The History Of Painting In Italy Volume Iv Part 6

Vasari bestows the highest commendations upon Sofonisba, and upon the other sisters, with whom he was acquainted at Cremona, when they were young. At that period Sofonisba had already been invited as court painter, by Philip II. into Spain, where, besides the portraits she took of the royal family and of Pope Pius IV., she painted several other princes and lords of rank, all ambitious of the same honour, insomuch that we might apply to her the words of Pliny: "Illos n.o.bilitans quos esset dignata posteris tradere."

Entering afterwards into matrimony with one Moncada, she resided with him some years at Palermo, and after his death again married a gentleman of the name of Lomellino. She died at Genoa, at a very advanced age, infirm and blind; though she continued to converse and give her advice upon the art until her last moments; insomuch that Vandyck was heard to say, that he had acquired more knowledge from her, than from any one else he knew. Her portraits are greatly esteemed in Italy; and in particular, two which she took of herself; one of which is in the ducal gallery at Florence, and the other in possession of the Lomellini family at Genoa.

I next approach that celebrated pupil of Bernardino, whom I promised to mention at the close of the chapter; and this is the Cavalier Gio. Batista Trotti, who published his master's life, during his lifetime, written by Lamo. None of Campi's pupils was so much attached to him as this artist, who married his niece, and was left heir to his valuable studio. On his competing at Parma with Agostino Caracci, and being more applauded at court, it was said by Agostino, with pleasantry, that they had given him a hard bone to gnaw. Hence he acquired the surname of Malosso, which he adopted, and sometimes made use of in signing his name, besides transmitting it, as an hereditary appellation, to his nephew. Thus he converted into a source of applause, the satiric trait launched against him by Caracci, meant to convey, that the people of Parma had preferred to him an artist of inferior worth. Nor indeed was Malosso his equal either in design or in solid judgment; though he could boast pictoric attractions which made him appear to advantage when opposed to other artists. He displayed little of Bernardino's taste, except in a few of his first efforts; he afterwards studied Coreggio, and, most of all, aimed at resembling Soiaro, whose gay, open, and brilliant style, varied shortenings, and spirited att.i.tudes, he exhibited in the chief part of his works. But he carried it too far, making an extravagant display of his white and other clear colours, without sufficiently tempering them with shade, insomuch that I have heard his paintings compared to those on porcelain; while he has been accused of want of relief, or according to Baldinucci, of some degree of harshness. His heads are, however, extremely beautiful, smiling with loveliness, and of a graceful roundness, not unlike Soiaro's; though he is too apt to repeat them on the same canva.s.s, nearly alike in features, colours, and att.i.tude. Here his rapidity of hand alone was in fault, as he was in no want of fertility of ideas. When he pleased he could give variety to his lineaments, as we gather from his Beheading of St. John, at S. Domenico, in Cremona, as well as to his compositions; having represented at S. Francesco and at S. Agostino, in Piacenza, and if I mistake not, elsewhere, a picture of the Conception of the Virgin, in every instance abounding with fresh ideas. Nor do we often meet with any of his paintings throughout the numerous cities in which he was employed, that have much resemblance in point of invention. He was equally varied in his imitations when he pleased, as appears from his Crucifixion, surrounded by saints, in the cathedral of Cremona, executed in the best Venetian taste; while his S. Maria Egiziaca driven from the Temple, to be seen at S. Pietro in the same town, partakes as much of the Roman. There is also a Pieta of his at S. Abbondio, which shews that he was occasionally happy in catching the Caracci manner.

His most esteemed works in fresco, for which he was honoured with the t.i.tle of cavaliere, were exhibited in the palace called del Giardino, at Parma.

