[156] Gaye, l. c. p. 163.
[157] Gaye, l. c. p. 160.
[158] Gaye, l. c. p. 136.
[159] Ibid. p. 192.
[160] Gaye, l. c. pp. 141, 175, 180. Cf. Crowe and Cavalcaselle, iii. 64, 65.
[161] Complete edition by Gaetano and Carlo Milanese, Il Libro dell’arte o Trattato della Pittura (Flor. 1859). There is a German translation, Das Buch von der Kunst, &c., by Albert Ilg (Vienna, 1871). The general supposition, from Baldinucci down to Tambroni, the first editor of the treatise (Rome, 1821), viz., that Cennini wrote it in 1437 in the Stinche prison, is derived from a gloss to the Laurentian MS. which proceeds from the copyist instead of referring to the author. The same postil gave rise to the statement that a fresco in Giotto’s style, representing the driving out of the Duke of Athens, and brought to light at the demolition of the prison, was painted by Cennini. (Fr. Bacchi, Illustratore Fiorentino, pt. v., Flor. 1839).
[162] The second commentary, with the notices of modern art, is printed in Cicognara’s Storia della Scultura, vol. iv., and more readably, together with some extracts from the third, in Lemonnier’s edition of Vasari, vol. i. pp. v.-xxxv.
[163] On Filarete’s treatise and the two dedications, cf. Vasari, iii. 290, 291, and Gaye, i. 200-206, where will be found the dedication to Fr. Sforza. (Cf. supra, p. 122.) Filarete gives us a foretaste of the art-phraseology of Federigo Zuccaro. For the rest, he says to Sforza: ‘If my book is not elegant, take it as the work, not of an orator nor of a Vitruvius, but of thy master-builder who cast the doors of St. Peter’s.’
[164] N. Valori, l. c. p. 176.
[165] Vasari, viii. 267. On the design of Andrea, see Waagen, Kunstwerk und Künstler in England, i. 244. Cf. posf, p. 197 seq.