The History Of Painting In Italy Volume Iv Part 2

Ulderico Pilgrim, which, although _Gothic_, observes Huber, (p. 89) _produce an admirable effect in regard to chiaroscuro_. They make out the inventor to be very ancient, enumerating Mair and others, equally celebrated at the same period. We are told nothing, however, in regard to their mechanism, which was probably not the same as that of Ugo.

It will not here be thought irrelevant to record the new method of engraving in the Dutch manner, in imitation of coloured designs, though not executed by process of wood, but of copper. It has been introduced into Tuscany, through the efforts of the distinguished Cosimo Rossi, a gentleman of Pistoia, and vice-president of the academy. After various experiments, and making the first trials upon some representations of tombs, in the solid Egyptian style of his own invention, it soon became also imitated in other modes of engraving, and more especially in the _Viaggio Pittorico_ of Traballesi. It were desirable that the before-mentioned gentleman should continue to apply the same in works of architecture and perspective; in which he succeeds admirably also with his pencil, very happily emulating the style of Ca.n.a.letto. The method ought to be explained very minutely; but it is both too complicate and too extensive to be adapted to the degree of brevity we have bound ourselves to observe upon similar subjects.

MODENESE SCHOOL.

EPOCH III.

_The Modenese Artists of the Seventeenth Century chiefly follow the example of the Bolognese._

The taste introduced by Munari into Modena and the state, together with the example of Coreggio and Lelio, did not become wholly extinct in the seventeenth century. It was in some measure continued by several of their pupils and imitators, but in proportion as those of the Caracci grew into greater credit, gradually extending their influence over the other schools of Italy, it began to decline apace. It is well known that some of the Modenese frequented their academy, and Bartolommeo Schedone is included by Malvasia among the scholars of the Caracci. If such be the fact, we must conclude, either that his first productions are not known, or that he merely saluted that school, as it were, from the threshold; inasmuch as the larger works which are pointed out as his, betray few traces of the style of the Caracci. It seems more probable that he employed himself in following the successors of Raffaello in his native place, and in particular Coreggio, of whom there remained so many original pieces. His pieces in fresco, executed in compet.i.tion with Ercole Abati, about 1604, still exist in the public palace; and among these is the beautiful history of Coriola.n.u.s, and the Seven Sisters, who are meant to represent Harmony: whoever observes these will find they possess a mixture of the two characters before alluded to. There is, moreover, in the cathedral, a half figure of S. Geminiano, with an infant boy restored by him to life, supporting himself by the saint's staff, and apparently returning his thanks. It may be enumerated among the best of his works, and bears a striking resemblance to those of Coreggio. The same resemblance was affirmed from that period in other of his pictures transferred elsewhere; and Marini mentions them in one of his letters as a kind of phenomenon.

Scanelli, who wrote about forty years after the death of Schedone, also confirms such an opinion; though to make the imitation complete, he would have wished a little more practice and solidity, in which I rather think he alludes to his perspective and design, not always quite correct. For the rest his figures, both in their character and their action, are very pleasing, while his colouring in fresco is very vivid and lively; in oils he is more serious, but more harmonious, though not always free from the ill effect produced by the bad grounds usual in the age of the Caracci. His pictures on a larger scale, such as his Pieta, now in the academy of Parma, are extremely rare, and also his history-pieces, as the Nativity of our Lord and that of the Virgin, placed for lateral ornaments to an altar-piece by Filippo Bellini. Of his Holy Families, and little sacred pieces, there are some remaining; such as are found in galleries being highly valuable, so much so, that Tiraboschi records the sum of 4,000 crowns having been required for one of them. The court of Naples is extremely rich in them, having, together with the other Farnesian pictures, obtained also those painted by Schedone, while in the service of Duke Ranuccio, his most liberal patron. This artist produced but little, being seduced by the love of gambling; nor did he survive very long after losing a large sum of money, about the end of the year 1615.

