[Footnote 195: It is to be observed that Bottari wrote principally to mark the changes that the works described by Vasari had undergone during 200 years. In regard to the emendations pointed out by us, he declares in the Preface, that he could not undertake them for want of time, health, books, and most of all, inclination. However, we are indebted for not a few to him, and also to P. Guglielmo, though not equally so in every school. Both are writers of merit; the former by his citations from printed works, the second for his information of MSS. and unedited authors.] [Footnote 196: Tom. vii. p. 249.] [Footnote 197: Vide Taia _Descrizione del Palazzo Vaticano_, p. 11. Zuccaro did not so readily pardon Vasari, whose work he noted with severity: as did also one of the three Caracci. Lett. Pittor. tom. iv. lett. 210.] [Footnote 198: Tom. viii. p. 203.] [Footnote 199: P. 117.] [Footnote 200: Tom. viii. p. 123.] [Footnote 201: "Although I do not deny, that he shews himself a little too much the partizan, he ought not to be defrauded of his due praise, as is attempted by the ignorant and invidious; for the completion of such an elegant and finished history must have cost him great study and research, and demanded much ingenuity and discrimination." Idea del Tempio, &c. cap. iv.] [Footnote 202: Lett. Pittor. tom. i. p. 190.] [Footnote 203: Lett. Pittor. tom. iii. p. 51.] [Footnote 204: He examines the question, then keenly contested, whether Sculpture or Painting was the most noble art. He decides in favour of his own profession: and there are some other letters in that volume on the opposite side of the question worthy of perusal. Bonarruoti, on being asked this question by Varchi, was unwilling to give a decision. (See tom. i. p. 7, and p. 22.) After Bonarruoti's decease the contest was renewed, and prose and verse compositions appeared on both sides. Lasca wrote in favour of painting, while Cellini defended sculpture. (See Notes to the Rime of Lasca, p. 314.) Lomazzo is well worthy of notice in his Treatise, lib. ii. p. 158, in which he gives a MS. of Lionardo, drawn up at the request of Lodovico Sforza, where he prefers painting to the sister art.] [Footnote 205: For an account of this writing desk, which was made during the life of Cosmo I., see Baldinucci, tom. x. p. 154 and 182.] [Footnote 206: We there may read Allori, Titi, Buti, Naldini, Cosci, Macchietti, Minga, Butteri, Sciorini, Sanfriano, Fei, Betti, Casini, Coppi, and Cavalori; besides Vasari, Stradano, and Poppi, already noticed.] [Footnote 207: Baglione, in the Life of P. Biagio Betti.] [Footnote 208: Pictores Hetrusci.]