And what is marvellous is that a bad painter neither can nor knows how
to imagine, nor does he even desire to do good painting, his work mostly
differs but little from his imagination, which is generally somewhat
worse; for if he knew how to imagine well or in a masterly manner in his
fantasy, he could not have a hand so corrupt as not to show some part or
indication of his good will. But no one has ever known how to aspire well
in this science, except the mind which understands what good work is, and
what he can make of it. It is a serious thing, this distance and
difference which exist between the high and the low understanding in
painting."
At this point M. Lactancio, who had not spoken for some time, said:
"I cannot suffer at all one indiscretion of bad painters, the images which
they paint without consideration or devotion in the churches. And I should
like to direct our discussion to this end, being sure that the
carelessness with which some paint the holy images cannot be good. Work
which a very incapable painter or man dares to do, without any fear, so
ignorantly that instead of moving mortals to devotion and tears, he
sometimes provokes them to laughter."
"This sort of painting is a great undertaking," proceeded M. Angelo; "in
order to imitate to some extent the venerable image of our Lord it is not
sufficient merely to be a great master in painting and very wise, but I
think that it is necessary for the painter to be very good in his mode of
life, or even, if such were possible, a saint, so that the Holy Spirit may
inspire his intellect.
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