The three following names belong to the school of the Caracci, also in regard to style. Giacomo Cavedone, born in Sa.s.suolo, but absent from the state after the period of youth, was esteemed one of the best disciples of Lodovico. Giulio Secchiari, of Modena, resided also at Rome, and in Mantua, where he produced several excellent pictures for the court, which perished in the sack of 1630. What remains of him in his native place, and in particular the Death of the Virgin, in the subterranean part of the cathedral, with four crowns around, is calculated to give rise to lively regret, that Giulio should not be equally well known in different collections, with the other disciples of the Caracci. Camillo Gava.s.setti, likewise of Modena, may boast also of a greater degree of merit than of fame; no less because he died young, than because of his attaching himself to works in fresco, which, confined to the place in which they are produced, confine also the reputation of the artist. He is better known in Piacenza than in Modena, Parma, or, indeed, any other city. One of his paintings adorns the presbytery of the church of S. Antonino, accompanied with figures taken from the Apocalypse, so finely executed as to induce Guercino, when coming to Piacenza to complete his finest work, to bestow the highest commendation upon it; and it is still enumerated among the chief ornaments of that rich and ornate city. There is something so grand, spirited, and choice, in its whole expression, combined with so much grace and harmony of tints, that it equally surprises us when viewed together, and satisfies us when examined part by part. The action only is sometimes too extravagant, and some of the figures are hardly sufficiently studied.

In fact, this artist preferred expedition to high finish; and held a dispute, reported by Baldinucci, with Tiarini, who practised and maintained the contrary, a plan by which, in all works of importance, he was preferred to him in Parma. In Santa Maria di Campagna, at Piacenza, however, where they both painted scriptural histories in opposition, Gava.s.setti maintains his ground against Tiarini, and other compet.i.tors, very numerous and distinguished for that period.

When the pupils of the Caracci succeeded their masters in Bologna, the young artists of the neighbouring state of Modena continued to receive instructions from them, being highly esteemed in the court of Este. At that period flourished Francesco I., and Alfonso IV., both of whom, according to the history of Malvasia, were greatly attached to the followers of the Caracci; some of these they invited into their service, others they employed in their palaces, and at their public festivals; and from all they were anxious to obtain designs and pictures which they might exhibit in their churches, or in their grand collection of paintings, rendered by their means one of the richest in Europe. Hence the artists who next follow, with the exception of a very few, among whom is Romani of Reggio, will be included in one school. It seems certain that Romani studied in Venice, and there became attached to Paolo, whose style he adopted in the Mysteries of the Rosario; and even more so to Tintoretto, whose rules he usually practised, and very successfully.

Guido Reni was either the master or the prototype of Gio. Batista Pesari; if this artist, who resembles Guido in his Madonna at S. Paolo, imitated him as closely in his other works. But of this we cannot judge, as he flourished only during a short period, and part of that time in Venice, where he died before enjoying any degree of fame. Guido himself undoubtedly bestowed his instructions on Luca da Reggio, and on Bernardo Cervi da Modena. Luca I have mentioned in the preceding book. The second according to the judgment of Guido, was possessed of distinguished talents for design; and though meeting with a premature fate in the pestilence of 1630, he left behind him works in the cathedral, and other churches, not inferior, perhaps, to those of Luca. From the same school sprung Giovanni Boulanger, of Troyes, painter to the court of Modena, and master in that city. We find, in the ducal palace, various specimens of his pencil truly delicate, though his want of good grounds in many pictures, occasionally casts some reflection upon his merit. He is happy in his inventions, warm and harmonious in his colours, spirited in his att.i.tudes, but not without some touch of excessive enthusiasm. The sacrifice of Iphigenia, if a genuine production, is sufficient to establish his character; although the figure of Agamemnon may appear veiled in a capricious style, scarcely adapted to an heroic subject. Two of his best imitators and disciples are Tommaso Costa, of Sa.s.suolo, and Sigismondo Caula, of Modena; the first of whom succeeded as a powerful colourist, of very general talent, and was eagerly employed by the neighbouring courts and cities in perspective, in landscape, and in figures. Reggio, where he usually resided, retains many of his productions: Modena has several, and in particular the cupola of S.

Vincenzo bears proud testimony to his merit. Caula left his native place, only in order to improve his knowledge in Venice. Thence he returned with the acquisition of a copious and richly coloured style, as Orlandi very justly remarks, in regard to his great picture of the Plague, at S. Carlo.

He subsequently changed his tints, which became more languid, and in such taste are most of the pictures he produced for the ornament of altars and cabinets.

Many artists of Reggio were initiated in the art by Lionello Spada, and by Desani, his pupil, and a.s.sistant in the numerous labours he executed at that place. Among these are Sebastiano Vercellesi, Pietro Martire Armani, and in particular Orazio Talami, who, not content, like the rest, to remain in his native place, traversed Italy, studied with unwearied care the models of the Caracci, and succeeded so well in his figures, that he might be mistaken for one of their scholars. While at Rome, which he twice visited, he devoted himself much to perspective, and very scrupulously observes its rules in the n.o.ble and extensive representations of architectural objects, which he introduced into his compositions. In all respects his style is inclined rather to solidity than to amenity. His native place boasts many of his labours, and more especially two large pictures abounding in figures, preserved in the presbytery of the cathedral. Jacopo Baccarini was an imitator of his style, two of whose pictures have been engraved by Buonvicini; a _Riposo di Egitto_, and a _S.

