The History of Italian Painting. Luigi Lanzi

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СКАЧАТЬ promptness of genius and of execution: he was quick in committing his ideas to the canvas; and when dissatisfied with his work, he often chose to cancel the whole, rather than to correct a part. Although unacquainted with ideal beauty, he was esteemed by Guido, who may be considered as the father of modern painters, and who said of him "this truly is a painter." Whoever would see his best work, may examine the martyrdom of S. Bartholomew, at the Carmine of Siena. It is a picture of considerable size, with great variety in the figures and in the expression, and altogether excites surprise. We are told that when Roncalli examined it, he at length exclaimed, that the art of that period was comprised in that picture. But the short life of Casolani prevented him attaining the excellence which this specimen promised. His works are in various cities of Tuscany, and also in Naples, Genoa, and Fermo, in the metropolitan church of which there is a picture of S. Louis of France, that is numbered among the choice paintings in that city.

      A good many of his works in Siena shew traces of, and even whole figures by other hands; having been finished by Vanni, and Ventura Salimbeni, or by other artists, either of his own or of different schools. Ilario Casolani, his son, by a daughter of Rustici, finished the Assumption for the Church of S. Francis; and afterwards went to Rome, where he was "noticed by Cav. Pomaranci, out of respect to his father," says Mancini, as of a thing he knew, and adds, that Pomaranci had good hopes of him. Baglione and Pio called him Cristoforo, a name he, perhaps, received along with several others at baptism; and which probably the Sienese artist thought more becoming at Rome than Ilario, since he is named Cristoforo, by Roncalli. Under Pomaranci he became a proficient in his style in fresco, and imitated it particularly at Madonna de' Monti, in some pictures from the history of the Virgin, and in an Ascension on the ceiling; the best work, perhaps, produced in the short course of his life. Titi uniformly names him Cristoforo Consolano; but a consideration of the anecdotes of Mancini and Baglione leads us to convert it into Casolano. A Resurrection of Lazarus, begun by Alessandro for the church of S. Francis, was finished by Vincenzio Rustici; who was probably his scholar and his kinsman, and who is the least celebrated among this family of painters. One of his pictures, intended for Santuccio, was finished by Sebastiano Folli. The frescos of this artist are more numerous at Siena than his oil pictures: the ornamental parts of them are superior to his figures, in which he inclined to mannerism; his compartments are beautiful, his architecture finely conducted, his imitations of stucco deceive the eye, and he was expert in foreshortening what was to be seen from below. In 1608 he painted the frescos of S. Sebastian, in competition with various artists, and in this trial of skill he only yields to Rutilio Manetti. In the Guide of the Cav. Pecci I find mention made of designs of Casolani, executed in fresco by Stefano Volpi, whose name not unfrequently occurs in that work, and who was probably a scholar of that excellent artist.

      Cav. Ventura, the son of A. Salimbeni, is reckoned the third scholar of that master, though his lessons from Arcangiolo must have been but few. The young man left his home early, and journeying through the cities of Lombardy, he studied the works of Correggio and others, whose taste began to be applauded in Tuscany. He went to Rome in the pontificate of Sixtus V. and raised a very favourable opinion of his genius, which, giving himself up to dissipation, he did not afterwards fulfil. In that city he left many frescos that are praised by Baglione, among which, the Abraham entertaining the Angels, in a chapel of the Gesù, appears, on the whole, the work of a consummate painter. It has something lively and graceful in the colouring and the countenances, which he always retained: it also shews attention to design and chiaroscuro, which, in a great measure, he afterwards neglected in his paintings. In conjunction with Vanni he executed some ceilings, and, perhaps, derived advantage from observing this painter, though his junior by eight years. In many of his works he undoubtedly resembles him in his imitation of Baroccio, and hardly yields to him in grace of contour, in expression, and in delicacy and clearness of colouring. He is admired in the church of S. Quirico, and in that of S. Domenick: in the one is his Appearance of the Angel at the Sepulchre; in the other a Crucifixion, with various Saints around, which are superior to the generality of his works. In several other places in Siena there are others of great merit, especially where he painted in the vicinity of the works of the best masters of his school. He likewise executed some beautiful historical pieces when he vied with Poccetti, in the cloister of the Servi at Florence, and in the cathedral of Pisa, where he was surrounded by such great painters. His Marriage of the Virgin, in the cathedral of Foligno, his S. Gregory, in the church of S. Peter at Perugia, his works in Lucca, in Pavia, and in various cities of Italy, justify the remark of Baglione, that Salimbeni was impatient of remaining long in any one place. In Genoa, however, his stay was not so short. The beautiful chamber in the Adorno palace, and other works which he there executed, are still in existence, while many others have perished. He went to Genoa at the same time with Agostino Tassi, who served him for an ornamental and landscape painter, and, perhaps, it was through him that Ottavio Ghissoni, of Siena, came to that place; an artist, if I am not mistaken, forgotten in the annals of his own country; in fresco he was more lively than correct. He studied at Rome under Cherubino Alberti; but his country, his style, and the time of his arrival at Genoa, afford ground to suspect that he had also received the lessons of Salimbeni. Soprani gives Ventura the surname of Bevilacqua, which is rather an addition to his name granted him by Cardinal Bevilacqua when he knighted him in Perugia.

