[30] In the Letter to C.B. Castiglione. Ideal is properly the representation of pure human essence. [31] Raffaelle and the best of his pupils; their successors, commonly known by the name of the Roman school, followed principles diametrically opposite. [32] "Macinava carne," said Annibale Carracci. [33] Ægidius Sadeler sculpsit ex Prototypo Alberti Dureri. [34] "Elumbis," as applied by the author of the Dialogue on Orators to the style of Brutus, will nearly suit all imitators of Michael Angelo. [35] In the Sacristy of St. Giovanni in Laterano, painted from the cartoon by Marcello Venusti. [36] This and the foregoing picture are in the Scuola di S. Rocco at Venice. The skeleton of the former is known by an etching of _Le Fevre_. [37] "Whoever looks at a picture by Correggio of a glorified Madonna with a St. Sebastian and other figures, at Dresden, is instantly surprised by the light of the glory, which has all the splendour of a sun, though painted with a low-toned yellow, and dim at the extremities." Opere di R. Mengs, t. ii. p. 161. [38] John, called da Bologna, showed a model to Michael Angelo smoothly polished; Michael Angelo took, and, heedless of its finish, twisted it about; then giving it back to the student, "Learn," said he, "to sketch before you attempt to finish." [39] Such was the proud answer of Frà Sebastian del Piombo, grown fat by the signet of St. Peter, when asked why he had entirely resigned all exercise of his art. [40] Said Michael Angelo, when asked whether the copy of the Laocoon by Baccio Bandinelli was not equal or superior to the original. Titiano, with more mordacity though surely with less discrimination, ridiculed the copyist by a caricature in which the Trojan with his sons were changed to baboons. [41] "Sineret se plebeculam pascere," said Vespasian to the artist who had contrived a machine to convey some large columns with a trifling expense to the Capitol, and rewarded him without accepting his offer. [42] Cosmo Rosselli, one of the Tuscan painters who preceded Michael Angelo in decorating the Chapel of Sixtus IV. [43] This is the Madonna painted for Angelo Doni, now in the Tribuna of Florence, and probably the only existing oil-picture of Michael Angelo, though Lanzi rejects its title to that. Vasari mentions it with his usual extravagance of praise, but appears ignorant of the real meaning of the figures. A HISTORY OF ART IN THE SCHOOLS OF ITALY. THE TUSCAN SCHOOL.