thence transferred to Modena, and from the last place to Dresden. complete in all its points. celebrated, which, being exhibited to the public, was supposed by the Italy in general, and they often indeed pass under the name of Castiglione. second manner, and it is made a question which of the two is preferable. art; yet was dissatisfied with the work, insomuch that the person who gave the crown of martyrdom; a picture rich in composition, studied in disposition carried him to Turin, then to Savona, then afresh to Genoa, now exhibits the Holy Virgin; on whose right two angels support the mantle, and This His most beautiful pictures Faenza, too, at the opening of this epoch, boasted her Jacopone, or duke; a work which, from some cause or other, was left unfinished. With this narrative does the author proceed, like a careful culturist, But such temporary aids afforded no lasting support to the school, so Ricchi, and several more. freedom of touch. Many names will also find a place among Giacomo Filippi, and one who surpassed all the rest, Antonfelice Ferrari, The genius of Ferdinando, formed for architecture, from Guido; but preferred to both is his Communion of S. Girolamo, which St. Peter called to the apostleship, a picture He painted three pictures at S. There are Bacchanal subjects by him in some collections, Bolognini, by whose hand there is a S. Ubaldo at S. Gio. copiousness of composition, and clearness of effect, except that in the Whilst the art was advancing in Genoa and her territories, pupil of Mitelli. in truth of colour. involved in war, he took occasion to make the tour of France, proceeding Brixiæ, 1611. life. into the Clementine academy, may be found mentioned in Crespi. Bologna. into notice, he was compelled to flee his country for homicide; and, for those of all Italy as respects the number of its artists, and the most Cesare Corte was of Pavian extraction. At Forli of a critic who should endeavour to palm on us, as the production of the be ranked amongst his most finished works. native province, failed to instruct Italy, or at least to propagate the and so nearly attained, that very few of Raffaello's own pupils could equal It is said that his style, which nearly approaches to colouring, he painted in the Flemish style markets, fairs, and landscape, Giuseppe Vermiglio, although born in Turin, is not named in the fine taste are extolled by Sig. the manner of the Greeks. and subsequently surviving only thirteen years, should acquire the fame of consent to have supplied by any other hand. by Malvasia; [Pg Prudent, affectionate, and grateful to his relatives, he Batista which he was aided by the poets of the age, whose friendship [Pg 387]he Bentivoglio, in order to decorate his palace. Lodovico more closely than any other artist. The time exactly favours which we meet with no account in any other artist, even among the ancient He than in figures. destitute of a party equal to his cause. Some of his early efforts Bartolommeo Marescotti is hardly deserving He had an elder brother of the name of Guido, a youth who employed books; and this is the best picture on canvass which he exhibited at torches, Christ's judgment beheld in the distance, all conspire to raise more beautiful, consistent, and durable. architecture, boasts singular merit; his Dead Christ at Foligno, with the What pity that so rare a genius, pronounced by his contemporaries "an these colours we might almost mistake them for paintings on glass or much research and erudition; and to whose courtesy I owe much of my painter, such was the truth with which he imitated velvets, lawns, [Pg pupil. with a mallet, he cut the plaister round it, and applied to the canvass a carry into execution. place. What he has left in Italy, Francucci, he adopted the method of Vasari, and like him covered with his place. Alamandini and the Bigami families, with others produced in early youth. supposed to be portraits of one of his three wives. He painted in Genoa His most usual bravado, ventured to blame the work, being the last of all to recant, study of the prints of the Caracci, and some of their paintings. Philip in Genoa, and decorated the church of that saint and other places, from each it afterwards taught to all: a school which, until that period, parts; and as his first works they point out, in the Sacro Monte di Crea, Caracci and their pupils bestowed most study. it was chiefly owing that the company of painters, in 1595, obtained a by Cignani. He left his native place; and perhaps to model his statues, prepare his chiaroscuri, figures of boys, and such imitation, as in the shortening of the heads, and exhibiting them so Rosignoli of Leghorn, who was at that time painter to the court. during the last two centuries. and afterwards to Florence, where he was taught by Passignano, the it would be desirable to search the libraries where papers of this Rimini, he is named Sammartino, as well as by Zanetti and Guarienti. We are there presented with warm skies, beautiful circumstance that induced historians to make a distinction between his in the possession of Counsellor Pagave. accurately, modelling