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I always called Trieste Il Paradiso delle Sartorelle, because the sartorella was a prominent figure in Trieste, and Fortune's favourite. She was wont to fill the streets and promenades, especially on festa days, dressed a quatre epingles, powdered and rouged and coiffee as for a ball, and with or without a veil.
How she used to go daily to the church Santa Maria delle Grazie to be alone, to think and to pray; and how, after her early death, the duke, probably influenced by remorse because of his cruelty to her, desired Leonardo to decorate this church and its adjoining monastery with pictures in memory of his dead young wife.
This whole work is held by the most excellent painters to be a marvellous thing. The same master painted a picture of S. Sebastian, which was afterwards placed in the Madonna delle Grazie, without the city of Mantua; and to this he devoted extraordinary pains, copying many things in it from the life.
All admirers of his art are familiar with the four beautiful Allegories of the Accademia delle Belle Arti at Venice, which constitute, besides the present picture, almost his sole excursion into the regions of pagan mythology and symbolism. These belong, however, to a considerably earlier period of his maturity, and show a fire which in the Bacchanal has died out.
We entered through the gateway, through the Via delle Quattro Fontane, passing one or two sentinels; for there is apparently a regiment of dragoons quartered on the ground-floor of the palace; and I stumbled upon a room containing their saddles, the other day, when seeking for Mr. Story's staircase.
We may understand how the pride and boisterous magnificence of Rubens came to seem a little insistent a little stupid too, beside Leonardo's Virgin and Child with St. Anne now in the Louvre, which he notes in Milan, or that Last Supper which is now but a shadow on the wall of S. Maria delle Grazie.
At last he stopped in front of Leonardo's "Madonna delle Roccie," and remained gazing at it for some minutes in silence, while a heavy frown gathered round his brows. "I hate art," he exclaimed at last. "I consider it one of the most noxious influences in the world. It is enervating and deteriorating.
They saw the Ruga bella, or Beautiful Way, with its long line of palaces on either side, its painted walls and richly carved portals. They saw the lovely cupola of S. Maria delle Grazie, and the marble cloisters of S. Ambrogio, and the graceful Baptistery of S. Satiro, which Caradosso had lately adorned with his elegant frieze of cherubs and medallions.
Peter's, where the body was buried in the chapel of Santa Maria delle Febbre.
But, however this may have been, the treatise of Guiducci afforded a favourable point of attack to Galileo's enemies, and the dangerous task was entrusted to Horatio Grassi, a learned Jesuit, who, in a work entitled The Astronomical and Philosophical Balance, criticised the discourse on comets, under the feigned name of Lotario Sarsi. Discorso delle Comete.
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