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When Lomazzo assigned emblems to the chief painters of the Renaissance, he gave to Michael Angelo the dragon of contemplation, and to Mantegna the serpent of sagacity. For Raphael, by a happier instinct, he reserved man, the microcosm, the symbol of powerful grace, incarnate intellect. This quaint fancy of the Milanese critic touches the truth.
In the course of the sixteenth century, celebrities in every branch of music appeared in abundance, and Lomazzo names the three most distinguished masters of the art of singing, of the organ, the lute, the lyre, the 'viola da gamba, the harp, the cithern, the horn, and the trumpet, and wishes that their portraits might be painted on the instruments themselves.97 Such many-sided comparative criticism would have been impossible anywhere but in Italy, although the same instruments were to be found in other countries.
Townley being much busied on that Preface, wherein Lomazzo rubs shoulders with Michelangelo and Protogenes, and where the modern mortal hears with astonishment of "the sublime part which is a real je ne sçai quoi," and which, "being the most important part to all connoisseurs, I shall call a harmonious propriety, which is a touching or moving unity, or a pathetic agreement, &c."
Prato and Lomazzo both say that Lodovico was called Il Moro because of the darkness of his complexion and long black hair.
It was even asserted that the theory was stolen from Lomazzo. It was to support the drooping spirit of his friend Racine on the opposition raised against Phædra, that Boileau addressed to him an epistle "On the Utility to be drawn from the Jealousy of the Envious."
Giraldi Lomazzo, the Milanese historian of painting, and Bandello, the novelist, supply further details. It appears from all accounts that Lionardo impressed his contemporaries as a singular and most commanding personality. There is a touch of reverence in even the strangest stories, which is wanting in the legend of Piero di Cosimo.
Lomazzo, the Italian painter of the eighteenth century, is said to have continued his work after becoming blind. Several men distinguished for their bravery and ability in the art of war have been blind. Jean de Troczow, most commonly known by the name of Ziska, in 1420 lost his one remaining eye, and was afterward known as the "old blind dog," but, nevertheless, led his troops to many victories.
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