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"Oh," he replied, "very little.... But a little and a little more end by making a great deal. With what an air he added: 'E gia il moschino e conte' Already the gnat is a count. The gnat was himself. 'A few more sales like yours, my Prince, and my son, the Count of Fossati, will have half a million. He will enter the club and address you with the familiar 'thou' when playing 'goffo' against you.
"Oh," he replied, "very little.... But a little and a little more end by making a great deal. With what an air he added: 'E gia il moschino e conte' Already the gnat is a count. The gnat was himself. 'A few more sales like yours, my Prince, and my son, the Count of Fossati, will have half a million. He will enter the club and address you with the familiar 'thou' when playing 'goffo' against you.
Michael Angelo's blunt criticism of Perugino, that he was goffo, a fool in art, and his rude speech to Francia's handsome son, that his father made better forms by night than day, sufficiently indicate the different aims pursued by the painters of the two periods distinguished above.
"Oh," he replied, "very little.... But a little and a little more end by making a great deal. With what an air he added: 'E gia il moschino e conte' Already the gnat is a count. The gnat was himself. 'A few more sales like yours, my Prince, and my son, the Count of Fossati, will have half a million. He will enter the club and address you with the familiar 'thou' when playing 'goffo' against you.
That Michael Angelo was contemptuous to brother artists, is proved by what Torrigiani said to Cellini: "Aveva per usanza di uccellare tutti quelli che dissegnavano." He called Perugino goffo, told Francia's son that his father made handsomer men by night than by day, and cast in Lionardo's teeth that he could not finish the equestrian statue of the Duke of Milan.
"Guadagnò molte ricchezze; e in Fiorenza murò e comprò case; ed in Perugia ed a Castello della Pieve acquistò molti beni stahili." Vasari, vol. vi. p. 50. "Goffo nell arte." See Vasari, vol. vi. p. 46. See too above, p. 196. I select these for comment rather than the frescoes at Spello, beautiful as these are, because they have more interest in relation to the style of the Renaissance.
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