His labours in the Cupola of S. Abbondio, before-mentioned, were on a magnificent scale, though designed from Giulio Campi. But they display a mastery of hand, and strength of colouring, fully equal, if not superior, to the invention of the work. For Giulio, indeed, did not possess the same skill in varying his groups of angels as the Caracci; inasmuch as both he and his family were accustomed to arrange them like the horses we see in the ancient chariots, all drawn up in a line, or in some other manner unusual in the best schools. The Cremonese historian endeavours, in some degree, to defend Trotti from the charge of harshness, casting it upon his a.s.sistants and disciples, whose altar-pieces have been attributed to Malosso, by Baldinucci. This may be the case with some, but there are others inscribed with the name of Trotti, especially at Piacenza, which more or less exhibit the same fault. Nor ought we to cast reflections upon an artist of a secondary character, on account of some errors, as these are precisely the cause of his exclusion from the rank of the very first masters.

Trotti educated a number of artists who flourished about the year 1600, devoted to his manner, although in course of time the method of preparing grounds becoming corrupted throughout Italy, and the age attached to a more sombre style of colouring, they were induced to abandon much of that clearness which forms a chief characteristic of his colouring. Baldinucci gives some account of Ermenegildo Lodi, as well as Orlandi, who could not discern which of two paintings belonged to the master, and which to the scholar. This, I conjecture, arose from painting under the eye of his preceptor, whom he a.s.sisted in many of his labours, together with his brother Manfredo Lodi. When we consult the few which he executed alone, particularly at S. Pietro, they discover nothing to have excited the jealousy of Agostino Caracci, nor to have gained for the artist the appellation of Malosso. The productions likewise of Giulio Calvi, called Il Coronaro, might be mistaken for the least perfect of those of Trotti, says Zaist, where they are not inscribed with his name. The same may be averred of two other artists, Stefano Lambri and Cristoforo Augusta, a youth of great promise, cut off in the flower of his age; and both excellent disciples of the school. These, no less than Coronaro, may be seen and compared with each other in the church and convent of the Padri Predicatori, which possess specimens of each.

Of Euclide Trotti, before-mentioned, there remains in his native place no work clearly ascertained to be his, except two history-pieces of St. James the Apostle, at S. Gismondo. These too were sketched by Calvi, and completed by Euclide, with a very able imitation of his uncle Gio.

Batista's style. The altar-piece of the Ascension, however, at S. Antonio, in Milan, is wholly ascribed to him; and displays much beauty, and a more serious manner than is generally to be met with in the works of the elder Malosso. No other painting is attributed to him, nor was he capable of executing many. For while yet young, he was tried and found guilty of felony against the prince. Being thrown into prison, he is there supposed to have died by poison, which was administered by his friends, in order to avoid the disgrace of a public execution. In conclusion, we must not omit the name of Panfilo Nuvolone. He was attached to Malosso, whom he imitated from the outset; but he afterwards followed a more solid and less attractive style. One of his works, which is omitted in the account of his life, is his S. Ubaldo giving his benediction to the sick, at S. Agostino, in Piacenza. Mention will be made of this painter also in the Milanese School, where he flourished, together with his two sons, Giuseppe and Carlo, who obtained the appellation of the Guido of Lombardy.

SCHOOL OF CREMONA.

EPOCH IV.

_Foreign Manners introduced into Cremona._

Among the descendants of Malosso the Cremonese School continued to decline; and here, as in the instance of so many others, it was compelled to resort to foreign sources, in order to restore its somewhat aged and exhausted powers. Carlo Picenardi, of a patrician family, was the first to lead the way, an artist who had ranked among the favourite pupils of Lodovico Caracci. He was very successful in burlesque histories, and likewise exhibited to the public some of his paintings, executed for churches, which were imitated by another Carlo Picenardi, called the younger, who had formed his style in Venice and at Rome. Other artists of the city attached themselves to other schools, insomuch, that before the middle of the seventeenth century many new manners had arisen which a.s.sumed the place of more native styles. In the train of Malosso Zaist enumerates Pier Martire Neri, or Negri, a good portrait-painter and composer, though, adds the historian, he procured from a foreign source a character of more boldness and strength of shadow, at the same time adducing as an instance, his great picture of the Man born Blind receiving his sight from our Saviour, which is preserved at the hospital of Cremona. He painted likewise a S. Giuseppe at the Certosa, in Pavia, a work which, if I mistake not, is superior in point of taste to the former, and there are others to be met with in Rome, where the artist's name is found among the academicians of S. Luke.