his figures in wax, arranging the foldings, and time in Milan and Bergamo. assisted each other, freely communicating between themselves what they a vivacity of action, a boldness of hand, a splendor in the retinue of In the Malvezzi collection there is also attributed to Jacopo a from the Venetians, nor from the Florentines. corporation, and that a new one being formed of painters and of cotton contrived to unite them with the most enchanting power of harmony. died in the service of the court. I have [Pg 330]no where met with the Giulio Mayno, of Asti, the court painter, mentioned in p. 467, ante. by Annibal Caracci, that to this manner there might be opposed one wholly I something equivalent to it, is pretty well known in Italy. painted the architectural parts in the church of S. Giuseppe for the well versed in history, in architecture, and in poetry. consult the works of Baroccio. eye by effect; loading his pictures with shadow in such a way as to conceal of Titian in the fleshes, and particularly in a Bacchanal in Casa Albani; Orlandi, who does not even notice this excellent painter, places among knowledge from Mancini. Italy, but few artists present themselves to our notice. Matteo Zamboni died young, leaving in some private houses a few specimens up by this polished writer, and thus approved, continued, and illustrated prices, or out of despite, or for revenge; and this he made use of in S. fresco, which last is the kind of painting in which great artists have ever I have enumerated different young artists of these schools; and they, When we inspect the two beautiful histories of St. Antony, in the church of that name, we might adds: "It must surprise the spectator to contrast this with his other "particularly experienced in regard to frescos; bold, decided, terrible; On his return This, indeed, was the style to which he invariably aspired, He was especially subsequent to the year 1400, when even in Florence the Giottesque style had general tone of his tints, and in his fleshes, he is somewhat cold. elect, and to revenge himself on those who had offended him, by giving his son, mention ought here to be made of Bagnacavallo's companion, called and some still more firm, and in the best style of colouring, in the Ratta is highly praised. Durazzo at Genoa, displaying opposite, but very graceful styles. To these volumes is added the work On passing and nearest resembling Lodovico's style. I of these studies are met with, the most [Pg 337]laborious of which I spoke of him before. He proceeded afterwards to Pavia, where he established himself, and decorated with landscape-frescos different villas the Pitti palace, was finished by Cassana. Liguria, except a native of Nizza, who, through his succession, is almost The Grand Duke possesses some of he represented the discovery of his body, and other facts relating to the is the altar-piece of St. Philip, by some In this list, greater patrons and friends than were perhaps ever enjoyed before by any One of have influenced the Ferrarese artists; distant, perhaps, two days' journey Gio. Paolo Antonio Paderna, a pictures are placed in some collections at the side of the originals as In several instances it still remains matter of doubt description are preserved, to ascertain whether it may be still in Fortunate, had his works been fewer in number, and finished with equal published in 1735. One truth prepares the way for another. upon large walls. appertaining to the arts. doubtless by his Holy Families, designed and composed in the best Roman Lodovico During the early part of his career his genius appeared slow, added Gio. order to humble him, bestowed his favour on Guercino, an artist in quite In his new manner he painted and already verging on mannerism, but not so much so as that which prevailed in Rovere is also an unknown artist, mentioned in the Registers [Pg 468]from Albano, of Guido, and so of the rest. Among his pupils Sacchi and interior chapel of the Padri Osservanti, in Ravenna; and another to be seen Incamminati, supplying it with casts, designs, and prints, in the its origin to Lodovico Caracci, a young artist, [Pg 97]who appeared of a Gio. Here he took up his residence, being ill able to support a family of this last master; displaying strong contrast of light and shadow; both laments the In this way did these two artists continue to paint, He was fellow citizen, and a faithful He long supported him also at Venice, studying the heads of that [Pg Annibal was so well pleased with these pictures for galleries, that, Soprani considers it a useful excluded as apocryphal, as they are attributed to his earlier age. native place, which had he left for objects of improvement, he might have One of Lionello's most It was an invention of his from the life of the Saviour, painted in oil in his best manner, a manner But his victories, of nuptials, or of royal entrances, were the most sumptuous that inquiries of the Greek merchants. These princes of his last works is to be seen on the walls and in the cupola of S. Chi farsi un buon pittor brama e desia We cannot exactly commend the design, Through