Alessio Morto_, both of which are to be seen at S. Filippo. This artist's manner displays much judgment, accompanied with a good deal of grace.

Mattia Benedetti, a priest of Reggio, commended in the Abbecedario, was instructed in the art of perspective by Talami himself, and, together with his brother Lodovico, occupies an honourable place in this cla.s.s. Paolo Emilio Besenzi, a particular imitator of Albano, either from natural taste or education, differs a good deal in the former from Lionello. Reggio retains many pieces, especially at S. Pietro, highly creditable to this artist's talents; besides statues and buildings in very good taste; as he succeeded in uniting, like some of the best among the ancients, the various qualities of the three sister arts.

Guercino, likewise, presented the state with an excellent scholar in Antonio Triva di Reggio. He distinguished himself in various cities of Italy, and even in Venice, whither he conducted his sister Flamminia, who possessed a genius for the art. Here they both employed themselves in several public works, which acquired for them the commendation of Boschini.

Occasionally he adheres so faithfully to his master, as in the Orto at Piacenza, as not even to yield to Cesare Gennari. In other pieces he is more free; though still his manner retains strong traces of his school, really beautiful, as it is p.r.o.nounced by Zanetti, and, if I mistake not, full of truth. He finally visited the court of Bavaria, where he was employed until the period of his death.

To Guercino, also, we must refer another imitator of his style, in Lodovico Lana. He was instructed, however, by Sca.r.s.ellini, and from that circ.u.mstance, has been enumerated by some among the artists of Ferrara. But Lana, most likely, was born in the state of Modena, in whose city he resided and held his school. His reputation there is great, as well on account of many very beautiful pieces, as more particularly for that in the Chiesa del Voto, in which he represented Modena freed from the scourge of the plague. It is generally agreed that he never produced a finer specimen of his art, and there are few, at this time, in those churches, that can be said to rival it in point of composition, in force of colouring, harmony, and a certain novelty and abundance of images, that produce surprise in the spectator. Lana is one of the freest among the imitators of Guercino; his touch is the same, though less strong, and in taste they exactly coincide.

In his motions he has something of Tintoretto, or more properly of Sca.r.s.ellini; but in his colours, and the expressions of his countenances, he preserves an originality of character. Pesari and he were rivals, as were the masters whom they respectively followed, on account of their contrast of style. Pesari, however, seemed to yield, as he transferred his talents to Venice, while his compet.i.tor became the director of an academy in Modena, which supported by his credit, then became celebrated throughout Italy. The name of Lana continues to maintain its ground in Bologna, and other adjacent places, while it is not unknown in lower Italy. The chief part of his specimens to be met with in collections, consist of heads of aged men, full of dignity, and touched with a certain boldness of hand, which declares the master.

Those who flourished after him, belonging to the city of Modena and the state, were for the most part educated elsewhere. Bonaventura Lamberti, of Carpi, as I have observed in the Roman School, was instructed by Cignani; and there he had a n.o.ble theatre for the display of his powers. At the same period flourished Francesco Stringa, in Modena, where he painted a good deal in a style, if I mistake not, that approached, or seemed rather ambitious of approaching, that of Lana, and Guercino himself. By some, he is supposed to have been a pupil of the first; by others, of the second of these artists; but it is known only with certainty, that he formed himself upon their model, and that of other excellent masters, whose works, during his superintendance of the great Este Gallery, he might consult at his pleasure. Endowed with a rich imagination, spirited and rapid in execution, he produced much, which was greatly commended, both in the cathedral and in the churches. His distinguishing characteristic is the depth of his shades, the somewhat disproportioned length of his figures, and an inclination to the capricious in his actions and composition. When in advanced years he began to deteriorate in style, a case common to most artists.

He was the first master of Jacopo Zoboli, who, proceeding from Modena into Bologna, and thence to Rome, settled there, and died in 1761, with the reputation of a good artist. This he in a high degree acquired by his labours in the church of S. Eustachio, where he is distinguished amongst the more modern productions by his S. Girolamo, displaying singular diligence, polish, and harmony of colours, by no means general in those times. The Primaziale of Pisa also boasted a grand picture by his hand, representing S. Matteo, in the act of dedicating a young princess to a holy life, by the imposition of the sacred veil. Two other artists of Modena, Francesco Vellani and Antonio Consetti, who died near the same time, not very long ago, were instructed in the art by Stringa and his school. Both are in a taste much resembling that of the Bolognese of their own age. The former however, is not so accurate in point of design as the latter, a strict and commendable master in that art. It is true, he has a crudeness of colours, not very pleasing to the eye; no new circ.u.mstance in an artist educated in the school of Creti. Both Modena and the state are in possession of many of their pieces.

