The History of Italian Painting. Luigi Lanzi

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СКАЧАТЬ should be found scattered throughout the numerous authors who had written upon the art. These materials, as well as the work itself, had gradually grown upon his hands, as might be expected from a man so long accustomed to method, to criticism, to perspicuity; in short, to every quality requisite in the philosophical treatment of a great subject. The artists and literati of Italy, then, were not a little surprised at the appearance of the first portion of the Storia Pittorica, comprehending Lower Italy; or the Florentine, Sienese, Roman, and Neapolitan Schools, reduced to a compendious and methodical form,[Pg xlviii] adapted to facilitate a knowledge of Professors and of their Styles, for the lovers of the art. It was dedicated to the grand duchess Louisa Maria of Bourbon, in a style, observes the Cav. Bossi, "which recalls to mind the letters of Pliny to Trajan, composed with mingled dignity and respect; with genuine feeling, and with true, not imaginary, commendations." Elogio, p. 127.

But the unfeigned pleasure and admiration expressed in the world of literature and art, on being presented with the Pictorial History of Lower Italy, was almost equalled by its disappointment at the delay experienced with regard to the appearance of the second part; and which it was feared would never see the light. Lanzi's state of health had, some time subsequent to 1790, been very precarious; and he suffered severely from a distressing complaint,[25] which frequently interrupted his travels in which he was then engaged, collecting further materials for his History of Painting in Upper Italy. While thus employed, on his return from Genoa in December, 1793, he experienced a first attack of apoplexy, as he was passing the mountains of Massa and Carrara. After his recovery, and return to Florence, he was advised in the ensuing spring to visit the baths of Albano, which being situated near Bassano, afforded him an opportunity of superintending the publication of his history, in the Remondini Press, and on a more extensive scale than he had at first contemplated. He likewise obtained permission from the grand duke Leopold to absent himself, during some time, from his charge at Florence, in September, 1793. The first portion of his labours he conceived to be too scanty in point of names and notices to satisfy public taste, so that upon completing the latter part upon a more full and extensive scale, he gave a new edition of that already published, very considerably altered and augmented.

      To these improvements he invariably contributed, both in notes and text, at every subsequent edition, a number of which appeared in the course of a few years, until the work attained a degree of completeness and correctness seldom bestowed upon labours of such incredible difficulty and extent. The last which received the correction and additions of the author was published at Bassano, in the year 1809.

      That a work upon such a scale was a great desideratum, no less to Italy than to the general world of art, would appear evident from the character of the various histories and accounts of painting which had preceded it. They are rather valuable as records, than as real criticism or history; as annals of particular characters and productions derived from contemporary observation, than as sound and enlightened views, and a dispassionate estimate of individual merits. Full of errors, idle prejudices, and discussions foreign to the subject, a large portion of their pages is taken up in vapid conceits, personal accusations, and puerile reasoning, destitute of method.

      The work of Lanzi, on the other hand, as it is well remarked by the Cav. Boni, observes throughout the precept of the serie et junctura of Horace. It brings into full light the leading professors of the art, exhibits at due distance those of the second class, and only glances at mediocrity and inferiority of character, insomuch as to fill up the great pictoric canvas with its just lights and shades. The true causes of the decline and revival of the art at certain epochs are pointed out, with those that contribute to preserve the fine arts in their happiest lustre; in which, recourse to examples more than to precepts is strongly recommended. The best rules are unfolded for facilitating the study of different manners, some of which are known to bear a resemblance, though by different hands, and others are opposed to each other, although adopted by the same artist; a species of knowledge highly useful at a period when the best productions are eagerly sought after at a high rate. It is a history, in short, worthy of being placed at the side of that on the Literature of Italy by Tiraboschi, who having touched upon the fine arts at the outset of his labours, often urged his ancient friend and colleague to dilate upon a subject in every way so flattering to the genius of Italy; to Italy which, however rivalled by other nations in science and in literature, stands triumphant and alone in its creative mind of art.

      It is, however, difficult to convey a just idea of a work composed upon so enlarged and complete a scale; which embraces a period of about six centuries, and fourteen Italian schools, but treated with such rapidity and precision, as to form in itself a compendium of whatever we meet with in so many volumes of guides, catalogues, descriptions of churches and palaces, and in so many lives of artists throughout the whole of Italy. (pp. 130–1.)

      It is known that Richardson expressed a wish that some historian would collect these scattered accounts relating to the art of painting, at the same time noting down its progress and decline in every age, a desideratum which Mengs in part supplied in one of his letters, briefly marking down all the respective eras. Upon this plan, as far as regarded Venetian painting, Zanetti had partially proceeded; but the general survey, in its perfect form, of the whole of the other schools, was destined to be completed by the genius of Lanzi. Here he first gives the general character of each, distinguishing its particular epochs, according to the alterations in taste which it underwent. A few artists of distinguished reputation, whose influence gave a new impulse and new laws to the art, stand at the head of each era, which they may be said to have produced, with a full description of their style. To these great masters, their respective pupils are annexed, with the progress of their school, referring to such as may have more or less added to, or altered the manner of their prototype. For the sake of greater perspicuity, the painters of history are kept distinct from the artists in inferior branches; among whom are classed portrait and landscape painters, those of animals, of flowers, of fruits, &c. Nor are such as bear an affinity to the art, like engraving, inlaying, mosaic work, and embroidery, wholly excluded. Being doubtful whether he should make mention of those artists who belong neither to the senatorial, the equestrian, nor the popular order of the pictorial republic, and have no public representation, such as the names of mediocrity; Lanzi finally decided to introduce them among their superiors, like third-rate actors, whose figures may just be seen, in order to preserve the entireness of the story. To this he was farther induced by the general appearance of their names in the various dictionaries, guides, and descriptions of cities and of galleries; and by the example of Homer, Cicero, and most great writers; Homer himself commemorating, along with the wise and brave also the less valiant—the fools and the cowards. (Elogio, pp. 129, 130, 131.)

      After having resided during a considerable period at Bassano, occupied in the superintendence of the first edition of his great work, Lanzi found himself compelled to retire to Udine, in 1796, from the more immediate scene of war; a war which subsequently involved other cities of Italy in its career. From Udine he shortly returned to Florence, where he again resumed his former avocations in the ducal gallery, about the period of the commencement of the Bourbon government.

      Lanzi's next literary undertaking was three Dissertations upon Ancient painted Vases, commonly called Etruscan; and he subsequently published a very excellent and pleasing work, entitled, Aloisii Lanzii Inscriptionum et Carminum Libri Tres: works which obtained for him the favourable notice of the Bourbon court. Nor was he less distinguished by that of the new French dynasty, which shortly obtained the ascendancy throughout all Italy, as well as at Florence, and by which Lanzi was appointed President of the Cruscan Academy.

      Among Lanzi's latest productions may be classed his edition and translations of Hesiod; entitled I Lavori, e le Giornate di Esiodo Ascreo opera con L. Codici riscontrata, emendata la versione latina, aggiuntavi l'Italiana in Terze Rime con annotazioni. In this he had been engaged as far back as the year 1785, and it had been then announced in a beautiful edition of Hesiod, translated into Latin by Count Zamagua.

      The list will here close with his Opere Sacre, sacred treatises, СКАЧАТЬ