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Bernini related sculpture to the blind man’s touch in a disquisition to the Venetian ambassador on the 6th of
October 1665: “Then he explained to the ambassador the difference between sculpture and painting: sculpture
is a truth; a blind man could realize that, but painting is a lie and a falsehood; one is the work of the devil, the
other of the almighty, Who was Himself a sculptor, having made man from clay, not in a moment like a
painter, but rather after the manner of sculptors. This remark is recorded in a diary kept by Paul de Chantelou,
one of the maitres-d’hotel at the court of the young Louis XIV, who was Bernini’s guide and companion in
France. See Chantelou, Diary of the Cavaliere Bernini’s Visit to France, trans. Margery Corbett (Princeton:
Princeton University Press, 1985), 258-9.
Bernini related sculpture to the blind man’s touch in a disquisition to the Venetian ambassador on the 6th of
October 1665: “Then he explained to the ambassador the difference between sculpture and painting: sculpture
is a truth; a blind man could realize that, but painting is a lie and a falsehood; one is the work of the devil, the
other of the almighty, Who was Himself a sculptor, having made man from clay, not in a moment like a
painter, but rather after the manner of sculptors. This remark is recorded in a diary kept by Paul de Chantelou,
one of the maitres-d’hotel at the court of the young Louis XIV, who was Bernini’s guide and companion in
France. See Chantelou, Diary of the Cavaliere Bernini’s Visit to France, trans. Margery Corbett (Princeton:
Princeton University Press, 1985), 258-9.
Bernini related sculpture to the blind man’s touch in a disquisition to the Venetian ambassador on the 6th of
October 1665: “Then he explained to the ambassador the difference between sculpture and painting: sculpture
is a truth; a blind man could realize that, but painting is a lie and a falsehood; one is the work of the devil, the
other of the almighty, Who was Himself a sculptor, having made man from clay, not in a moment like a
painter, but rather after the manner of sculptors. This remark is recorded in a diary kept by Paul de Chantelou,
one of the maitres-d’hotel at the court of the young Louis XIV, who was Bernini’s guide and companion in
France. See Chantelou, Diary of the Cavaliere Bernini’s Visit to France, trans. Margery Corbett (Princeton:
Princeton University Press, 1985), 258-9.
Bernini related sculpture to the blind man’s touch in a disquisition to the Venetian ambassador on the 6th of
October 1665: “Then he explained to the ambassador the difference between sculpture and painting: sculpture
is a truth; a blind man could realize that, but painting is a lie and a falsehood; one is the work of the devil, the
other of the almighty, Who was Himself a sculptor, having made man from clay, not in a moment like a
painter, but rather after the manner of sculptors. This remark is recorded in a diary kept by Paul de Chantelou,
one of the maitres-d’hotel at the court of the young Louis XIV, who was Bernini’s guide and companion in
France. See Chantelou, Diary of the Cavaliere Bernini’s Visit to France, trans. Margery Corbett (Princeton:
Princeton University Press, 1985), 258-9.
Bernini related sculpture to the blind man’s touch in a disquisition to the Venetian ambassador on the 6th of
October 1665: “Then he explained to the ambassador the difference between sculpture and painting: sculpture
is a truth; a blind man could realize that, but painting is a lie and a falsehood; one is the work of the devil, the
other of the almighty, Who was Himself a sculptor, having made man from clay, not in a moment like a
painter, but rather after the manner of sculptors. This remark is recorded in a diary kept by Paul de Chantelou,
one of the maitres-d’hotel at the court of the young Louis XIV, who was Bernini’s guide and companion in
France. See Chantelou, Diary of the Cavaliere Bernini’s Visit to France, trans. Margery Corbett (Princeton:
Princeton University Press, 1985), 258-9.
