[254] Mehi Vita Ambrosii Traversarii, p. lii. Poggii Epist. citat. a Ton. tom. i. p. 258.
[255] Poggii Opera, p. 321.
[256] Ibid.
[257] Ibid, p. 329.
[258] Mehi Vita Ambrosii Traversarii, p. lii. liii.
[259] From an expression which Poggio uses in a letter on the subject of Francesco’s conduct, addressed to Andreolo Giustiniano, it should seem, either that the busts did not answer the expectation which he had formed concerning the exquisiteness of their workmanship, or that he suspected that Francesco had substituted inferior pieces of sculpture, in the place of those destined for him by Suffretus. The following is the expression in question. “Cum Suffretus quidem Rhodius ei consignasset tria capita marmorea, et signum integrum duorum fere cubitorum, quæ Franciscus se ad me allaturum promisit, capita quædam dedit, signo autem me fraudavit,” &c. Perhaps, however, quædam is, by an error of the press, substituted for quidem.
[260] Poggii Opera, p. 329.
[261] Poggii Opera, p. 329.
[262] The admirer of ancient art will find the principles, the observance of which led to the perfection to which it was carried by the Greeks, clearly and forcibly explained in the eighteenth, nineteenth, and twentieth pages of Mr. Fuseli’s Lectures on Painting. Of this work it may be asserted, that hardly any composition in the English language comprehends an equal quantity of thought in the same compass of expression. Almost every sentence which it contains is a theme of reflection, a text, pregnant with the most useful instruction.
[263] Poggii Epist. lvii. p. 181.