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Another man who was held in esteem in the same times was Vincenzio, a painter of Brescia, according to the account of Filarete, as was also Girolamo Campagnola, another Paduan painter, and a disciple of Squarcione. Then Giulio, son of Girolamo, made many beautiful works of painting, illumination, and copper-engraving, both in Padua and in other places.
It is to this period of incipient but ill-understood classicism that belongs the only work of Domenico Neroni at least the only work still extant nowadays which possesses, over and above its artistic or scientific merit, that indefinable quality which we must simply call charm; to this time, with the one exception of the famous woodcuts done for Filarete.
Antonio Filarete, or Averulino, architect and sculptor, was author of a treatise on the building of the ideal city, one of the most curious specimens of Renaissance fancy, to judge from the account rendered of the manuscript by Rio, vol. iii. pp. 321-328.
In his antiquarian rambles Filarete had discovered, a mile or two outside the southern gates of Rome, a subterranean chamber, richly adorned with stuccoes known nowadays as the tomb of certain members of the Flavian family, but which, thanks to the defective knowledge of his day and the habit of seeing people buried in churches, the humanist had mistaken for a temple intact, and scarcely desecrated, of the Eleusinian Bacchus.
But now he began to feel a certain shyness about immortal gods, for they had begun to occupy his thoughts, and it was with much cunning that he put questions to his friend Filarete, desirous to gain information on certain points without actually seeming to ask it.
Other cities were supplied by Florence with builders, and Milan owed her fanciful Ospedale Maggiore at this epoch to Antonio Filarete, a Florentine. This great edifice illustrates the emancipation from fixed rule that distinguishes much of the architecture of the earlier Renaissance.
Filarete relates in the twenty-fifth book of his work that Francesco Sforza, fourth Duke of Milan, presented a very beautiful palace in Milan to the Magnificent Cosimo de' Medici, and that Cosimo, in order to show the Duke how pleased he was with such a gift, not only adorned it richly with marbles and with carved wood-work, but also enlarged it under the direction of Michelozzo, making it eighty-seven braccia and a half, whereas it had previously been only eighty-four braccia.
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