The whole page is taken up with the following notes, following on immediately from opposite (folio 38 verso;
D07418), where the sentence begins ‘Gaudentius his [i.e. Lomazzo’s] Master’:
who painted a Cricufix [sic] at the Sepulchre of Varallo wherein | he not only made Horses and Angels, but also in Plastic of a | kind of Earth wrought with his own hand or tutto relievo [‘clean round’ inserted beneath] | throughout the figures. likewise the St Roch
he is omitted by Vasary in his Lives of Painters it was | a common saying in Lombardy that all painters delight to | steall from other inventions but he was in no danger of being detected
Euphranor. statue of Paris that at once gave | the umpire of the 3 Goddiss the Courter of Helen the slaier of Achilles | Parashius [Lomazzo: ‘Parhasius’], idol of the Athenian possessing anger inconstant | implacable gentle mercifull.
Leonardo de Vinci mod[?elled] for Lomazzo says | he found a small earthen Head of Christ which had simplicity | innocence infant[?ine] [Lomazzo: of a childe] with understanding wisdom and majesty | Lomazz [Ziff: Leonardo] mentions a dead Christ cut in marble in the V[...] L[...] [‘in St Peter in Vatican’ inserted above]
Jerrold Ziff has identified these notes as free transcriptions from the 1598 English edition of Giovanni Paolo Lomazzo’s
Tracte Containing the Artes of Curious Paintinge Carvinge & Buildinge (see the sketchbook Introduction).
1The anecdote concerning the Italian painter and sculptor ‘Gaudentius’ (Gaudenzio Ferrari, 1475/80–1546)
2 is taken from chapter II, ‘Of the Necessitie of Motion’ of ‘The Seconde Booke: Of the Actions, Gestures, Situation, Decorum, Motion, Spirit, and Grace of Pictures’, pages 7 (as far as ‘Varallo’) and 8. The phrase ‘ditutto relieno’ (sic) and its translation, ‘Cleane rounde’, appear as marginal notes. Lomazzo noted the ‘Story of Saint
Roccho done by him in
Vercelli’. Turner’s second paragraph is slightly scrambled, as ‘in Lombardy’ relates back to Gaudenzio: ‘almost all Lombardy be adorned with his most rare works’. The saying is given by Lomazzo as ‘
That all painters delight to steale from other mens inventions, but that he himselfe was in no great danger, of being detected of theft hereafter’. Gaudenzio is also mentioned on folios 34 recto and 39 verso (
D07409,
D07420).
The third and fourth paragraphs come from chapter VIII, ‘How All the Motions May Accidentallie Befall Anie Man, though Diverslie’, of ‘The Seconde Booke: Of the Actions, Gestures, Situation, Decorum, Motion, Spirit, and Grace of Pictures’, pages 23 (as far as the ‘A’ of ‘Athenian’) and 24 (as far as ‘majesty’).
The rest is from page 70, from chapter XVI of the same ‘Booke’, ‘Of Paine, Wondring, Death, Folly, Rusticity, Despaire, Troublesomenes, Harebrainnes, Patience and Lunacy’, concerning death as represented in Michelangelo’s Pietà sculpture (circa 1498–1500, St Peter’s, Rome): ‘wherein appeare the true motions of death; because all the lines are made hanging, without any vigour or strength to sustain themselves’.
Further passages of Turner’s extensive notes from Lomazzo appear later in the sketchbook, continuing on the verso of the present leaf (
D07420).