Still more modern artists have supported with honour the reputation of such predecessors; but I could not here, without deviating from my original system, venture to mention them. The place will invariably serve to forward instruction; a collection of designs and paintings being now exhibited in the ducal gallery, which does honour to Italy, no less than to the n.o.ble taste of the family of Este that established it. Nor has it omitted, from time to time, to provide for young artists the a.s.sistance of the academy, which continued to flourish there, from the times of Lana, often closed, and afterwards re-opened, until beyond the age of Consetti. But it proved too difficult an attempt, to support another academy so near that of Bologna, so widely distinguished and attended.[9]

Footnote 9: The latest attempt to restore it was made in 1786, when it continued to flourish with some credit, during ten years. In the close of the year 1796 it a.s.sumed the name of school, as I before remarked, directed by a master in the art of designing figures, together with an a.s.sistant.

The same celebrated state, so fruitful in every kind of merit, produced also able professors in other branches of the art. Lodovico Bertucci, of Modena, was a painter of _capricci_, which were at that period much admired and admitted even into palaces; and perhaps there are many of his specimens still preserved there, but known under other names. A Pellegrino Ascani, of Carpi, was an admirable flower-painter, and was succeeded, after a long interval, by Felice Rubbiani. This last was a scholar of Bettini, the companion of his travels, and the imitator of his taste. He was a favourite at court, in the cities, and the vicinity; and had commissions bestowed upon him to the number of thirty-six pictures, by the Marchesi Riva, of Mantua, all of which he varied in the most astonishing manner. There was, moreover, a Matteo Coloretti, from Reggio, excellent in portraits, and a lady of the name of Margherita Gaba.s.si, who succeeded admirably in humourous pieces. Nor ought we to omit the name of Paolo Gibertoni, of Modena, who settled at Lucca, and for this reason less known in his native place. His grotesques in fres...o...b..ast no ordinary merit; and these he varied with every species of strange animals, executed with great spirit.

He was likewise very pleasing in his landscapes, which rose in value after his death, and are still much esteemed.

Most part of the artists of the Modenese state distinguished themselves in ornamental work and in architecture; such as Girolamo Comi, whose fine perspectives deserved to have been accompanied with superior figures; and Gio. Batista Modonino, called by mistake Madonnino in the Dictionary of Artists, who acquired a high reputation in Rome, and probably left several frescos in the Palazzo Spada. He died of the plague, in Naples, 1656.

Antonio Ioli met with a better fate there, about the same period; having acquired the theory of architecture, he pa.s.sed into Rome, and, entering the school of Pannini, he became one of the most celebrated painters in architecture and ornamental work, known to the present century. Applauded in the theatres of Spain, England, and Germany, all of which he adorned, he afterwards went to Naples, and became painter to Carlo III., and to his successor. Giuseppe Dallamano, a weak man, and, as it is said, unacquainted with his alphabet, was ignorant even of the common principles of the art; though by an extraordinary sort of talent, and especially in colouring, he attained a degree of excellence truly surprising, even to the learned; by which he continued to live, employing himself in the service of the royal family at Turin. His pupil Fa.s.setti was, likewise, an extraordinary character; applying himself, at the age of twenty-eight, to the grinding of colours, he soon began to imitate his master; and ultimately, with the a.s.sistance of Frances...o...b..biena, he became one of the most skilful among the theatrical painters of Lombardy. He came from Reggio, as well as his contemporary Zinani, and the younger Spaggiasi, both educated in the school of Bibiena; although of the father of Spaggiasi, who died in the service of the king of Poland, the master's name remains unknown. To these we might add the name of Bartoli, Zannich.e.l.li, Bazzani, and of others, either yet flourishing or deceased; names by which the cavalier Tiraboschi is justified in observing, that "Reggio had the honour of having at all times produced excellent theatrical painters."

