The History of Italian Painting. Luigi Lanzi
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one of which is so perfect as to leave us nothing more to desire; no one so faulty that it has not much in it to commend. The Florentine school (I do not speak of its greatest masters, but of the general practice of the others) had no great merit in colouring, from which Mengs was induced to denominate it a melancholy school; nor did it excel in its drapery, from which arose the saying, that the drapery of figures appeared to be fashioned with economy in Florence.
It did not shine in power of relief, a study not generally cultivated till the last century, nor did it exhibit much beauty, because, long destitute of fine Grecian statues, Florence was late in possessing the Venus: and only through the attention of the Grand Duke Leopold, has been enriched by the Apollo, the group of Niobe, and other choice specimens. From these circumstances this school aimed only at a fidelity of representation that resembles the works of those who copied exactly from nature, and in general made a judicious selection of its objects. It could not boast of superior grouping in the composition of a picture, and it was more inclined to erase a superfluous figure, than to add one unnecessarily to the rest. In grace, in design, and in historic accuracy, it excels most other schools; chiefly resulting from the great learning that always adorned this city, and invariably gave a bias to the erudition of her artists.
Design forms the peculiar excellence of this school, and its hereditary patrimony, to which the national characteristic of minute correctness has greatly contributed; and it may justly be observed, that this people has excelled others no less in the symmetrical delineation of the figure, than in purity of idiom. It may also boast of having produced a great many excellent painters in fresco; an art so superior to that of painting in oil, that Bonarruoti looked on the latter as mere sport, when compared with the former, as it necessarily requires great dexterity, and the talent of executing well and with rapidity, very difficult attainments in any profession. This school had but few engravers on copper, from which circumstance, though abounding in historians,[128] and rich in paintings, it has not a sufficient number of prints to make it known in proportion to its merit; a defect which the Etruria Pittrice has in some measure supplied. Finally, the reader may indulge in this very just reflection, that the Florentine school first taught the method of proceeding scientifically, and according to general rules. Some other schools have originated in an attentive consideration of natural effects; by mechanically imitating, if we may be allowed the expression, the external appearances of objects. But Vinci and Bonarruoti, the two great luminaries of this school, like true philosophers pointed out the immutable objects and established laws of nature, thence deducing rules which their successors, both at home and abroad, have followed with great benefit to the art. The former has left a Treatise on Painting, and the public were induced to look for the publication of the precepts of the latter, which have however never yet been produced;[129] and we obtain some idea of his maxims only from Vasari, and other writers. About this time also flourished Fra Bartolommeo, Andrea del Sarto, Rosso, the young Ghirlandaio, and other artists, whom we shall name in the sequel of this grand epoch, which unfortunately was of short duration. Towards the middle of the sixteenth century, when Michelangiolo, who survived the other great artists, was still living, a less auspicious era began; but we must proceed with this epoch.
Lionardo da Vinci, so called from a castle in lower Valdarno, was the natural son of one Pietro, notary to the Florentine republic, and was born in 1452.[130] He was endowed by nature with a genius uncommonly elevated and penetrating, eager after discovery, and diligent in the pursuit; not only in what related to the three arts dependant on design, but in mathematics, in mechanics, in hydrostatics, in music, in poetry, and also in the accomplishments of horsemanship, fencing, and dancing. He was so perfect in all these, that when he performed any one, the beholder was ready to imagine that it must have been his sole study. To such vigour of intellect he joined an elegance of features and of manners, that graced the virtues of his mind. He was affable with strangers, with citizens, with private individuals, and with princes, among whom he long lived on a footing of familiarity and friendship. On this account, says Vasari, it cost him no effort always to behave and to live like a man of high birth.
Verrocchio taught him painting; and as we have said, while still a youth, he surpassed his master. He retained traces of his early education through his whole life. Like Verrocchio, he designed more readily than he painted; he assiduously cultivated mathematics; in his design and in his countenances, he prized elegance and vivacity of expression, more than dignity and fulness of contour; he was very careful in drawing his horses, and in representing the skirmishes of soldiers; and was more solicitous to improve the art than to multiply his pictures. He was an excellent statuary, as is demonstrated by his S. Tommaso in Orsanmichele at Florence, and by the horse in the church of S. John and S. Paul at Venice. Vinci not only modelled in a superior manner the three statues cast in bronze by Rustici, for the church of S. John at Florence, and the colossal horse at Milan, but assisted by this art, he gave that perfect relief and roundness, in which painting was then wanting. He likewise imparted to it symmetry, grace, and spirit; and these and his other merits gave him the title of the father of modern painting,[131] though some of his works, as was observed by Mariette, participate, in some degree, in the meanness of the old school.
He had two styles, the one abounded in shadow, which gives admirable brilliancy to the contrasting lights; the other was more quiet, and managed by means of middle tints. In each style, the grace of his design, the expression of the mental affections, and the delicacy of his pencil, are unrivalled. Every thing is lively in his paintings, the foreground, the landscape, the adventitious ornaments of necklaces, flowers, and architecture; but this gaiety is more apparent in the heads. In these he purposely repeats the same idea, and gives them a smile which delights the mind of a spectator. He did not, however, consider his pictures as complete, but from a singular timidity,[132] often left them imperfect, as I shall more fully state under the Milanese school. There he will appear with the dignity of a consummate master, and a portion of his fame must at present suffice for his native school.
The life of Lionardo may be divided into four periods, the first of which includes the time he remained at Florence, while still a young man. To this era may be referred, not only the Medusa of the royal gallery, and the few pieces mentioned by Vasari; but some others also, less powerful in the shadows, and less diversified in the folds of the drapery, and which present some heads more delicate than select, and apparently derived from the school of Verrocchio. Such is the Magdalen of the Pitti palace at Florence, and that of the Aldobrandini palace at Rome; some Madonnas and Holy Families which are in several collections, as in the Giustiniani and Borghese galleries; and some heads of the Redeemer and of the Baptist, which are to be seen in various places; although it is often reasonable to suspend our judgment in regard to the genuineness of such pieces, on account of the great number of Lionardo's imitators. The child, laid in a bed richly ornamented, enveloped in its clothes, and adorned with a necklace, which is in the house of his excellency the Gonfaloniere of Bologna, is of a different class, and of undoubted originality.
After this first period, Lionardo was brought to Milan by Lodovico Sforza, "whom he highly gratified by his performance on the lyre; a curious and new instrument, almost entirely of silver," which Lionardo carried with him, and had constructed with his own hands. All the musicians there assembled were vanquished, and the whole city being struck with admiration of his extemporaneous poetry, and his eloquence, he was retained by the prince, and remained there till 1499, engaged in abstruse studies, and in mechanical and hydrostatical labours for the service of the state. During this time he painted little, except the celebrated Last Supper; but by superintending an academy of the fine arts, he left a degree of refinement in Milan, which was so productive of illustrious pupils, that this period may be reckoned the most glorious era of his life.
After the misfortunes of Lodovico Sforza, he returned to Florence, where having remained thirteen years, he went to Rome at the time his patron Leo X. ascended the papal chair; but his stay there was short. Some of his best works at Florence may be referred to this period; among which number we may