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Vom Handel Munzen Gewicht und Maass Farben, Malerei und Schreib- materialio7i Spiele und Yergniigungen. Lander und Volker Stiidte Gebirge und Flusse Bejahende Rcdensarten.
Verneinende Redeusarten. Fragende Redensarten. Befehlende Redensarten. Gewohnliche Redensarten. Short Questions. On board a steamboat. ISO In a town Concerning lodgings Wegen einer Wohnung , In einem Laden Of the weather.
The telegraph-office To make inquiries before un- dertaking a journey Just on setting out Railway-journey. Where travellers pass the night; questions; post-office Vom Wetter Das Telegraphenbureau ,. Page La campagne et les choses qu'on y rencontre Du voyage, des voitures, des harnais etc Chemins de fer et bateaux a vapeur Professions et metiers.
Ill Instruments d'agriculture et outils in Savants et artistes Du commerce Des monnaies Poids et mesures Des couleurs, de la peinture et de Tecriture Jeux et divertissements Ml Des pays et des peuples.
J55 Phrases imperatives Del commercio Delle moneta i Pesi e misure Dei colori, della pittura e della scrittura Giuochi e ricreazioni. La caccia La mustca Dignita secolari Dignita ecclesiastiche. Paesi e popoli Citta Monti e fiumi Frasi affermative Frasi negative Frasi interi'ogative Frasi imperative. Elocuzioni I'amiliari. Page 12 L 1G3 Short Questions. A bord d'un bateau a vapeur Chemins, messageries etc. Avec un cocher de louage Dans un hotel Dans une ville Pour un logement.
Dans un magasin. Du temps Le bureau telegrapbique. Delle cose che si vedono per viaggio, e di quel che pu5 succedere per istrada. Visit from the Cus- tom-house officers De- parture and arrival of letters ; Boim EinschifFen und was auf dem Meer sich ereignet. Eine moblirte Wohnung zu! Abgan'g und Ankunft der Briefe. Card of invitation Note of apology Note of invitation A note after not finding a per- son at home Answer Note of invitation Letter of introduction.
IX Contents Contents. En s'embarquant, et de ce qui arrive en mer Debarquement et viaite dona- niere Le dejeuner Le diner Le the Le souper Le inaitre avant de se lever. Pour parler a la blanchisseuse Le cordonnier Le tailleur Chez un marchand de drap Chez un joaillier Une dame a sa toilette.
Pour faire une visite. Pour s'informer de la sante de quelqu'un et faire les compliments d'usage. Avec un domestique de louage, pour le prendre a son service Pour louer une chambre garnie Page 2 ;7 Pour louer un appartement garni Pour acheter une voiture de voyage Pour louer un cheval, ou pour Tacheter De tout ce qui est necessaire pour ecrire. Depart et ar- rives de lettres Neir imbarcarsi e di quel che succede in mare Sbarco e visita dei doganieri.
Per parlare coUa lavandaja n calzolajo II sarto Da un mercante di panno. Da un giojelliere. Una dama all' apparecchiatojo Per visitare una persona. Per chiedere dell' altrui salute, e fare i complimenti d'uso. Con un servitore di piazza, per prenderlo a servizio. Per appigionare una stanza in una locanda Per pigliar a fitto irn apparta- mento mobigliato Per coraprare un legno da viaggio Per prendere un cavallo a nolo, per comprarlo Di quanto e necessario per scrivere.
Partenza ed arrive delle lettere 2S5 Letters and notes. Billet d'invitation Billet d'excuse Billet d'invitation Billet quand on ne trouve pas une personne chez elle. Vocabulary, — Eleines Worterbuch.
Cardinal Numbers. Eight Nine. Fourteen, Fifteen. Twenty-three etc. Thirty-two etc. Sixty, WortiTferzeichiiisii. Neunzehn, Zwanzig. Ein und zwanzig. Zwei und zwanzig. Drei und zwanzig etc. Ein und dreissig. Zwei und dreissig etc. Nombres cardlnaux. Nameri cardinali. Trois Tre. Dix- sept. Diecisette ; diciasette. Dieciotto ; diciotto. Diecinove ; diciannove Vingt. Vingt-et-un Vent'uno.