Andrea Mainardi opened school simultaneously with Malosso; and two of his pupils, Gio. Batista Tortiroli and Carlo Natali, became particularly distinguished. Both abandoned their native place, Gio. Batista going first to Rome and thence to Venice, where he formed a style which partakes most of the younger Palma, united to an evident imitation of Raffaello. Such it appears in his picture of the Slaughter of the Innocents, at S. Domenico, commendable in point of composition, and extremely well coloured. This, and a few other productions, are regarded however only as specimens of his powers, the artist dying in his thirtieth year, leaving behind him a pupil of the name of Gio. Batista Lazzaroni. This last flourished at Piacenza and in Milan, was an excellent portrait-painter, and much employed by the princes of Parma and other personages of high rank. Carlo Natali, surnamed Il Guardolino, attended the school of Mainardi, and afterwards that of Guido Reni, to which he added a long residence at Rome and Genoa, observing all that was most valuable, and exerting his own talents in the art. It was while engaged in executing a frieze in the Doria palace at Genoa, that he instructed Giulio Cesare Procaccini in the principles of painting, who had previously devoted himself to sculpture, and in him he presented us with one of the most successful imitators of Coreggio. Carlo's attachment to architecture, however, permitted him to produce few specimens, which are highly esteemed in his native state, in particular his Santa Francesca Romana, painted for S. Gismondo, a piece, which if not perfect, is certainly above mediocrity.

He had a son named Giambatista, whom he instructed in both these arts; though he was desirous that he should acquire a more perfect knowledge of them under Pietro da Cortona at Rome. There he pursued his studies and left some specimens of altar-pieces, producing works upon a still more extensive scale upon his return to Cremona, where he opened school and introduced the Cortona manner, although with little success. There is a large picture of his at the P. Predicatori, displaying some skilful architecture, and in which the holy patriarch is seen in the act of burning some heretical books; nor is it at all unworthy of a disciple of Pietro. In the archives of the royal gallery at Florence I discovered, at the period I was drawing up my index, some letters addressed by Gio. Batista to the Card. Leopoldo de' Medici, one of which was written from Rome, dated 1674, wherein he states that he was then engaged in collecting notices respecting the artists of his native place. Hence we may gather the real origin of their lives, as contained in the work of Baldinucci, for whom the Cardinal, who patronized him, likewise procured other materials for his history from different places. Had Zaist been informed of this he would rather have directed both his eulogies and his complaints to Natali, than to Baldinucci or his continuator. The pupils of Natali were Carlo Ta.s.sone, who became, on the model of Lovino, a painter of portraits, much admired at Turin and other courts; Francescantonio Caneti, afterwards a Capuchin Friar, and a pretty good miniature-painter in his day, and who left a fine painting in the church of his own order at Como; with Frances...o...b..ccaccino, the last of that pictoric family, who died about the year 1760. Having familiarized himself at Rome, first with the school of Brandi, and next with that of Maratta, he acquired a manner that came into some repute in private collections, for which he employed himself more than for churches. He resembles Albano, and was fond of portraying mythological subjects. A few of his altar-pieces still adorn Cremona, which may be esteemed good for the period at which they were produced.

While the Cremonese artists left their native state in search, as we have observed, of more novel methods, a foreigner took up his residence, and not only studied, but taught at Cremona. This was Luigi Miradoro, commonly called Il Genovesino, from his native city of Genoa, whence, after being initiated in the principles of his art, he appears to have gone, while young, to Cremona, towards the beginning of the seventeenth century. There he began to study the works of Panfilo Nuvolone, and afterwards formed a manner partaking of the Caracci, though neither so select nor studied, but bold, large, correct in colouring, harmonious, and productive of fine effect. This artist, equally unknown in his native place and in foreign cities, as well as pa.s.sed over by Orlandi and his continuator, is nevertheless held in high repute in Lombardy, and particularly in Cremona, where his pictures adorn several churches, among which that of his S. Gio.