Carpi enjoys a different kind of honour, though as great in its way. For there were first commenced the works termed _a scagliola_, or _a mischia_, of mixed workmanship, the first inventor of which was Guido Fa.s.si, or del Conte.[10] The stone, called selenite, forms the first ingredient in it. It is pounded and mixed with colours, and by the application of a certain glue, the composition becomes as hard as stone, forming a kind of marble, capable, with further care, of taking a gradual polish. The first trial was made upon cornices, which thus a.s.sume the appearance of fine marbles; and there remain also in Carpi, of the same composition, two altars by the hand of Guido himself. His fellow citizens began to avail themselves of this discovery; some adding one thing to it, and some another. Annibal Griffoni, a pupil of Guido, applied it to monuments, and even ventured upon the composition of pictures, intended to represent engravings upon copper, as well as pictures in oil; an attempt not very successful, insomuch that the specimens by his son Gaspero are not valued beyond a few tabernacles, and things in a similar taste. Giovanni Gavignani afforded a.s.sistance first to Guido, and next to Griffoni, surpa.s.sing both in a skilful application of the art. Thus, the altar of S. Antonio, in the church of S. Niccolo, at Carpi, is still pointed out as something extraordinary, consisting of two columns of porphyry, and adorned with a pallium embroidered with lace; an exact imitation of the covers of the altar, while it is ornamented in the margin with medals, bearing beautiful figures. Nor is the monument from the hand of one Ferrari in the cathedral, less perfect in its kind; where the marbles are so admirably counterfeited, that several tourists of the best taste have been induced to break a small portion, to convince themselves of the fact. There are, also, pictures preserved in private houses thus drawn by Gavignani; one of which consists of the Rape of Proserpine, executed with much elegance, in possession of Signor Caba.s.si.

Footnote 10: In the _Novelle Letterarie of Florence_, 1771, it is a.s.serted that this art was introduced about two ages back into Tuscany, giving rise to imitations of marbles, besides some fancy pieces. I have diligently sought after specimens thus antique, both at Florence and at Vallombrosa, where this art was in great vogue; but what I have seen are very trivial in their character, nor do they appear of so ancient a date.

Leoni, who resided in Cremona, was a disciple of the Griffoni, and the artificer of two very beautiful desks, preserved in the Ducal Museum at Modena, as well as Paltronieri and Mazzelli, who introduced the art into Romagna, where it still continues to flourish. We there meet with altars, that equally deceive the eye by their colour, and the touch by the freshness of the marble. But the most celebrated pupil of the Griffoni was a priest called Gio. Ma.s.sa, who, together with Gio. Pozzuoli, produced wonderful specimens of the art in his native place, in the adjacent cities, in Guastalla, Novellara, and elsewhere. The priest proved equally successful in drawing distant views, gardens, and in particular architecture, besides adorning with it tablets, and coverings of altars, in such a manner as to reach the very perfection of the art. The most dignified objects possessed by Rome were those which he most delighted in for his views; such as the facade of the temple of the Vatican, its colonnade, and its piazza. It appears the Duke of Guastalla took singular pleasure in similar works; and at his desire were prepared those two little tables, in the possession of Signor Alberto Pio, cited by Tiraboschi, and which were, perhaps, the masterpieces of Ma.s.sa. No objects appeared to me more remarkable than such works abounding almost in every church throughout those parts; and it would be very desirable that the plan of representing architectural views, by this process, should become more frequent. Ma.s.sa also included figures, the honour of perfecting which has fallen upon Florence; a subject I have treated in my first volume, (p. 346). I shall merely notice here, that after the practice of modelling had been brought to vie with sculpture; and after engraving upon wood had so well counterfeited works of design, we have to record this third invention, belonging to a state of no great dimensions. Such a fact is calculated to bring into still higher estimation the geniuses who adorned it. There is nothing of which man is more ambitious, than of being called the inventor of new arts: nothing is more flattering to his intellect, or draws a broader line between him and the animals that are incapable of such inventions, or of carrying them beyond the limits prescribed by instinct.

In short, nothing was held in higher reverence among the ancients; and hence it is, that Virgil, in his Elysian fields, represented the band of inventors with their brows crowned with white chaplets, equally distinct in merit as in rank, from the more vulgar shades around them.

THE SCHOOL OF PARMA.

EPOCH I.

