The History of Italian Painting. Luigi Lanzi

Чтение книги онлайн.

СКАЧАТЬ servants. Zocchi had a genius fertile in invention, pliant in imitation, and judicious in selection; and hence at the conclusion of such a course of study, he was able to compose large works with skill, and to colour beautifully. He painted four pretty large frescos in the villa Serristori, beyond the gate of S. Nicholas, some apartments in the Rinuccini palace, and one in the Gerini gallery; and these are believed to be his best works of this sort. In smaller pieces he was still greater; as in his oil picture of the festivities at Siena, on the arrival of the Emperor Francis I., a work very true in the perspective, and graceful in the multitude of figures which he there inserted. It is deposited in the splendid Sansedonii collection of pictures at Siena, where the entertainment given to the Grand Duke Peter Leopold may also be seen: with this object in view the painter went to Siena, where he caught the epidemic disorder that raged there in 1767, and soon after died at Florence.

      On turning to the other parts of Tuscany, we find them from the beginning of the eighteenth century full of the followers of Cortona; San Sepolcro boasted one Zei, of whom I find no further account than that of his painting an altar-piece representing the souls in purgatory, for the cathedral of that place, a work extremely well coloured, and conducted in the maxims of the school, though the countenances are of a common cast; and if we except the liberating angel, of poor expression. Among this sect we cannot include Gio. Batista Mercati, one of the latest painters of that city, not unknown at Rome, and much noted in his native place, where he painted either at a more mature time of life, or with greater pains. Two of his historical frescos, representing our Lady, are in S. Chiara; and at S. Lorenzo there is a picture of the titular with other saints; in both there is an air apparently drawn from the school of the Caracci, especially in the breadth of the drapery, which is well cast, and skilfully varied. In the Guides to Venice and to Rome, several of his works are mentioned, and in that of Leghorn, the only picture in the cathedral esteemed worthy of notice is that of the Five Saints, painted by Mercati with great care. Orlandi notices Tommaso Lancisi, a scholar of Scaminossi, and two of his brothers, and adds, that painting was an hereditary honour in this family.

      One only of the countrymen of Berrettini is known to me as his follower; his name is Adriano Palladino; he is mentioned by Orlandi, which is the only trace of him that I have discovered; I never saw any of his works, nor heard them mentioned by any one.

      Arezzo abounds with pictures in the manner of Cortona. Salvi Castellucci, the scholar of Pietro, either at Florence or at Rome, was a great imitator of his style, and painted with expedition, according to the practice of the school. He executed many good pieces in the cathedral, and other churches, besides numerous cabinet pictures that are in private houses, which are estimable for the facility and good taste of their colouring. One of his frescos, representing our Lady surrounded by the patron saints of the city, is in the public palace; but he is greater in oil painting. He had a son, on whom he bestowed the name of Pietro, probably in honour of his master. He also was a follower of Cortona, but never equalled his father.

      Pistoia, however, had two Gimignani, the father Giacinto, and Lodovico, his son, of whom it is still disputed which was the most eminent. From the school of Poussin, Giacinto entered that of Berrettini; and as he approached nearer his first master in design and composition, so in colouring and in taste for architecture he came nearest to the second. He moreover took the lead in works of fresco. Here he rivalled Camassei and Maratta, at the baptistery of S. Gio. Laterano, where he painted the histories of Constantine, besides leaving other specimens in different parts of Rome, in the Niccolini palace at Florence, and other places. In some pictures he also emulated Guercino, as for instance in the Leander in the ducal gallery, which was long considered as a Guercino. Though Lodovico was the scholar of Giacinto, he is not so correct in design, but was superior to his father in all the faculties that excite pleasing emotions; his ideas are more beautiful, his tints more lovely, his attitudes more spirited, and his harmony more agreeable. It would appear either that the style of his maternal uncle Orbetto, had attracted his attention, or that Bernini, the director of his studies, had led him into this path. He obtained great applause for his works in fresco, and those he executed at Rome in the church of the Virgins are studied by artists for the attitudes, the clouds, and the grace of the wings with which his angels were furnished. He chiefly resided at Rome, which possesses several of his paintings for churches, and a far greater number for halls and private rooms; being moreover much employed in these for foreign countries. Two histories of S. John by the hand of Giacinto, are in the church dedicated to that saint at Pistoia; and there was also a S. Rocco in the cathedral, which was esteemed excellent. Lodovico executed a beautiful picture for the church of the Capuchins, now converted into a parish church.

