The History of Italian Painting. Luigi Lanzi
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occurrence in the fine arts,[22] nor does it militate against an historian who aims more at fidelity of narrative, and impartiality of public opinion, than the discussion of the relative merit or correctness of tastes.
My work is divided into six volumes; and I commence by treating in the two first volumes of that part of Italy, which, through the genius of Da Vinci, Michelangiolo, and Raffaello, became first conspicuous, and first exhibited a decided character in painting. Those artists were the ornaments of the Florentine and Roman schools, from which I proceed to two others, the Sienese and Neapolitan. About the same time Giorgione, Tiziano, and Coreggio, began to flourish in Italy; three artists, who as much advanced the art of [Pg xxxviii]colouring, as the former improved design; and of these luminaries of Upper Italy I treat in the third and fourth volumes; since the number of the names of artists, and the many additions to this new impression, have induced me to devote two volumes to their merits. Then follows the school of Bologna, in which the attempt was made to unite the excellences of all the other schools: this commences the fifth volume; and on account of proximity it is succeeded by that of Ferrara, and Upper and Lower Romagna. The school of Genoa, which was late in acquiring celebrity, succeeds, and we conclude with that of Piedmont, which, though it cannot boast so long a succession of artists as those of the other states, has merits sufficient to entitle it to a place in a history of painting. Thus the five most celebrated schools will be treated of in the order in which they arose; in like manner as the ancient writers on painting began with the Asiatic school, which was followed by the Grecian, and this last was subdivided into the Attic and Sicyonian; to which in process of time succeeded the Roman school.[23] The sixth and last volume contains an ample index to the whole, quite indispensable to render the work more extensively useful, and to give it its full advantage. In assigning artists to any school I have paid more regard to other circumstances than the place of their nativity; to their education, their style, their place of residence in particular, and the instruction of their pupils: circumstances, indeed, which are sometimes found so blended and confused, that several cities may contend for one painter, as they are said to have done for Homer. In such cases I do not pretend to decide; the object of my labours being only to trace the vicissitudes of the art in various places, and to point out those artists who have exercised an influence over them; not to determine disputes, unpleasant in themselves, and wholly foreign to my undertaking.
[2] See Algarotti, Saggio sopra la Pittura, in the chapter Della critica necessaria al Pittore.
[3] For this fault, which the Greeks used to call Acribia, Pascoli has been sharply reproved. He has, in fact, informed us which among the several artists could boast a becoming and proportionate nose, which had it short or long, aquiline or snubbed, very sharp or very hollow. He most generally observes that such an artist was neither tall nor large of stature, neither handsome nor plain in his physiognomy; and who would have thought it worth his while to inquire about it? The sole utility that can possibly attend such inquiries is, the chance of detecting some impostor, who might attempt to palm upon us for a genuine portrait the likeness of some other individual. Engravings, however, are the best security against similar impositions.
[4] In the Magasin Encyclopédique of Paris, (An. viii. tom. iv. p. 63), there is a work in two volumes, edited in the German language at Gottingen, announced as well as commended. The first volume is dated 1798, the second 1801, from the pen of note the learned Sig. Florillo, the title of which we insert in the second index. It consists of a history of painting upon the plan of the present one; but there is some variation in the order of the schools.
[5] It was finished in the year 1796, and it is now given, with various additions and corrections throughout. Many churches, galleries, and pictures, are here mentioned which are no longer in existence; but this does not interfere with its truth, inasmuch as the title of the work is confined to the beforementioned year. Numerous friends have lent me their assistance in the completion of this edition, and in particular the cavalier Gio. de' Lazara, a gentleman of Padua, who possesses a rich collection, both in books and MSS., and displays the utmost liberality in affording others the use of them. To this merit, in regard to the present work, he has likewise added that of revising and correcting it through the press, a favour which I could not have more highly estimated from any other hand, deeply versed as he is in the history of the fine arts.
[6] "Ut enim pictores, et qui signa faciunt, et vero etiam poetæ suum quisque opus à vulgo considerari vult, ut si quid reprehensum sit à pluribus id corrigatur … sic aliorum judicio permulta nobis et facienda et non facienda, et mutanda et corrigenda sunt." Cicero De Officiis, ii. c. 41.
[7] Treatise on Painting, tom. ii. p. 166.
[8] Opere, tom. ii. p. 108.
[9] A learned Venetian, skilled in the practice of design and of painting. He must not be confounded with Antonio Maria Zanetti, an eminent engraver, who revived the art of taking prints from wooden blocks with more than one colour, which was invented by Ugo da Carpi, but afterwards lost. He also wrote works, serviceable to the fine arts; and several of his letters may be seen in the second volume of Lettere Pittoriche. They are subscribed Antonio Maria Zanetti, q. Erasmo; but this is an error of the editor: it ought to be q. Girolamo, to distinguish him from the other, who was called del q. Alessandro. This mistake was detected by the accurate Vianelli, in his Diario della Carriera, p. 49.
[10] An amateur, who happens to be unacquainted with the fact, that there were various artists of the same name, as the Vecelli, Bassani, and Caracci, will never become properly acquainted with these families of painters; neither will he be competent to judge of certain pictures, which only attract the regard of the vulgar, because they truly boast the reputation of a great name.
[11] I do not admit this principle. Horace laid it down for the art of poetry alone, because it is a faculty that perishes when it ceases to give delight. Architecture, on the other hand, confers vast utility when it does not please, by presenting us with habitations; and painting, and sculpture, by preserving the features of men, and illustrious actions. Besides, let us recollect, that Horace denounces the production of inferior verses, because there is not space enough for them; "Non concessere columnæ," but it is not so with paintings of mediocrity. In any country Petrarch, Ariosto, and Tasso, may be read, and he who has never read a poor poet, will write better than if he had read a hundred. But it is not every one who can boast either in the houses or temples of his country, of possessing the works of good artists; and for purposes of worship or of ornament, the less excellent ones may suffice; wherefore these also produce some advantage.
[12] Like one who thinks of some other person than he that is before him.
[13] For the improvement of my latest edition, I am greatly indebted to the Prince Filippo Ercolani, who, having purchased from the heirs of Signor Marcello Oretti fifty-two manuscript volumes, which that indefatigable amateur, in the course of his studies, journeys, and observations, had compiled respecting the professors of the fine arts, their eras, and their labours, allowed materials to be drawn from them for various notes, by the Sig. Lazara, who superintended the edition. To the devoted attachment of these gentlemen to the fine arts, the public are indebted