Bernini related sculpture to the blind man’s touch in a disquisition to the Venetian ambassador on the 6th of
October 1665: “Then he explained to the ambassador the difference between sculpture and painting: sculpture
is a truth; a blind man could realize that, but painting is a lie and a falsehood; one is the work of the devil, the
other of the almighty, Who was Himself a sculptor, having made man from clay, not in a moment like a
painter, but rather after the manner of sculptors. This remark is recorded in a diary kept by Paul de Chantelou,
one of the maitres-d’hotel at the court of the young Louis XIV, who was Bernini’s guide and companion in
France. See Chantelou, Diary of the Cavaliere Bernini’s Visit to France, trans. Margery Corbett (Princeton:
Princeton University Press, 1985), 258-9.
Bernini related sculpture to the blind man’s touch in a disquisition to the Venetian ambassador on the 6th of
October 1665: “Then he explained to the ambassador the difference between sculpture and painting: sculpture
is a truth; a blind man could realize that, but painting is a lie and a falsehood; one is the work of the devil, the
other of the almighty, Who was Himself a sculptor, having made man from clay, not in a moment like a
painter, but rather after the manner of sculptors. This remark is recorded in a diary kept by Paul de Chantelou,
one of the maitres-d’hotel at the court of the young Louis XIV, who was Bernini’s guide and companion in
France. See Chantelou, Diary of the Cavaliere Bernini’s Visit to France, trans. Margery Corbett (Princeton:
Princeton University Press, 1985), 258-9.
Bernini related sculpture to the blind man’s touch in a disquisition to the Venetian ambassador on the 6th of
October 1665: “Then he explained to the ambassador the difference between sculpture and painting: sculpture
is a truth; a blind man could realize that, but painting is a lie and a falsehood; one is the work of the devil, the
other of the almighty, Who was Himself a sculptor, having made man from clay, not in a moment like a
painter, but rather after the manner of sculptors. This remark is recorded in a diary kept by Paul de Chantelou,
one of the maitres-d’hotel at the court of the young Louis XIV, who was Bernini’s guide and companion in
France. See Chantelou, Diary of the Cavaliere Bernini’s Visit to France, trans. Margery Corbett (Princeton:
Princeton University Press, 1985), 258-9.
Bernini related sculpture to the blind man’s touch in a disquisition to the Venetian ambassador on the 6th of
October 1665: “Then he explained to the ambassador the difference between sculpture and painting: sculpture
is a truth; a blind man could realize that, but painting is a lie and a falsehood; one is the work of the devil, the
other of the almighty, Who was Himself a sculptor, having made man from clay, not in a moment like a
painter, but rather after the manner of sculptors. This remark is recorded in a diary kept by Paul de Chantelou,
one of the maitres-d’hotel at the court of the young Louis XIV, who was Bernini’s guide and companion in
France. See Chantelou, Diary of the Cavaliere Bernini’s Visit to France, trans. Margery Corbett (Princeton:
Princeton University Press, 1985), 258-9.
Bernini related sculpture to the blind man’s touch in a disquisition to the Venetian ambassador on the 6th of
October 1665: “Then he explained to the ambassador the difference between sculpture and painting: sculpture
is a truth; a blind man could realize that, but painting is a lie and a falsehood; one is the work of the devil, the
other of the almighty, Who was Himself a sculptor, having made man from clay, not in a moment like a
painter, but rather after the manner of sculptors. This remark is recorded in a diary kept by Paul de Chantelou,
one of the maitres-d’hotel at the court of the young Louis XIV, who was Bernini’s guide and companion in
France. See Chantelou, Diary of the Cavaliere Bernini’s Visit to France, trans. Margery Corbett (Princeton:
Princeton University Press, 1985), 258-9.
Bernini related sculpture to the blind man’s touch in a disquisition to the Venetian ambassador on the 6th of
October 1665: “Then he explained to the ambassador the difference between sculpture and painting: sculpture
is a truth; a blind man could realize that, but painting is a lie and a falsehood; one is the work of the devil, the
other of the almighty, Who was Himself a sculptor, having made man from clay, not in a moment like a
painter, but rather after the manner of sculptors. This remark is recorded in a diary kept by Paul de Chantelou,
one of the maitres-d’hotel at the court of the young Louis XIV, who was Bernini’s guide and companion in
France. See Chantelou, Diary of the Cavaliere Bernini’s Visit to France, trans. Margery Corbett (Princeton:
Princeton University Press, 1985), 258-9.