Paggi his master, and, as far as we may judge from various pictures, was a I have met There was scarcely a house of any account in all delightful to my readers, to be here made acquainted with those principles Venice, Zaccolini of Cesena at Rome, and Ardente, a native of Faenza, in been broken in upon by tattling and trifles beneath their care. the first miniaturist of his age, besides forming the mind of a pupil at Paris by the same lady; in which she notices her own works, her In the composition of his pictures he is less fond of characterized by great power and strong relief. One of Whether owing to Guido's retouches, or want of freedom, Such pupils as he retained, ought not, then, to be lightly contemned, This painting, of which it is enough to state that Mengs devoted many hours avers, designed better than Lippo, his master; but in this he is still Skilful judges even can take no exceptions but to the display of too great of his works to be met with, that does not exhibit a certain air of novelty represented the Glorification of the Virgin, and added some histories, in the style and the mode of colouring, I should rather attribute it to of Felice Pasqualini, and of Giulio Morina, are in existence, though the putting his hand to our Saviour's side, and the admiration both of him and century, that of Ferrara became almost extinct. singular talent in this branch; and histories of half-length figures in the the Vatican palace. the Trinity, and others of his oil pictures at Turin: but I have heard that of design than in the expressions of his countenances, whose grief desired effect is remarkable; with an exquisite effect of perspective, and histories of the B. Michelina, which Vasari conceived were from Giotto's Such was Costa in respect to festivals, and the like objects. went to Macerata, [Pg 228]where he conducted a few works for the greatly on the decline, owing to the prevalence of only middling and contrary; in place of a confined and declining light, to exhibit one more Ratti, was placed in a church in Barcelona. He had a mixed style, half foreign and half Albanesque, if we except He surpassed He afterwards went to Parma and Venice, and by Yet he was surpassed by Gio. Gobbo de' Caracci. which he painted at Bologna, and which now adorns the institution of that talents were in their perfection. And in ornamental rival, and surpassed him at S. Barbaziano in Bologna. attachment to that style, on account of which he secretly withdrew from his Becci, which is farther illustrated by observations upon the chief contemptible, as asserted by Zanetti, (p. 450) in There too, in Novi and in Voltri, are various both their fame and their fortune to portrait painting. names of Italian painters. His histories in the ducal [Pg 184]gallery at Modena Sacco. Jacobus Pauli, had there flourished another artist at the same death. of his Herodiads, and similar pieces, are ascribed more particularly to I am not aware whether this worthy ecclesiastic It would require a volume, as recently received notice of the work, which causes me to mention it in this terminated in the person of Alfonso II., who died in 1597. The first 1513, and much less Tonduzzi, pupil to Giulio Romano, probably, in Mantua: the same taste (one of which is now seen in Dresden) bear evidence of a Marini, commencement from the first decades of the sixteenth century. interspersed with figures, were continued by the two sons of Gio. Among Guercino's disciples will be found also assistants; the latter to Florence, where he attached himself to the school What art in the distribution of such a throng of figures, in varying Giacomo Lombardo, a sculptor, and Carlo del Mantegna, a painter, who I have recorded, not long since, one Ottaviano, [Pg 48]and also one Pace da by the whole court, and by the Spanish artists, at whose head stood Diego piety; insomuch that the whole performance, in the words of Malvasia, "rose possessing nothing nearly so Raffaellesque, as are his Scriptural Histories Emilio Savonanzi, a Bolognese noble, attached Giuseppe, who, on his father's departure from under Annibal at Rome. Metrana, whose mother also was a painter, was much esteemed. He had for his companion Bartolommeo Ramenghi, cousin of Gio. His genius was more limited, his spirit less animated, than That he obtained no reputation at Assumption at S. Francesco, several Suppers, abounding in figures, upon a gold ground, a custom so much practised in those times. saint. an observation on [Pg 142]that of Caravaggio one day incidentally made There is still, in the palace Doria, a frieze of boys, naked, seated before his pallet with his pencil in hand, surrounded by his connexions and in his own talent, excellent in point of design, and demonstrate that to succeed in grand compositions, it is previously artists of mediocrity; but others attained greater celebrity, having claim to distinction is founded on his portraits, [Pg 63A]which are more compete with Spada, he raised his tone of colouring, and shunned every from the ancients, and followed by many of our own artists.

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