Damasceno, at S. Clemente, has been most highly commended. The Merchants'

College likewise at Piacenza possesses a very beautiful painting of a Pieta from his hand. In all subjects he was successful, and remarkably so in those of a terrific cast. In the Casa Borri at Milan there is a piece representing a variety of punishments inflicted upon some accomplices in a conspiracy, a magnificent production of its kind. Others are to be met with, though not very frequently, in collections belonging to the above mentioned cities, on one of which I read the date of 1639.

Agostino Bonisoli was pupil to Tortiroli, and subsequently, for the s.p.a.ce of a year, to Miradoro, though he was more indebted to his own genius than to any master, with the aid of studying excellent models, more especially that of Paul Veronese. From him he borrowed his grace and spirit, his design from other artists. He painted little for churches, and Cremona possesses scarcely any other specimen than the Dialogue of S. Antonio with the tyrant Ezzelino, which is preserved at the church of the Conventuali.

His portraits and history-pieces are to be met with in private houses, for the most part taken from sacred records, and intended for the decoration of rooms. Many of these pa.s.sed into Germany and other foreign parts; for, having been in the service of Gio. Francesco Gonzaga, prince of Bozolo, in which he remained twenty-eight years, his paintings were frequently presented as gifts, or requested by foreigners of rank. As long as he continued in his native state he maintained an academy for the study of naked figures, in which he gave instructions to youth.

Two other artists flourished after him in Cremona, of whom their biographer observes that they must have drunk at the same fountain, from the great resemblance of their paintings, at least during a certain period, though they differed greatly in point of colouring. One is Angelo Ma.s.sarotti, a native of Cremona, the other Roberto La Longe, born at Brussels, ranked among those artists who have been denominated Fiamminghi, or Flemish, in Italy, an appellation which has given rise to frequent mistakes in history.

Angelo was undoubtedly pupil to Bonisoli, and though he studied many years with Cesi at Rome, where he painted at S. Salvatore in Lauro, he exhibits very little of the Roman, except a more regular kind of composition than belongs to the Cremonese style. For the rest he was fonder of introducing portraits than ideal forms into his canva.s.s, nor was he sufficiently careful to shun the faults of the naturalists; owing to which, more particularly in his draperies, he sometimes became heavy. He boasts moreover a more rich and oily colouring than was then prevalent at Rome, which gives his pictures an appearance of fulness and roundness, while it adds to their preservation. Perhaps his masterpiece is to be seen at S.

Agostino, a vast production, in which the saint is represented giving rules to various religious orders, which form a body militant under his banners, and in such a crowd of figures, the ideas, the att.i.tudes, and the draperies are all well varied.

Most probably Roberto la Longe frequented the academy of Bonisoli, and occasionally, as we have observed, conformed to the manner of Ma.s.sarotti.

But both there and at Piacenza, where he long resided and closed his days, he painted in a variety of styles, yet always soft, clear, and harmonious; much as if he had never ventured beyond the confines of Flanders. At times he emulates Guido, as in some histories of S. Teresa, painted for S.

Sigismondo at Cremona; and in some histories of S. Antonio Martire, at Piacenza, he approaches Guercino, while at others he displays a mixture of strength, delicacy, and beauty, as in his picture of S. Saverio, in the cathedral at Piacenza, seen in the act of dying, and supported by angels.

His landscapes give singular attraction to his figures, though the latter might be better designed, and more gradation may be desired in his landscape, as well as in other parts of his works.