_The Ancients._

Next in order to the school of Modena, I rank that of Parma and its state; and I should very gladly have united them together, as other writers have done, if in addition to the distinction of dominions there did not also exist an evident distinction in point of taste. For it appears to me, as I have before had occasion to observe, that in the former of these cities the imitation of Raffaello prevailed; in the second that of Coreggio. This last indeed is the founder of the School of Parma, which preserved a series of disciples for several generations, so strongly attached to his examples as to bestow no attention upon any other model. The situation in which he found the city on his first arrival, is apparent from the ancient figures scattered throughout, which by no means discover a progress in the art of painting equal to that of many other cities in Italy. Not that this arose from any want of acquaintance with the arts of design; for there flourished there as early as the 12th century an artist named Benedetto Antelani, of whom a ba.s.so-relievo, representing the Crucifixion of our Lord, is in the cathedral, which, though the production of a rude age, had nothing in sculpture equal to it that I have been able to meet with, until the period of Giovanni Pisano. Respecting the art of painting, the celebrated Father Aff has extracted very interesting notices from published doc.u.ments and MSS., in order to shew, that before 1233, both figures and historical pieces had been painted in Parma.[11] Upon the completion of the baptismal font, about 1260, that a.s.semblage of paintings was there executed, which may now be regarded as one of the finest remaining monuments of the ancient manner that upper Italy has to boast. The subjects are in the usual taste of those times; the style is less angular and rectilinear than that of the Greek mosaicists; and displays some originality in the draperies, in the ornamental parts, and in the composition. Above all, it shews very skilful mechanism in regard to gilding and colouring, which, notwithstanding the distance of five centuries, retain much of their original strength.

Footnote 11: The notices of the artists of Parma communicated by him to the public, are in part contained in the Life of Parmigianino, and partly in a humorous little work, ent.i.tled _Il Parmigiano servitor di Piazza_; and some further information on this subject I have myself received from the lips of this learned ecclesiastic.

Down from that period there appear in several places, both at Piacenza and Parma, further specimens of the _Trecentisti_, sometimes with annexed dates, and sometimes without any. Such as belong to Piacenza, are in the church and cloister of the Predicatori; but the best preserved of all is an altar-piece at San Antonio Martire, with histories of the t.i.tular saint in small figures, tolerably well drawn, and in costume which seems to have been borrowed, as it were, from some munic.i.p.al usages peculiar to the place. Parma, likewise, possesses some of the same date, besides a few others remaining at San Francesco, in a somewhat more polished style, attributed to Bartolommeo Grossi, or to Jacopo Loschi, his son-in-law, both of whom were employed there in 1462. Subsequent to these flourished Lodovico da Parma, a pupil of Francia, whose Madonnas, executed in his master's manner, are easily recognized in Parma; and a Cristoforo Caselli (not Castelli, as he is termed by Vasari,) or Cristoforo Parmense, enumerated by Ridolfi among the pupils of Gian Bellino. He produced a very beautiful painting for the hall of the Consorziali, bearing the date of 1499; and he is much commended by Grappaldo in his work _De partibus aedium_, who next to him ranks Marmitta, of whom there is no authentic specimen remaining. Still his name ought to be recorded, were it for no other reason than his being the supposed master of Parmigianino. Along with these we may mention Alessandro Araldi, one of the scholars of Bellini, of whom there remains a Nunziata, at the Padri del Carmine, with his name, besides altar-pieces in different churches. He was indisputably a good artist in the mixed manner, that is now called antico moderno. The family of the Mazzuoli was much employed about the same period in Parma, consisting of three brother artists, Michele and Pierilario, falsely supposed to have been the first masters of Coreggio, and Filippo, called _dalle Erbette_, from succeeding better in fruits and flowers than in figure pieces. There remains an altar-piece of Pierilario in the Sacristy of Santa Lucia, executed in a method very superior to that of the "Baptism of Christ," painted for the baptismal font by his brother Filippo. But, however inferior to his other brothers in this line himself, Filippo may be p.r.o.nounced at least more fortunate in his posterity, being the father of Parmigianino, whom we have so lately had occasion to commend.

Yet the two most excellent of the Mazzuoli could not, any more than their contemporaries, have been considered artists upon a great scale, when the Padri Ca.s.sinensi, instead of availing themselves of their services to decorate the tribune and cupola of their magnificent temple, dedicated to St. John, preferred inviting Antonio Allegri da Coreggio, a foreigner and a youth, to undertake the immense task; a choice which may be said to have conferred a lasting obligation upon posterity. For Coreggio, like Raffaello, stood in need of some extensive undertaking in order to bring his powers into full play, and to open a new path for labours upon a grand scale, as he had before done in those of a smaller cla.s.s. But of an artist who forms an era in Italian painting itself, not in this particular school only, it becomes us to treat, as well as of his imitators, in a separate chapter.

SCHOOL OF PARMA.

EPOCH II.

_Coreggio, and those who succeeded him in his School._

We are at length arrived at one of those distinguished characters, whom, from his high reputation, and the influence he exercised over the style of painting in Italy, we can by no means dismiss with our accustomed brevity.