Bernini related sculpture to the blind man’s touch in a disquisition to the Venetian ambassador on the 6th of
October 1665: “Then he explained to the ambassador the difference between sculpture and painting: sculpture
is a truth; a blind man could realize that, but painting is a lie and a falsehood; one is the work of the devil, the
other of the almighty, Who was Himself a sculptor, having made man from clay, not in a moment like a
painter, but rather after the manner of sculptors. This remark is recorded in a diary kept by Paul de Chantelou,
one of the maitres-d’hotel at the court of the young Louis XIV, who was Bernini’s guide and companion in
France. See Chantelou, Diary of the Cavaliere Bernini’s Visit to France, trans. Margery Corbett (Princeton:
Princeton University Press, 1985), 258-9.
Bernini related sculpture to the blind man’s touch in a disquisition to the Venetian ambassador on the 6th of
October 1665: “Then he explained to the ambassador the difference between sculpture and painting: sculpture
is a truth; a blind man could realize that, but painting is a lie and a falsehood; one is the work of the devil, the
other of the almighty, Who was Himself a sculptor, having made man from clay, not in a moment like a
painter, but rather after the manner of sculptors. This remark is recorded in a diary kept by Paul de Chantelou,
one of the maitres-d’hotel at the court of the young Louis XIV, who was Bernini’s guide and companion in
France. See Chantelou, Diary of the Cavaliere Bernini’s Visit to France, trans. Margery Corbett (Princeton:
Princeton University Press, 1985), 258-9.
Bernini related sculpture to the blind man’s touch in a disquisition to the Venetian ambassador on the 6th of
October 1665: “Then he explained to the ambassador the difference between sculpture and painting: sculpture
is a truth; a blind man could realize that, but painting is a lie and a falsehood; one is the work of the devil, the
other of the almighty, Who was Himself a sculptor, having made man from clay, not in a moment like a
painter, but rather after the manner of sculptors. This remark is recorded in a diary kept by Paul de Chantelou,
one of the maitres-d’hotel at the court of the young Louis XIV, who was Bernini’s guide and companion in
France. See Chantelou, Diary of the Cavaliere Bernini’s Visit to France, trans. Margery Corbett (Princeton:
Princeton University Press, 1985), 258-9.
Bernini related sculpture to the blind man’s touch in a disquisition to the Venetian ambassador on the 6th of
October 1665: “Then he explained to the ambassador the difference between sculpture and painting: sculpture
is a truth; a blind man could realize that, but painting is a lie and a falsehood; one is the work of the devil, the
other of the almighty, Who was Himself a sculptor, having made man from clay, not in a moment like a
painter, but rather after the manner of sculptors. This remark is recorded in a diary kept by Paul de Chantelou,
one of the maitres-d’hotel at the court of the young Louis XIV, who was Bernini’s guide and companion in
France. See Chantelou, Diary of the Cavaliere Bernini’s Visit to France, trans. Margery Corbett (Princeton:
Princeton University Press, 1985), 258-9.
Bernini related sculpture to the blind man’s touch in a disquisition to the Venetian ambassador on the 6th of
October 1665: “Then he explained to the ambassador the difference between sculpture and painting: sculpture
is a truth; a blind man could realize that, but painting is a lie and a falsehood; one is the work of the devil, the
other of the almighty, Who was Himself a sculptor, having made man from clay, not in a moment like a
painter, but rather after the manner of sculptors. This remark is recorded in a diary kept by Paul de Chantelou,
one of the maitres-d’hotel at the court of the young Louis XIV, who was Bernini’s guide and companion in
France. See Chantelou, Diary of the Cavaliere Bernini’s Visit to France, trans. Margery Corbett (Princeton:
Princeton University Press, 1985), 258-9.