Both these last masters had for their pupil Gian Angiolo Borroni, who, being taken under the patronage of the n.o.ble house of Crivelli, was retained many years at Bologna, during the period the Creti rose into repute. Monti and Giangioseffo del Sole, to whose style he most attached himself, were then likewise flourishing at the same place. He was particularly employed in ornamenting the palaces of his patrons, who were desirous of having him with them, both at Cremona and at Milan, and in this last city he spent the best part of his life, dying very infirm in the year 1772. There too he left the chief portion of his works, some of which are upon a very large scale, distributed throughout its temples and palaces, besides others in different cities of the Milanese, more especially in his native place. In the cathedral remains his picture of S. Benedetto, in the act of offering up prayers for the city, of which he is the patron, to paint which the Cav. Borroni exerted his utmost degree of industry and art.

Its success was sufficient indeed to have placed it upon an equality with the best of its age, had the draperies been folded with a degree of skill at all corresponding to the rest of the work; but in this he certainly was not happy. A little subsequent to him began to flourish Bottani, an artist who has been mentioned also in the Mantuan School; for, though a native of Cremona, he resided elsewhere. Good artists continue to flourish at Cremona to this day, whose merits, however, according to my plan, I leave untouched to the judgment of posterity.

Professors of minor branches of painting were not wanting in this school, one of whom, named Frances...o...b...s.si, who had fixed his residence at Venice, was there called Il Cremonese da' Paesi. His powers were extremely varied and pleasing, united to great polish, powerful in his shadows, warm in his airs, while he often added to his pieces figures of men and animals in a pretty correct taste. They enrich many collections both in Italy and elsewhere, and some, as we find from the catalogue published in Venice, were included in Algarotti's. We must be cautious to avoid mistaking this painter for another Frances...o...b...s.si, also a Cremonese, who is in that city called the younger. He was a pupil of the former in the art of landscape, and although much inferior to him, is not unknown in different collections.

But a still higher rank in the same cla.s.s is occupied by Sigismondo Benini, a scholar of Ma.s.sarotti, the inventor of beautiful methods in his landscapes, with well retiring grounds, and with all the accidents of light well portrayed. His composition is polished, distinct, and coloured with equal harmony and vigour, though to continue agreeable he ought not to have transgressed the limits of landscape; for, by the addition of his figures, he diminished the value of his works.

About the same period a family, sprung from Casalmaggiore in the Cremonese, distinguished itself in the line of architectural and ornamental painting.

Giuseppe Natali, the elder, impelled by his natural inclination for this art, entered upon it notwithstanding the opposition of his father, which, being at length overcome, he was permitted to visit Rome, and to remain some time at Bologna in order to qualify himself. He flourished precisely at the period which the architectural painters are fond of considering as the happiest for their art. It had very recently been improved by Dentone, by Colonna, by Mitelli, and boasted, from its attractive novelty, a number of young geniuses, whom it inspired with the dignity of masters, and with the prospect of rewards, a subject on which I shall treat more particularly in the Bolognese School. He formed a style at once praiseworthy for the architectural, and judiciously pleasing for the ornamental parts. He gratifies the eye by presenting it with those views which are the most charming, and gives it repose by distributing them at just distances. In his grotesques he retains much of the antique, shunning all useless exhibition of modern foliages, and varying the painting from time to time, with small landscapes, which he also executed well in little oil pictures, which were in the highest request. The softness and harmony of his tints extorted great commendation. He did not permit his talents to remain idle, ornamenting a number of halls, chambers, chapels, and churches throughout Lombardy, often with a rapidity that appears almost incredible. He more particularly distinguished himself at San Sigismondo, and in the palace of the Marchesi Vidoni.

He had three brothers who followed in his footsteps, and all of whom he had himself instructed. Francesco, the second, approached nearest to Giuseppe in point of merit, and even surpa.s.sed him in dignity. He was employed in works on a large scale for the churches of Lombardy and Tuscany, as well as for the courts of the dukes of Ma.s.sa, of Modena, and of Parma, in which city he closed his days. Lorenzo, the third, chiefly a.s.sisted his brothers, or if he had the misfortune to execute any works alone, he was rather pitied than applauded. Pietro, the fourth brother, died young and uncommemorated. There were two sons, the one of Giuseppe, the other of Francesco, who were initiated by their parents in the same art. The first, named Giambatista, became court-painter to the elector of Cologne; and the second, who bore the same name, honourably occupied a similar rank at the court of Charles, King of the two Sicilies, and in that of his son, a station in which he died. Giuseppe educated a pupil of merit in Gio.