Venti due. Vingt-trois etc Venti tre etc. IVeme-cleux etc. Trenta due etc. C in quanta. Soixante, Sessanta. Ordinal Seventy. Ninety- A hundred. Two liundred etc A thousand. Kleven hiindred. Twelve hundred. Thirteen hundred. Two thousand etc. A million. Two millions. Ordinai numbers. The first. The second. The third. The fourth. The fifth. The sixth. The seventh. The eighth.
Tlie ninth. The tenth. The eleventh. The twelfth. The thirteenth. The fonrteenth. The fifteenth. The sixteenth.
The seventeenth. The eighteenth. The nineteenth. The twentieth. The twenty-first. The twenty-second. The thirtieth. The fortieth.
The fiftieth. Hundert, Zweihundert etc. Zwei Tausend etc Eine Million. Zwei Millionen. Der Erste. Der Zweite. Der Pritte. Per Vierte. Per Fiinfte. Per Sechste. Per vSiebente. Per Achte. Per Keunte. Per Zehnte. Per El fte. Per ZwUlfte. Per Preizehnte. Per Vierzehnte. Per Fiinfzehnte. Per Sechzehnte. Per Siebzehnte. Per Achtzehnte. Per Neunzehnte. Per Zwanzigste. Per Ein und zwanzigste. Per Zwei iind zwanzigste. Per Preissigstc Per Vierzigste. Per Rinfzigste. Nombres cardinaux. Deux cents etc. Duecento; dugento etc.
Ouze cents. Mille cento. Doiize cents. Mille dugento. Treize cents etc. Mille tre cento etc. Deux mille etc. Due mila etc.
Un million. Un milione. Deux millions. Due milioui. Nombres ordinaux. Numeri ordlnall. Le premier. Le troisieme. Le quatrieme. Le cinquieme. Le sixieme. Le septieme. Le huitieme. Le neuvieme. Le onzieme. Le douzieme. Le quatorzieme. Le quinzieme. Le seizierae. Le dix-septicme. Le dix-neuvieme. Le vingtieme. Le vingt-unieme. Le vingt-deuxiome. Le cinquantieme. II decimo. L'undecimo, decimo primo. II duodecimo, decimo se- condo. II decimo sesto. II decimo ottavo. II decimo nono. II ventesimo secondo.
II quarantesimo. II cinquantesimo. Ordinal numbers. Of the Universe and the Earth. The sixtieth. The seventiotli. The eightietli. The ninetieth. The hundredth. The thousandth The hist. The last but one. Collecfive numbers. A pair; couple.
A dozen. A score. Thirdly etc. The first time. The second time etc. Three times etc. Only once. Double, twofold. Triple, threefold. Quadruple, fourfold. One sort. Two sorts etc. The half. The sixth etc. The world. The elements. Der Sechzigste. Der Siebzigste. Der Achtzigste. Der Neunzigste. Der Hundertstc. Der Tausendste. Der Letzte. Der Yorletzte. Ein Paar. Ein Dutzend. Drittens etc. Das erste Mai. Das zweite Mai etc.
Dreiinal etc. Ein einziges Mai. Zweierlei etc. Die Ualfte. Das Drittel. Das Viertel. Das Flinftel. Das Sechstel etc. Die Welt. Die Elements Nomtres ordinanx. Le soixantierae. Le soixante-dixieme. Le quatre-vingtieme. Le quatre-vingt-dixieme. II novantesimo. Le centieme. Le millieme. Le dernier. Nombres collectifs. Humeri colletlivl. TTne paire. Un pajo. Cellini's arguments for the superiority of the art of sculpture were published on the 30th August, as an appendix to Tarsia's funeral oration under the title Sopra la differenza nata tra gli scultori e pittori circa il luogo destro stato dato alla Pittura nelle Essequie del gran Michelangelo Buonarrotti.
Tarsia, Oratione The title of the piece was also amended so as not to implicate Borghini personally in the decision to favour the art of painting. Cellini stated that some of his arguments will be understood by 'quelli non professori di tali arti' and that others will be comprehensible to 'quelli peritissimi di tali arti' but that neither group would be able to contradict him.
For example, in his Autobiography he related how he had valued the praise of his fellow artists, Pontormo and Bronzino, more than the tributes of doctors from the University of Pisa. Two of these rather undeveloped arguments stand out as exemplifying the type of uninformed point which Cellini attributed to the 'non professori'.
