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Updated: May 23, 2025
And nowe, because hitherto I have spoken of the outwarde coaste, I will also alledge the comodities of the inland, in the latitude of 37. degrees, about the citie of Ceuola, usinge the very wordes of Vasques de Coronado, in the thirde chapter of his Relation, written to Don Antonio di Mendoza, Viceroy of Mexico, which sente him thither with many Spaniardes and iiij. C. horses and a thousande Indians to discover those contries. He, speakinge there of the citie of Ceuola, procedeth in this manner: In questo doue io sto hora alloggiato possono esserui qualche dugento case tutte circondate di muro, e parmi che con l’altre che non sono cosi possono arriuare a cinquecento fuochi. V’ è un’ altra terra vicina, che è una delle sette, ed è alqoanto maggior di questa, e un altra della medesima grandezza di questa, e l’altre quattro sono alquanto minori, e tutte io le mando dipinte a vostra Signoria con il viaggio, e pergamino doue va la pittura si trouo qui con altri pergamini ... hanno mantelli dipinti della maniera che io mando a vostra Signoria, non raccolgono bombaso ... pero ne portano mantelli, come ella vedr
Our talk was long and various, and the subject-matter of it did not tend to dispel the illusion that we were by means of some strange magic-lantern taking a peep into a resuscitated bit of the old cinquecento art-life, so full were the mind and heart of the artist of the special art-glories of his native city.
And almost immediately, on the Piazza dei Cinquecento, in front of the railway station, he climbed into one of the small open cabs ranged alongside the footwalk, and placed the valise near him after giving the driver this address: "Via Giulia, Palazzo Boccanera."* * Boccanera mansion, Julia Street.
Though I do not happen to have seen it since, and so speak with a forty years' interval, the pen-and-ink drawing of Ariel, portrayed exactly like a Cinquecento angel, is fixed in my mind. It has all the graciousness and gentleness of Bellini and all the robust beauty of Veronese or Palma Vecchio. To tell the truth, I was in the mood of the lady of the Island over which Prospero waved his wand.
All through the wonderful Cinquecento, when each of a dozen or more little Italian city-states was producing genius enough to furnish forth a good average century in modern Europe or America, Italy was also a hotbed of unnatural vices, lurid crimes, wickedness to stock the nine circles of Malebolge.
Italian sculpture, under the condition of the cinquecento, had indeed no more congenial theme than this of bravery and beauty, youth and fame, immortal honor and untimely death; nor could any sculptor of death have poetized the theme more thoroughly than Agostino Busti, whose simple instinct, unlike that of Michael Angelo, led him to subordinate his own imagination to the pathos of reality.
You, who know the quaint old mediæval city in the winter "season," when the smart balls are given at the Corsini or the Strozzi, when the Cascine is filled with pretty women at four o'clock, and the jewellers on the Ponte Vecchio put forth their imitation cinquecento wares, would not know it in August, when beneath that fiery Tuscan sun it is as a city of the dead by day, while at night the lower classes come forth from their slums to idle, to gossip, and to enjoy the bel fresco after the heat and burden of the day.
Two distinct schools were formed, one of which included the conservatives who desired to preserve and follow the manner of the masters of the Cinquecento, at the same time making a deeper study of Nature thus the devotional feeling and many of the older traditions would be retained while each master could indulge his individuality more freely than heretofore.
So that most of the great protagonists of Venetian art during the earlier half of the Cinquecento were born within the short period of eight years between 1477 and 1485. In Crowe and Cavalcaselle's Life and Times of Titian a revolutionary theory, foreshadowed in their Painting in North Italy, was for the first time deliberately put forward and elaborately sustained.
It is difficult, indeed, to imagine that this masterpiece so eminently a work of the Cinquecento, and one, too, in which the master of Cadore rose superior to all influences, even to that of Giorgione could have been painted in 1508, that is some two years before Bellini's Baptism of Christ in S. Corona, and in all probability before the Three Philosophers of Giorgione himself.
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