilation from notes and MSS. first printed in 1651.