The History of Italian Painting. Luigi Lanzi
Читать онлайн книгу.
of illustrious men, by transmitting to us many of their portraits, to which he also lent his hand. To them we owe numerous duplicates of his most celebrated pictures, which are scattered through Florence, and over all Italy; more especially of that Judith, so beautifully and magnificently attired, which is a portrait of his mistress; while her mother appears in the character of Abra, and the head of Holofernes is that of the painter, who permitted his beard to grow a considerable time for this purpose. Zanobi Rosi lived to a later period, and finished some pieces that were left imperfect by the death of Cristofano; but he never obtained the praise of invention. The name of Giovanni Batista Vanni is superior to any other scholar of the school of Allori. The Pisans claim him as their countryman; Baldinucci assigns him to Florence. After taking lessons from Empoli and other masters, he attended Allori for six years; and whilst he imitated this master admirably in colouring, and rivalled him in design, he also imbibed his lessons of intemperance. Had he conducted himself with more propriety, and adhered more to fixed principles, the genius he possessed might have raised him to more celebrity. He visited the best schools of Italy, and copied on the spot, or at least designed, the choicest productions of each. Many praise some of his copies of Tiziano, of Correggio, and of Paolo Veronese: from the works of the two last he likewise made etchings. Notwithstanding such studies his colouring degenerated, and he became so much a mannerist, that he has not left behind him a truly classical work. The S. Lorenzo in the church of S. Simone, which is reckoned the masterpiece of Vanni, has nothing uncommon, except it be that the light of the fire invests the spectators, and gives the picture novelty and surprising harmony.
Jacopo da Empoli, a scholar of Friano, retains in most of his works the stamp of his early education; but he adopted a second manner which is not deficient in fulness of design, nor in elegance of colouring. Such is his S. Ivo, which, among painters of great name in a cabinet of the ducal gallery, surprises most strangers more than the other pictures. He executed other works on similar principles, from which we might infer that he belongs to an era favourable to the art. Painters cannot, like authors, amend the first on a second edition of the same subject: their second editions, by which they should be judged, pass as other pictures superior to their first performances. Two of Jacopo's pictures in fresco are commended by Moreni (tom. ii. p. 113), one belonging to the Certosa, the other to the monastery of Boldrone; both which prove the extent of his ability in this branch of the art; but after the period of his fall from the scaffolding in the Certosa, he abandoned this method and devoted himself wholly to painting in oil. Empoli gave all the beauty and fine effect of large works to those pleasing pictures he painted for private individuals, and in this style he was very successful.
This artist taught Vanni the principles of painting; but his greatest pupil was Felice Ficherelli; a man of the most indolent disposition, lazy in every occupation, and, as if afraid of disturbing his tongue, usually silent unless when asked a question: hence he was named Felice Riposo by the Florentines. He executed few pictures; but what proceeded from his studio may be held up as an example of industry in the art; simple, natural, and studied, without appearing to be so. There is a picture of S. Anthony by him in S. Maria Nuova, where he seems to have been directed by his intimate friend Cristofano, whose work it strongly resembles. He is rare in collections; but always makes a good figure there by his graceful design, his full body of colouring, and his softness. The Adam and Eve driven out of Paradise, in the gallery of the Rinuccini palace, is worthy such a collection. He copied Pietro Perugino, Andrea del Sarto, and some other masters so well, that his work might pass for the originals; and to this employment we may chiefly attribute the exquisite finish of his pictures.