The most significant of these was the argument that the sculptors needed to prepare their works by making drawings. Maier, p. Orazione in lode della pittura, parodying its arguments in a way which recalls Cellini's similar criticism of the sonnets of Tarsia and Grazzini. The parallels between the language used by Cellini and Salviati's praise of painting as 'colorire' are certainly marked. The defensive dedicatory letter to Piero Carnesecchi seems to be reacting to, as well as forestalling, adverse criticism.
Salviati referred briefly to the ongoing debates between painting and sculpture, rejecting the criticism of painting as a form of falsehood by claiming that this only reveals the superiority of painting as 'uno inganno tanto utile'. The arguments concerning sculpture's durability and tangibility are also briefly dismissed: 'E poi che ha egli a fare del toccare? Colour, far from being the principal source of beauty, was introduced for the sake of variety so that the objects in nature ought to be considered 'sculture colorite'.
Salviati, Opere, Milan, , V, p. Ne sia chi la loro lode cerchi di volere abbassare, argomentando che essi non al vero, ma alla menzogna sono simiglianti Borghini does prefer painting in his Selva di notizie for similar reasons to those Salviati employs, namely painting's similarity to poetry and its use of colour. Salviati was later a member of the Accademia della Crusca and a critic of Tasso's poetry. Citing the opinions of three 'true painters', Donatello, Leonardo da Vinci and Michelangelo, Cellini also asserted that painting is nothing more than 'l'ombra della sua madre scultura'.
In the final paragraph of the printed version, he expanded on this distinction by describing three ways of speaking about the arts. The first, 'ragionare', is the mode that he employs: that is, to reason from knowledge and direct experience.
The other two modes, 'favellare' and 'cicalare', are nothing more than to tell tales and to sing like a bird, yet they remain the preferred idioms of the supporters of painting. Cellini also records here that Michelangelo's response to a good painting was invariably that 'it appeared to be in relief'. On Cellini's designs for the academy's seal, see: W. Together these constituted the 'Filosofia boschereccia' homespun or rustic philosophy of which Borghini was so scornful. However, Cellini was serious about its validity, writing to Duke Cosimo that 'all men of whatever quality or language are naturally born philosophers and poets; therefore, most excellent lord, since I was born a man, I am a philosopher and poet'.
He considered the contributions of such 'non professori' as Tarsia, Grazzini and Salviati to the paragone debate as completely invalid. It is significant that what motivated Cellini to write down these 'bei segreti' was his exclusion from another 1 Maier, p. Grazzini's sonnet is published in Scritti, p. Although on opposite sides in the paragone debate, Cellini and Grazzini were friends.
According to the original dedicatory letter to Francesco, Cellini intended the treatise as his contribution to the marriage celebrations because he was prevented by illness from taking part in the festivities. Cellini's distinction between 'ragionare' and 'favellare' or 'cicalare' is paralleled by Borghini's insistence on separating 'fare' from 'ragionare'. As we have already seen from his letters to Vasari, Borghini believed that it was the duty of the academy's members to 'fare e non ragionare'.
In this respect Borghini was in complete agreement with Michelangelo's view on the paragone, that artists should 'make their peace the one with the other, and put all these disputes behind them, since more time is spent on such dispute than on making figures'.
Costui va per abbaco'. He seems to have only lost respect for specific artists when they indulged in the pseudo-philosophy of the paragone. On the other hand his close relationship with Vasari exemplifies a co-operative interaction of the intellectual and artistic worlds that should be seen as a corrective to the impression created by his conflict with Cellini. In refuting the basis 1 Maier, p. Cellini goes on the same sonnet to urge the sculptors to 'lasciare il bue, e fate una altra scuola'.
Borghini concentrates on the letters of the sculptors to Varchi because their arguments were being used against him by Cellini, but also because Varchi in the Due Lezzione had imparted the material differences between painting and sculpture discussed in them with some theoretical validity.
The more substantial nature of sculpture, according to Varchi's analysis, meant that it represented a more satisfactory combination of form and matter. There was, therefore, an essential difference between the two arts; a difference that Cellini categorised as equivalent to that between truth and falsehood. Borghini attacked the arguments about touch, longevity and viewpoint in an attempt to refute this thesis. For him both arts were imitative and were, therefore, both deceptive in the sense that they were not the thing that they represented.
Such comparisons were similar to a donkey saying to a bird 'I've got four legs' and the bird replying 'I've got feathers'. The only valid aesthetic judgements relate to the beauty of the image, its proximity to nature and how well the artist has expressed his 'concetto'.
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