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Updated: May 1, 2025
His reply, and the ensuing conversation, are thus reported by Boschini, in curious Italian verse, which, thus translated by Dr. Donaldson, is quoted in Mr. Stirling's Life of Velasquez: "Diego answered thus: 'I saw in Venice The true test of the good and beautiful; First in my judgment, ever stands that school, And Titian first of all Italian men is." "Tizian ze quel die porta la bandiera"
We were firing from five till six and again steadily from a quarter past seven onwards. We got orders to move back that night to Boschini, on San Michele. I thought this a great mistake. Later in the day our move was cancelled, as the two forward Batteries which pulled out last night would not be in action on San Michele till to-morrow.
On the 23rd we heard that a big Austrian attack was expected last night and might come that night instead. We received orders to clean up and prepare, in case of necessity, the old position at Boschini on San Michele, which the Battery had occupied when they first arrived in Italy. This, I thought, seemed rather panic-stricken. Romano's Battery had similar orders.
Great and small artists have sent forth into the world their pupils. Have they always as befits honest critics recognised the pupils of other men, pupils and men both at the opposite pole of their own theories? Recall what Velasquez is reported to have said to Salvator Rosa, according to Boschini and Carl Justi.
Sterling gives an extract from a poem by a Venetian, Marco Boschini, which was published not long after Velasquez's journey to Italy, in which part of a conversation is given between him and Salvator Rosa, who asked him what he thought of Raphael. You will like to see it, if you have not Sterling by you. Dictionary of Americanisms.
He was rapid and bold in design, yet was selected by Boschini as a model of correctness; hence his drawings, though numerous, are highly esteemed. His Rape of the Sabines, in the Palazzo Imperiali at Terralba, near Genoa, has been highly extolled.
Nor is this a new notion; for Horace, it seems, must have had the same, or he would hardly have recommended so long a time as nine years for the revision of a poem. If, instead of the picture on the canvas, Boschini had referred to that in his mind, as what Titian sought to forget, he would have been, as we think, more correct.
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