To this period we may assign some other artists, who, from whatever cause, are, perhaps, less commended by historians than they deserve. Of this number is Giovanni Martinelli, of whom there is a capital work in the Conventualists of Pescia, viz. the Miracle of S. Anthony, a subject mentioned a little above, as having been also executed by Cigoli. His Feast of Belshazzar, in the ducal gallery at Florence, and his Guardian Angel at S. Lucia de' Bardi, are pictures of note, but inferior to that at Pescia. Of the same class also is Michel Cinganelli, a scholar of Poccetti, who was employed in the metropolitan church of Pisa, where he ornamented the corbels of the cupola, and strove to emulate the best Tuscan artists of his age in an historical picture of Joshua. Such is Palladino, mentioned in the Guide of Florence in reference to a S. Giovanni Decollato; a work deserving notice, for its freedom from the beaten track of his school. He seems to have studied the Lombard more than native artists, and to have been acquainted with Baroccio. I saw his altar-piece at S. Jacopo a' Corbolini. I suspect that this artist is the same as Filippo Paladini, pointed out by Hackert, born and educated at Florence, and who resided in foreign parts. He was compelled to fly from Milan on account of some disturbance, and took refuge in Rome, where he was received by Prince Colonna, and being pursued he went to Sicily, and resided at Mazzarino, an estate belonging to the Colonna family. There, as well as at Syracuse, Palermo, Catania, and elsewhere, he left works that display much elegance and fine colouring, but not free from mannerism, the fault also of the picture above cited at Florence. Benedetto Veli painted in the cathedral of Pistoia an Ascension of Christ, placed at the entrance to the presbytery, upon an immense scale. It is the companion to one of the Pentecost by Gregorio Pagani, which sufficiently proves that it has no common merit. There lived some other painters about this time, of whom Tuscany, as far as I know, retains no trace; but they are recognized in other schools: thus Vaiano is recognized in the Milanese, and Mazzoni in the Venetian schools, where we shall give some account of them.
Last among the great masters of this period I place Matteo Rosselli, a scholar of Pagani and of Passignano, as likewise of several old masters, under whom he studied assiduously at Rome and at Florence. He became so distinguished a painter that he was invited to the court of the Duke of Modena, and was retained by Cosmo II. Grand Duke of Tuscany, in his own service. In painting, however, he had many equals; but very few in the art of teaching, for which he was adapted by a facility of communicating instruction, a total want of envy, and a judicious method of discovering the talents of each pupil, and of directing his progress: hence his school, like that of the Caracci, produced as many different styles as he had pupils. His placid genius was not fitted for the conception of novel and daring compositions, nor for pursuing them with the steadiness that characterizes the painter of elevated fancy. His merit lies in correctness in the imitation of nature; in which, however, he is not always select; and there is a peculiar harmony and repose in the whole, by which his pictures (though they are generally in a sombre tone) please, even when compared with works of the most lively and brilliant colouring. He excels in dignity of character; some of the heads of his apostles, to be seen in collections, so strongly resemble the works of the Caracci, that connoisseurs are sometimes deceived. At times he strove to rival Cigoli: as in his Nativity of our Saviour at S. Gaetano, which is thought to be his masterpiece, and in the Crucifixion of S. Andrew in All Saints church, which has been engraved at Florence. His fresco paintings are greatly admired: so well do his labours, on the principles of the past age, preserve their freshness and brilliancy. The cloister of the Nunziata has many of his semicircular pieces; and that representing Alexander IV. confirming the Order of the Servi, appeared a grand work to Passignano and Cortona. He ornamented a ceiling in the royal villa of Poggio Imperiale with some histories of the Medicean family. The chamber where this painting was placed was ordered to be demolished in the time of the Grand Duke Peter Leopold; but so highly was Rosselli esteemed that the ceiling was preserved, and transferred to another apartment. His chief praise, however, arises from his preserving that fatherly regard for pupils, which Quintilian thinks the first requisite in a master: hence he became the head of a respectable family of painters whom we shall now consider.
Giovanni da S. Giovanni (this is the name of his native place; his family name was Manozzi), could boast of being one of the best fresco painters that Italy ever possessed. Gifted by nature with a fervid and bold genius, a lively and fertile imagination, celerity and freedom of hand, he painted so much in the dominions of the Church, and even in Rome, especially in the church of the Four Saints, so much in Tuscany, in Florence, and even the Pitti palace,[216] we can scarcely believe that he began to study at the age of eighteen, and died when only forty-eight years old. His style is very far from the solid manner of his master; he carried the celebrated maxim of Horace "All is allowable" to excess; and in many of his works he preferred whim to art. Amid choirs of angels he introduced