      Cav. Francesco Vanni, in the opinion of many, is the best painter of this school; and is reckoned one of the restorers of Italian painting in the sixteenth century. The early instruction of his genius is to be assigned with greater probability to his brother than to his stepfather. At sixteen years of age he went to Rome, for the purpose of designing after Raffaello and the best masters. He was for some time under the tuition of Gio. de' Vecchi, whose style he introduced into his native country. There are specimens of him in many churches, and it is related that they were not relished by his fellow citizens; a circumstance which might occasion him uneasiness at the time, but soon after afforded him a lasting source of satisfaction. It induced him to examine the pictures of Lombardy, as his brother had done: and having remained in Parma to design some of them, he afterwards went to Bologna, where he was assiduously occupied. Ugurgieri writes that he was at that place in 1667, at which time he was twelve years old: this I believe to be incorrect; for it was unknown to Mancini, who was acquainted with Vanni. Malvasia repeats it on the authority of Ugurgieri; but he can discover nothing further of Vanni, at Bologna, than his being there after he had arrived at manhood, and designing in the academy of Facini and Mirandola, to which he was probably introduced by his countryman Marcucci. He left some works at Bologna, in the style of the Caracci, if he is the painter of a Madonna, which was shewn me as a Vanni, in a cabinet of the Zambeccari collection. His Flight into Egypt, painted for the church of S. Quirico, in Siena, bears also undoubted marks of the Bolognese school.

      Although he attempted other styles, he was not like Casolani an adherent to none. Vanni attached himself to the elegant and florid manner of Barocci, in which he was eminently successful. Of this, the Humiliation of Simon the Sorcerer, which he painted on a stone slab for the church of S. Peter at Rome, affords a proof; a picture which, though recently cleaned with little judgment, is still an object of admiration. Both the design and colouring are in the manner of Barocci; and it is prepared with a due regard to the humidity of that church; nor has it been found necessary to remove it, as has happened to other pictures. He also painted in Siena, and in other Italian cities, where he has approached the manner of Barocci more closely than Viviani, or any other pupil of that artist. His Marriage of S. Catherine, with a numerous group of angels, at the Refugio, is much praised in Siena: as is the Madonna, surrounded by saints, painted for the church of Monna Agnese; and the S. Raymond walking on the Sea, in the possession of the Domenican Fathers, which is supposed by some to be his best picture in Siena, where his works are very numerous. Among the finest pictures in the cathedral of Pisa, is the Dispute about the Sacrament, painted in emulation of his brother Ventura, who had surpassed his usual style in the altarpiece of the angels. At the Umiltà of Pistoia, in the convent of the Camaldules of Fabriano, and in that of the Capuchins of S. Quirico, are some of his most exquisite works; and they are so numerous in other places, that I do not imagine a full catalogue of them has ever been made out. He is generally a follower of Barocci, as we have observed; and amateurs, deceived principally by his colouring, and the heads of his boys, which appear cast in the mould of Barocci, frequently confound the latter with Vanni: but СКАЧАТЬ