TO THE MOST ILLUSTRIOUS AND EXCELLENT LORD, LORD ALFONSO D’AVALOS, GREAT MARQUIS OF VASTO, AND LIEUTENANT GENERAL OF HIS IMPERIAL MAESTY IN ITALY,

SEBASTIANO SERLIO OF BOLOGNA+

If all Princes and great personages possessed that beauty of soul which your Excellency has, one could hope that our century—endowed as it is with the most beautiful talents in every laudable profession, though poorly rewarded—might return to that height of greatness found in the good times of the ancient Romans. Indeed, it would be possible that in some respects ancient things might be surpassed by our modern ones; for it is easier to add to an invention than to discover it anew, as those ancient inventors did in many things. These things (as I have said) could be increased—if not in scale, at least in understanding—with better art. This "good art" began to fail and decline little by little with the fall of the Roman Empire. Now, it seems that the benevolence of the Heavens is once again granting it to us, provided that the greedy audacity of our times does not also lock away the treasures of liberality with so many hard keys; for when rewards are lacking, the works of ingenious men also fail. The accursed hunger for gold original: "auri sacra fames." A famous phrase from Virgil’s Aeneid (3.57) referring to how the pursuit of wealth can lead to the abandonment of virtue and art. And to see the truth of this, let us consider for a moment, since we are speaking of our own times: if Bramante Donato Bramante (1444–1514), the architect who initiated the High Renaissance style in Rome and designed the initial plans for St. Peter's Basilica., the reviver of good Architecture which had been buried from antiquity until his time, had not found Pope Julius II, whose greatness of soul matched Bramante's own desires, he would not have been able to create the works he did in Rome. And if the great Michelangelo Buonarroti had not been supported by the noble House of Medici, and later well-rewarded by the aforementioned Pope and others as well, perhaps he would not have produced as many stupendous works of painting and sculpture as he has. And if the virtuous Duchess Isabella of Urbino Likely referring to Elisabetta Gonzaga, Duchess of Urbino, though Serlio may be conflating names with Isabella d'Este; both were significant patrons of the arts. had not first raised up and promoted the divine Raphael in his youth, followed by Julius II (who was a great rewarder of his) and finally Leo X, the father and protector of all the fine arts and all good practitioners, certainly he would not have been able to raise painting to that splendor where he led it, nor would he have left behind so many admirable works of Painting and Architecture as are seen today. And if Giulio Romano, the true pupil and certain heir of this same divine Raphael of Urbino, had not found a place with the most liberal Duke of Mantua Federico II Gonzaga, for whom Giulio Romano built the famous Palazzo Te., who is such a friend to Painting and Architecture, how could he have created the infinite and beautiful things of Architecture and Painting that are seen in many places within and outside the noble city of Mantua? If Girolamo Genga did not have as his master the Lord Duke of Urbino, Francesco Maria, who is as knowledgeable in Architecture and Painting as he is in military matters and many other noble arts, he would never have created the masterful works of Architecture he has made to please his Lord. In short, if the great Titian—the example, father, and master of painting in our times—had not first had as a great rewarder Alfonso d'Este, Duke of Ferrara + (who made him a Knight with most ample gifts), and then the very liberal Federico of Mantua (for whom he has made and makes every day many works), besides many other Lords and Cardinals, and above all Emperor Charles V (who was portrayed by him and recognized his great virtue with large and honored gifts and a new title of knighthood); and finally your Excellency, who holds him in protection with such kindness: I cannot believe he would have ever reached such heights in his work as is seen in him. But to return to my original purpose, I wish to say this: that since your Excellency has come here to Venice representing the person of His Imperial Majesty, and having not only negotiated most prudently with this illustrious Senate for the common benefit of all Christendom, but having also performed many other pious works truly worthy of great merit before God and the highest praise among men, and having shown great courtesy to various people who labor in the fine arts (of which I am in large part a faithful witness, being the least among many); to whom—because I presented this current volume, already published to the world but not yet dedicated to your Excellency—you have shown such liberal courtesy, accompanied by a most gracious face and kind, loving words. This courtesy was not one of mere promises or vain hope, but of deeds and a good sum of scudi A significant unit of currency (gold or silver coins) in 16th-century Italy.. In this way, you bound me to a strict obligation toward you: for although (moved by just cause) I had decided within myself not to reprint these Rules of mine anymore, even though no more copies were to be found for sale because they were all sold out and desired by many; through the good fortune they have had with your Excel-