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If Busti's Lancinus Curtius be the portrait of a humanist, careworn with study, burdened by the laurel leaves that were so dry and dusty; if Gaston de Foix in the Brera, smiling at death and beautiful in the cropped bloom of youth, idealize the hero of romance; if Michael Angelo's Penseroso translate in marble the dark broodings of a despot's soul; if Della Porta's Julia Farnese be the Roman courtesan magnificently throned in nonchalance at a pope's footstool; if Verocchio's Colleoni on his horse at Venice impersonate the pomp and circumstance of scientific war surely this Medea exhales the flower-like graces, the sweet sanctities of human life, that even in that turbid age were found among high-bred Italian ladies.
We then went and examined Jamrach's menagerie. I found that one source of the interest D'Arcy took in animals was that he was a believer in Baptista Porta's whimsical theory that every human creature resembles one of the lower animals, and he found a perennial amusement in seeing in the faces of animals caricatures of his friends.
This virtue requires a metallic body in which to inhere. The general concept is not unfamiliar, of a virtue or power or ferment which was attached to a material object, and it is this type of explanation which was so preponderant in, for example, Porta's Natural Magick. Van Helmont speaks of the "first being," which translates the Latin Ens, of Venus or copper.
His year of probation over, he took the final vows and became Fra Bartolommeo. Having once given himself up to monasticism, Fra Bartolommeo would offer no half-service, his brushes were left behind with all other worldly things, and here closes Baccio della Porta's first artistic career.
Fra Bartolommeo, called also Baccio della Porta, or Bartholomew of the gate, from the situation of his lodgings when a young man, but scarcely known in Italy by any other name than that of Il Frate, or the Friar, was born near Florence, and trained from his boyhood to be a painter. In his youth, however, a terrible public event convulsed Florence, and revolutionized Baccio della Porta's life.
If Busti's Lancinus Curtius be the portrait of a humanist, careworn with study, burdened by the laurel leaves that were so dry and dusty if Gaston de Foix in the Brera, smiling at death and beautiful in the cropped bloom of youth, idealise the hero of romance if Michelangelo's Penseroso translate in marble the dark broodings of a despot's soul if Della Porta's Julia Farnese be the Roman courtesan magnificently throned in nonchalance at a Pope's footstool if Verocchio's Colleoni on his horse at Venice impersonate the pomp and circumstance of scientific war surely this Medea exhales the flower-like graces, the sweet sanctities of human life, that even in that turbid age were found among high-bred Italian ladies.
He compared the mechanism of the eye with that of Porta's "Camera Obscura," but made no attempt to explain how the image formed on the retina is understood by the brain. He went carefully into the question of refraction, the importance of which Tycho had been the first astronomer to recognise, though he only applied it at low altitudes, and had not arrived at a true theory or accurate values.
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