Batista Zaist, a name to which we have frequently referred. Memoirs of him were collected by Sig. Panni, both his pupil and relation. To him also we are indebted for the publication of the work of Zaist, by which we have been guided in this account. It is a guide, however, not to be followed by a reader who is in haste, inasmuch as he is found to proceed very leisurely, and is very apt to go over the same ground again.

CHAPTER V.

SCHOOL OF MILAN.

EPOCH I.

_Account of the Ancients until the time of Vinci._

If in each of our pictoric schools we have adhered to the plan of tracing back the memorials of more barbarous ages, and thence proceeding to more cultivated periods, Milan more especially as the capital of Lombardy, and the court of the Lombard kings, will afford us an epoch remarkable no less for its lofty character than for the grandeur of its monuments. When Italy pa.s.sed from the dominion of the Goths to that of the Longobards, the arts, which invariably follow in the train of fortune, transferred their primary seat from Ravenna to Milan, to Monza, and to Pavia. Each of these places still retains traces of the sort of design now ent.i.tled, both on account of the place and the time, Longobardic, much in the same manner as in the diplomatic science we distinguish by the same name certain characters peculiar to that age, or rather to those ages, for after the Longobards were driven from Italy, the same taste in writing and sculpture continued to flourish during a great part of them. This style, as exhibited in works, both of metal and of marble, is coa.r.s.e and hard beyond the example of any preceding age, and is seen most frequently and to most advantage in the representation of monsters, birds, and quadrupeds rather than of human figures. At the cathedral, at S. Michele, and at S. Giovanni in Pavia, appear some friezes over the gates, consisting of animals chained in a variety of ways to one another, sometimes in natural positions, and sometimes with the head turned behind. In the interior of the same churches, as well as in some others, we meet also with capitals, presenting similar figures, not unfrequently united to historical representations of men, differing so much from the human figure as to appear belonging to another species. The same kind of abuse of the art was practised in places under the sway of the Longobard dukes, one of which was the Friuli, which still preserves a number of these barbarous efforts. In Cividale there is a marble altar, first begun by Duke Pemmone, and completed by his son Ratchi, who lived during the eighth century. The ba.s.si-relievi consist of Christ seated between different angels, his Epiphany, and the Visitation of the Blessed Virgin.[38] Art would appear scarcely capable of producing any thing more rude than these figures, yet whoever will be at the pains of examining the frieze on a gate at the same place, or the capitals of the pillars of S. Celso at Milan,[39] works of the tenth century, will admit that it was susceptible of still greater corruption when it added absurdity to its coa.r.s.eness, and produced distorted and dwarfish figures, all hands and all heads, with legs and feet incapable of supporting them. There are an infinite number of similar marbles, and of like design, at Verona and other places. To these, nevertheless, are opposed other monuments which will not permit us to admit, as a general rule, that every trace of good taste was then extinct in Italy. I might easily adduce instances, drawn from different arts, and in particular from that of working in gold, which, during the tenth century, boasted its Volvino, who produced the very celebrated altar-piece at S. Ambrogio in Milan, a work which may be p.r.o.nounced equal in point of style to the finest specimens of the dittici, or small ivory altar-pieces, that the museums of sacred art can boast.

Footnote 38: The inscription is annexed to it, and may be found in Bertoli, _Antichita di Aquileia_, num. 516.

Footnote 39: See the Dottore Gaetano Bugati, in his Historical and Critical account of the relics and the worship of San Celso the Martyr, p. 1; and the P. M. Allegranza, Explanations and Reflections relating to some sacred monuments at Milan, p. 168.