After the death of both, Lazzaro Baldi still remained, another great ornament of the school of Cortona, and of Pistoia, his native place. He may be there recognised in two pictures, the Annunciation in the church of S. Francis, and the Repose in Egypt in that of the Madonna della Umiltà. This latter place is a most majestic octagonal temple, executed by Ventura Vitoni of Pistoia, the great pupil of Bramante, and surmounted by a cupola, which is reckoned among the noblest in Italy. Baldi finally established his abode in Rome; where he was much employed, as well as in other parts of the states of the Church. One of the most studied pictures he ever painted is at S. Camerino, and represents S. Peter receiving the pontifical power. A still more recent artist is Gio. Domenico Piastrini, a scholar of Luti, who in the porch of Madonna della Umiltà, filled two large spaces with pictures, illustrative of the history of this church, and who rivalled the best followers of Maratta, in S. Maria in Via Lata, at Rome. It is not foreign to this period to notice Gio. Batista Cipriani, who was born in Florence, but descended from a family of Pistoia;[237] especially as he left specimens of his pencil in the neighbourhood of the places we have just mentioned. Two of his altar-pieces were in the abbey of S. Michael-on-the-Sea; one of S. Thesaurus, the other of S. Gregory VII. which are valuable, as Cipriani painted but little. His excellence lay in design, which he acquired from the collection of the studies of Gabbiani, beforementioned. Having afterwards gone to London, he was much employed by the celebrated Bartolozzi, who has immortalized the painter by engraving his inventions. We might augment our catalogue with the two Giusti and Michele Paoli, a Pistoian of the school of Crespi; but they did not attain maturity, if we depend on the information afforded by the continuator of Felsina Pittrice.[238]

      Of those within the Florentine territory, the Pisans, and of those beyond it, the artists of Lucca, yet remain to be considered. Camillo Gabrieli, a scholar of Ciro, was the first who transplanted the style of Cortona into Pisa; and in this manner executed a good oil painting at the convent of the Carmelites, and also several for private individuals; in this kind of painting he was more happy than in fresco. In this line, however, his memory is honoured in his native place, both for his works in the grand saloon of the Alliata palace, and in the apartments of other noblemen's houses; and likewise on account of his pupils, the two Melani, who have contributed much to his reputation. We shall notice Francesco among the professors of architectural design: Giuseppe his brother, and a knight of the golden spur, became no common artist in figures, and was worthy of painting in the cathedral a large oil picture of the death of S. Ranieri. Although this piece ranks in the scale of mediocrity in this sanctuary of the arts, it does honour to its author; the invention is good, the perspective is regular, and exhibits no marks of carelessness, as is so often the case. But his place is among the painters in fresco; in which department he ornamented with figures the architectural works of his brother; and has shewn himself tenacious of the manner of Cortona, both in what is commendable in it, as the perspective, colouring, and harmony; and also where it is less praiseworthy, as in the heaviness and imperfect finish of the figures.

      With a similar instance we shall commence the series of artists of Lucca: the two brothers, Ippolito and Giovanni Marracci, obtained equal applause in very different branches of the art; the former was a painter of architecture, the latter of figures; and of him only we shall here speak. Although little known beyond Lucca, he is reckoned among the eminent scholars and most successful imitators of Pietro da Cortona; and merits this name, either when he painted in fresco, as in the cupola of S. Ignatius, at S. Giovanni; or when he wrought in oil, СКАЧАТЬ