His name, however, must still be confined within compendious limits, adding whatever new information and reflections we may think best adapted for the ill.u.s.tration of such a subject; the life of Coreggio being involved in so much obscurity, as to admit, beyond that of any other artist, of fresh discussion. The more curious may consult the notices of him by the Cavalier Mengs, contained in his second volume, a little work by Cavalier Ratti, upon the life and works of Allegri, published in Finale in 1781, and Tiraboschi in his Notices of the professors of Modena, besides Padre Aff, in his works already cited, the most accurate, perhaps, of any in point of chronology.

The whole of these writers, following the example of Scannelli and Orlandi, have complained of Vasari for having falsely a.s.serted the abject condition of Antonio,[12] sprung, in fact, from a tolerably good family in an ill.u.s.trious city, and not dest.i.tute of those conveniences of fortune that might enable him from the first to obtain an education adapted to the success of his future efforts. They have also in particular reproached him with his excessive credulity, in representing him to us as a suffering and unhappy object, burdened with a numerous family, little appreciated and badly rewarded for his labours. On the contrary they observe, we know that he was respected by the great, richly recompensed, and enabled to leave a fair heritage for his family. Now I admit that Vasari is guilty of much exaggeration, though not without some shew of truth; for we only need to compare the commissions and gains of Coreggio with those of Raffaello, of Michelangiolo, of t.i.tian, and even of Vasari himself, to divest us of all surprise at the honest commiseration of the historian. Annibal Caracci did not only compa.s.sionate his condition, but is said to have bewailed it with his tears.[13] Besides, if we reflect that the terms made use of by Vasari, of Coreggio having become _si misero_, so wretched, that nothing could be worse, do not exactly signify _miserabile_, miserable, as interpreted by some of his critics, but rather mean, _miserly_, and _sparing_, renouncing certain conveniences of life, in order to spend as little as possible, it will alter the complexion of the case. In the same manner he states, or rather as some think, imagines that Antonio, though enabled to travel like others, by water, mounted horse during the summer solstice, and shortly after died. And, indeed, if we consider the singular deprivations to which very wealthy people, for the same reason, will submit, we do not see how a reference to the possessions of the Allegri family, not without some degree of exaggeration, as has more than once been done, can disprove this charge of meanness and extreme parsimony. We trust that the Signor Dottor Antonioli will inform us more distinctly respecting the amount of Antonio's property, though we are inclined to believe it could not have exceeded the limits of mediocrity. The highest salaries received by him have been ascertained. For the cupola and larger nave of the church of San Giovanni, he was paid four hundred and seventy-two gold ducats, or Venetian zecchins, and for the cupola of the cathedral, three hundred and fifty; doubtless considerable sums, though we should consider he was occupied from the year 1520 until 1530, in the designs and labours requisite for works of such magnitude, and which prevented him from accepting other offers of any account during the interval. He earned forty gold ducats by his celebrated picture of Night; his San Girolamo brought him forty-seven ducats, or zecchins, besides his subsistence during six months he was employed on it; and thus, in equal proportion, we may suppose him to have been recompensed for the time bestowed upon his lesser pieces. The two which he painted for the Duke of Mantua we may reckon at something more; but these were the only ones he produced at the request of sovereigns. Thus much being certain, it is hardly credible, that after deducting the expense of colours, of models, and of a.s.sistants, including the maintenance of his family, there should still have remained enough to leave that family in a state of affluence.

Footnote 12: In the opening of the Life we find--"He was of a very timid disposition, and with extreme inconvenience devoted himself to incessant labour in order to provide for a numerous family." Towards the conclusion he adds--"Like those who have a numerous family, Antonio was desirous," (he had four sons,) "of h.o.a.rding his money, and thus soon became one of the most miserable of men." Elsewhere it is observed--"He held himself in slight esteem, and was satisfied with little."

Footnote 13: "It almost drives me mad with grief to think of the wretchedness of poor Antonio; to think that so great a man, if he were not an angel in human shape, should be thus lost in a country which could not appreciate him, and though with a reputation reaching to the skies, destined to die in such a place so unhappily." In a letter to Lodovico, written from Parma, 1580, (Malvas. vol. i. p. 366). Annibal likewise exaggerated, because the Padri Benedettini, as well as others, were aware of the value of Antonio.

