Luiz. I used to
say to myself: What fortresses or foreign cities have I not yet in my
book? What immortal buildings and what noble statues does this city still
possess which I have not already stolen from it and carried away without
carts or ships on thin paper? What painting, stucco, or grotesque has been
discovered amongst these grottoes and antiquities of Rome, Puzol, and
Baias, of which the most rare is not to be found in my sketch-books? Thus
I beheld nothing either antique or modern in painting, sculpture or
architecture of which I did not make some record of its best part, it
appearing to me that these were the greatest benefits that I could carry
away with me, more honourable and profitable to the service of my King and
to my own taste. I do not think I have made a mistake (although some
people tell me I have), for as these things alone were my care, my dispute
and demand, no great Cardinal Fernes had to help me, nor had I a greater
Dattario to obtain, in order to go one day to see D. Julio de Macedonia, a
most famous illuminator, and another day Master Michael Angelo, now Baccio
the noble sculptor; then Master Perino, or Bastiaeo Veneziano, and
sometimes Valerio de Vicenca, or Jacopo Mellequino, architect, and
Lactancio Tolomei, the acquaintance and friendship of these men I valued
much more than others of more parade and pretension (as if there could be
greater in the world, and so Rome values them); because from them, and
from their works in my art, I obtained some fruit and knowledge.
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