Bernini related sculpture to the blind man’s touch in a disquisition to the Venetian ambassador on the 6th of
October 1665: “Then he explained to the ambassador the difference between sculpture and painting: sculpture
is a truth; a blind man could realize that, but painting is a lie and a falsehood; one is the work of the devil, the
other of the almighty, Who was Himself a sculptor, having made man from clay, not in a moment like a
painter, but rather after the manner of sculptors. This remark is recorded in a diary kept by Paul de Chantelou,
one of the maitres-d’hotel at the court of the young Louis XIV, who was Bernini’s guide and companion in
France. See Chantelou, Diary of the Cavaliere Bernini’s Visit to France, trans. Margery Corbett (Princeton:
Princeton University Press, 1985), 258-9.
Bernini related sculpture to the blind man’s touch in a disquisition to the Venetian ambassador on the 6th of
October 1665: “Then he explained to the ambassador the difference between sculpture and painting: sculpture
is a truth; a blind man could realize that, but painting is a lie and a falsehood; one is the work of the devil, the
other of the almighty, Who was Himself a sculptor, having made man from clay, not in a moment like a
painter, but rather after the manner of sculptors. This remark is recorded in a diary kept by Paul de Chantelou,
one of the maitres-d’hotel at the court of the young Louis XIV, who was Bernini’s guide and companion in
France. See Chantelou, Diary of the Cavaliere Bernini’s Visit to France, trans. Margery Corbett (Princeton:
Princeton University Press, 1985), 258-9.
Bernini related sculpture to the blind man’s touch in a disquisition to the Venetian ambassador on the 6th of
October 1665: “Then he explained to the ambassador the difference between sculpture and painting: sculpture
is a truth; a blind man could realize that, but painting is a lie and a falsehood; one is the work of the devil, the
other of the almighty, Who was Himself a sculptor, having made man from clay, not in a moment like a
painter, but rather after the manner of sculptors. This remark is recorded in a diary kept by Paul de Chantelou,
one of the maitres-d’hotel at the court of the young Louis XIV, who was Bernini’s guide and companion in
France. See Chantelou, Diary of the Cavaliere Bernini’s Visit to France, trans. Margery Corbett (Princeton:
Princeton University Press, 1985), 258-9.
Bernini related sculpture to the blind man’s touch in a disquisition to the Venetian ambassador on the 6th of
October 1665: “Then he explained to the ambassador the difference between sculpture and painting: sculpture
is a truth; a blind man could realize that, but painting is a lie and a falsehood; one is the work of the devil, the
other of the almighty, Who was Himself a sculptor, having made man from clay, not in a moment like a
painter, but rather after the manner of sculptors. This remark is recorded in a diary kept by Paul de Chantelou,
one of the maitres-d’hotel at the court of the young Louis XIV, who was Bernini’s guide and companion in
France. See Chantelou, Diary of the Cavaliere Bernini’s Visit to France, trans. Margery Corbett (Princeton:
Princeton University Press, 1985), 258-9.
Bernini related sculpture to the blind man’s touch in a disquisition to the Venetian ambassador on the 6th of
October 1665: “Then he explained to the ambassador the difference between sculpture and painting: sculpture
is a truth; a blind man could realize that, but painting is a lie and a falsehood; one is the work of the devil, the
other of the almighty, Who was Himself a sculptor, having made man from clay, not in a moment like a
painter, but rather after the manner of sculptors. This remark is recorded in a diary kept by Paul de Chantelou,
one of the maitres-d’hotel at the court of the young Louis XIV, who was Bernini’s guide and companion in
France. See Chantelou, Diary of the Cavaliere Bernini’s Visit to France, trans. Margery Corbett (Princeton:
Princeton University Press, 1985), 258-9.
Bernini related sculpture to the blind man’s touch in a disquisition to the Venetian ambassador on the 6th of
October 1665: “Then he explained to the ambassador the difference between sculpture and painting: sculpture
is a truth; a blind man could realize that, but painting is a lie and a falsehood; one is the work of the devil, the
other of the almighty, Who was Himself a sculptor, having made man from clay, not in a moment like a
painter, but rather after the manner of sculptors. This remark is recorded in a diary kept by Paul de Chantelou,
one of the maitres-d’hotel at the court of the young Louis XIV, who was Bernini’s guide and companion in
France. See Chantelou, Diary of the Cavaliere Bernini’s Visit to France, trans. Margery Corbett (Princeton:
Princeton University Press, 1985), 258-9.