The History of Italian Painting. Luigi Lanzi
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Название: The History of Italian Painting

Автор: Luigi Lanzi

Издательство: Bookwire

Жанр: Документальная литература

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isbn: 4064066382186

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СКАЧАТЬ rel="nofollow" href="#ulink_20f2cfe5-95d2-5592-a2bd-03d24be94fcd">[73] In the dictionary of Guarienti, in the article, Gio. Abeyk, appears an account of a picture of this artist, existing in the gallery at Dresden, bearing date 1416; a time, says the writer, when he enjoyed his highest reputation, by painting in his second manner, in oil. It represents the Virgin in a majestic seat with the divine infant, who is seen very gracefully receiving an apple from St. Anne, seated on a couch of straw. The young St. John is seen assisting, and also St. Joseph, whose countenance represents the portrait of the painter himself. The introduction of arms shews that the picture must have been executed for some distinguished person. It is in high preservation, and is pronounced by Guarienti the miracle of painting, from its display of extreme diligence, even in the minute furniture, and particularly because the chamber in which the scene is represented, the couch, the window, the pavement, executed a punto alto, together with the whole action, are conducted with the most exact rules of perspective.

      FLORENTINE SCHOOL.

      EPOCH I.

      Origin and progress of Engraving on Copper and Wood.

       Table of Contents

      The subject of which I propose here to treat, ought to be more carefully examined than any other portion of this work. The age in which I write is, we know, by many called the age of brass, inasmuch as it has been less productive of great names and great pictoric works, than the preceding; yet I believe we might better denominate it such from the number of engravings, which have recently been carried to a high degree of excellence. The number of their connoisseurs has increased beyond calculation; new collections every where appear, and the prices have proportionably advanced, while treatises upon the art are rapidly multiplied. It has become a part of liberal knowledge to discern the name and hand of a master, as well as to specify the most beautiful works of each engraver. Thus, during the decline of painting, the art of engraving on copper has risen in estimation; modern artists in some points equal or surpass the more ancient; their reputation, their remuneration, and the quick process of their labours, attract the regard of many men of genius born to adorn the arts, who to the loss of painting, devote their attention to the graver.