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 disposition of his figures, are circumstances which enchant the eye and fascinate the soul.

      It is true that this manner does not always satisfy the mind; for intent on gratifying the eye, it introduces useless figures, in order that the composition may not be deficient in the usual fulness; and for the sake of contrast, figures in the performance of the gentlest actions, are painted as if the artist was representing them in a tournament or a battle. Gifted by nature with facility of genius, and no less judgment, Berrettini either avoided this extravagance, as in his stupendous Conversion of S. Paul, or did not carry it to that absurdity, which in our times has marked his followers, from the usual tendency of all schools to overcharge the characteristic of their master. Hence the facility of this style has degenerated into negligence and its taste into affectation; until its chief adherents begin as at present to abandon it, and to adopt a superior manner.

      Vincenzio Dandini went from the school of his brother Cesare into that of Cortona, or rather into the Roman school, where he copied, as well as he could, with unwearied assiduity, the finest specimens in painting, sculpture, and architecture. On this foundation, aided by practice in anatomy, at the academy for the naked figure, which still flourished at Florence, he became superior to his brother in design and in softness of colouring: he also finished more highly than Cesare, was more studious in his drapery, and in the other branches of the art. In All Saints there is a Conception of the Virgin, and three other pictures by his hand. He was employed in the ducal villas: in that of Poggio Imperiale he painted a beautifully foreshortened figure of Aurora, attended by the Hours, in a recess he had erected; and at Petraia painted in oil the Sacrifice of Niobe. In him the pupil of Cortona is very manifest. A similar style, but degenerated both in execution and in manner, is discoverable in Pietro, his son and scholar. This artist was superior to all the other Dandini; and by more extensive travels he obtained a greater knowledge of foreign painters: it would have been well if he had not attempted to surpass them also in his emoluments. From avarice he undertook too many works, and contented himself with a certain mediocrity in study; for which he, in some measure compensated by a freedom of pencil that is always admirable. Where well paid, he demonstrated his abilities; as in the cupola of S. Mary Magdalen; in several frescos in the ducal palace at Florence, in the royal villas, and in the copious historical picture of the taking of Jerusalem, which he painted in the public palace at Pisa. He also painted some altar-pieces worthy of himself; as the S. Francis in S. Maria Maggiore or the Beato Piccolomini in the attitude of saying mass, in possession of the Servi; a beautiful picture, full of spirited attitudes. His son, Ottaviano, appears his follower in some semicircular pictures in the cloister of S. Spirito, in a piece representing various saints in the church of S. Lorenzo; and wherever he was employed. One of his grandest works may be seen in S. Mary Magdalen at Pescia, the ceiling of which he painted in fresco.

      The Dandini family had many scholars, who, with their descendants, have kept alive the school of Cortona, even to our own days. This school was not eminent; it requires but little examination, or prolixity of description. It has produced some good artists; but few of them are above mediocrity; a fault less to be attributed to their genius, than the times. The more modern style was esteemed the best: the last master seemed to discover new maxims in painting, and abolished the old: and thus artists of little celebrity gave birth to others more minute and mannered, resembling their prototype in maxims, but inferior in reputation. About this time it became fashionable to paint with a certain degree of careless ease, or Sprezzatura, as it is styled by some; and Giordano and some Venetians are applauded for this manner. Several Florentine artists tried to imitate them, and have produced works that resemble sketches: this species of mannerism is not uncommon in other schools. It is unnecessary to be particular, but only to observe generally that such artists are as rare in choice collections of pictures, as Andrea del Sarto or Cigoli: the latter are there scarce, because they painted with great care; the former class because they painted with very little. In the work entitled Series of the most celebrated painters, we find Antonio Riccianti, Michele Noferi, and some others whose names are merely mentioned as scholars of Vincenzio; and Gabbiani is the only one particularly praised. In like manner, among the pupils of Pietro Dandini we find the names of Gio. Cinqui, whose portrait is in the ducal gallery, Antonio Puglieschi, of Florence, who studied under Ciro, and Valerio Baldassari of Pescia; but there is a particular eulogy bestowed on Fratinelli, whom we shall notice hereafter. I find also that P. Alberigo Carlini, a Minorite monk of Pescia, was the pupil of Ottaviano, and attended Conca at Rome. He painted some good pictures, chiefly in the church of his order at Pietrasanta. To his we may also add the name of Santarelli, a patrician of the same country, and who died at Rome.