But although we admit the reality of his supposed indigence, it can form no reproach, no drawback upon the excellences of so great a man, crowning him rather with additional honour, in particular when we reflect, that with such limited means he was invariably lavish of his colours, to a degree beyond example. There is not a single specimen, whether executed on copper, on panels, or on canva.s.s, always sufficiently choice, that does not display a profusion of materials, of ultramarine, the finest lake and green, with a strong body, and repeated retouches; yet for the most part laid on without ever removing his hand from the easel before the work was completed. In short he spared neither time nor expense, contrary to the custom of all other painters, with very few exceptions. Such liberality, calculated to do honour to a rich amateur, painting for amus.e.m.e.nt, is infinitely more commendable in an artist of such circ.u.mscribed resources. It displays, in my opinion, all the grandeur of character that was supposed to animate the breast of a Spartan. And this we would advance, no less in reply to Vasari, who cast undue reflections upon Coreggio's economy, than as an example for such young artists as may be desirous of nourishing sentiments worthy of the n.o.ble profession they embrace.

It is still current in Coreggio that Antonio commenced his first studies under his uncle Lorenzo. Subsequent to which, according to Vedriani, he entered into the school of Frances...o...b..anchi, called Il Frari, who died in 1510, a school established in Modena. There also it appears he acquired the art of modelling, at that time in great repute; and he thus prepared in clay, along with Begarelli, the group of that Pieta, in Santa Margherita, where the three most beautiful figures are attributed to Coreggio. In the same highly distinguished city it is most probable that he also laid the foundation of that learned and cultivated taste so conspicuous in his works; the geometrical skill exhibited in his perspective, the architectural rules of his buildings, and the poetry of his warm and lively conceptions. Thus his historians, judging from the specimens of his early style, a.s.sert that he must have sought it in the academy of Andrea Mantegna at Mantua; but the recently discovered fact of Andrea's having died in 1506, does away with such a supposition. It is, nevertheless, extremely probable that he acquired it by studying the works left by Andrea at Mantua, for which I can adduce various arguments. I have described pretty fully the character of Mantegna's picture of Victory, the most extraordinary of all he produced; imitations of this are to be met with in many of the works of Coreggio, but most evidently so in the picture of his St. George at Dresden. The manner in which Coreggio could have imbibed so exquisite a taste, was always considered surprising and unaccountable, prevailing every where, as we find it in his canva.s.s, in his laying on his colours, in the last touches of his pictures; but let us for a moment suppose him a student of Andrea's models, surpa.s.sing all others in the same taste as we before observed, and the wonder will be accounted for. Let us moreover consider the grace and vivacity so predominant in the compositions of Coreggio; that rainbow as it were of colours, that accurate care in his foreshortenings, and of those upon ceilings; his abundance of laughing boys and cherubs, of flowers, fruits, and all delightful objects; and let us then ask ourselves whether his new style does not appear an exquisite completion of that of Mantegna, as the pictures of Raffaello and t.i.tian display the progress and perfection of those of Perugino and Giovanni Bellini.

In regard to his education in the studio of Mantegna, the generally received opinion in Lombardy is, that Vedriani must have been mistaken in a name; and that in place of Andrea, he ought to have p.r.o.nounced his son Francesco, the master with whom it is maintained Coreggio resided, either in quality of pupil or a.s.sistant. Mantegna's school, indeed, had risen into great reputation, having given striking proof of its excellence even in foreshortening from above; besides surpa.s.sing Melozio, as I elsewhere observed, so as only to leave another step before reaching the modern manner. This was reserved for the genius of Coreggio, in common with the master spirits of every other school, who flourished during the same period. In truth from his very first attempts, he appears to have aimed at a softer and fuller style than Mantegna's; and several, among whom is the Abate Bettinelli, have pointed out some such specimens in Mantua. Signor Volta, member of the Royal Academy there, a.s.sured me that Coreggio is named in the books of the Opera di S. Andrea, for which reason, several of the figures on the outside of the church, and in particular a Madonna, better preserved than the rest, a youthful essay, but from the hand of one freed from the stiffness of the quattrocentisti, have been attributed to him.[14]

In Mantua likewise I saw a little picture in possession of the Abate Bettinelli, about to be engraved, representing a Holy Family, in which, if we except a degree of stiffness in the folds, the modern manner is complete. A few other of Coreggio's Madonnas, to be referred to this period, are to be seen in the ducal gallery at Modena, with other works mentioned in various places. Among these is a picture of our Lord, taking farewell of the Virgin mother, previous to his pa.s.sion, a piece recognized as a genuine Coreggio by the Abate Carlo Bianconi at Milan.[15] Doubtless many of his other early productions were of an inferior description, and are dispersed abroad, either unknown, or disputed, Vasari having recorded of him that _he completed many pictures and works_.