Confining myself, however, to the subject before me, we know that Tiraboschi remarked in the palace of Monza, some of the most ancient pictures belonging to those ages, while other similar reliques are pointed out at S. Michele in Pavia, although placed in too elevated a situation to permit us to form an exact judgment of them. Others yet more extensive exist in Galliano, of which a description is given in the _Opuscoli_ of P.

Allegranza, (p. 193). Upon this point I may observe, that the Treatise upon Painting already mentioned, was discovered in a ma.n.u.script in the University of Cambridge to have had this t.i.tle:--_Theophilus Monachus_ (elsewhere _qui et Rugerius_), _de omni scientia artis pingendi. Incipit Tractatus Lumbardicus qualiter temperantur colores, &c._ This is a convincing proof, that if painting could then boast an asylum in Italy, it must have been more particularly in Lombardy. And in the church of S.

Ambrogio, just mentioned, proofs of this are not wanting. Over the Confessional is seen a ceiling in _terra cotta_, with figures in ba.s.so-relievo, tolerably designed and coloured, resembling the composition of the best mosaic-workers in Ravenna and in Rome, supposed to be the work of the tenth century, or thereabouts. The figures of the Sleeping Saints are also seen near the gate, which must have been painted about the same time, and were at one time covered with lime, though they have since been brought to light and very carefully preserved by the learned ecclesiastics who are entrusted with the care of the temple. The portico has also a figure of the Redeemer, with a holy man worshipping at his feet, wholly in the Greek manner; besides a Crucifixion, which, to judge from the characters, might more suitably be ascribed to the thirteenth century than to the next. I omit the mention of several figures of the Crucified Saviour and of the Virgin, interspersed through the city and the state; contenting myself with referring to those of our Lady placed at S. Satiro and at Gravedona, which are of very ancient date.

From the period of these first efforts, I am of opinion that the art of painting continued to flourish throughout the state and city of Milan, though we are not fortunate enough to retain sufficient memorials of it to compile a full historical account. For little mention has been made by our oldest writers concerning the artists, except incidentally, as by Vasari in his Lives of Bramante, of Vinci, and of Carpi, and by Lomazzo, in his Treatise, and in his Temple, or Theatre[40] of Painting. As little likewise has been said by several of the more modern writers, nor that always with good authority, such as Torre, Latuada, Santagostini, whose narratives were collected by Orlandi, and inserted in his Dictionary. Some supplementary information has been supplied by _Notices of the Paintings of Italy_ as to a variety of artists, and their exact age; and by the New Guide to Milan, truly new and unique until this period in Italy, and reflecting the highest credit upon the Ab. Bianconi, who not only points out every thing most rare in the city, but teaches us, by sound rules, how best to distinguish excellence from mediocrity and inferiority in the art. To this we may add the name of the Consiglier de' Pagave, who published very interesting notices relating to this school, in the third, fifth, and eighth volumes of the new Sienese edition of Vasari. I am also enabled to furnish considerable information in addition, politely transmitted to me in ma.n.u.script by the last writer, for the present work. From these I am happy to announce we may become acquainted with the names of new masters, along with much chronological information of a sounder kind, relating to those already known, frequently derived from the _Necrologio_ of Milan, which had been carefully preserved by one of the public functionaries of that city.

Footnote 40: He borrowed the idea of this work from the Theatre of Giulio Camillo, with whom he compares his own Treatise in chap. ix. Hence, as in the case of some books which have two t.i.tles, I judge it best to call it by this name (Theatre) also, as others have done.

By aid of these, and other materials I have to bring forward, I prepare to treat of the Milanese School from as early a date as 1335, when Giotto was employed in ornamenting various places in the city, which, down to the time of Vasari, continued to be esteemed as most beautiful specimens of the art.

Not long subsequent to Giotto, an artist named Stefano Fiorentino was invited thither by Matteo Visconti, and is celebrated as one of the most accomplished pupils of the former. But he was compelled by indisposition to abandon the work he had undertaken in that city; nor do we know that at that period he had any successor in the Giotto manner. About the year 1370, Gio. da Milano, pupil to Taddeo Gaddi, arrived there, so able an artist that his master, at his death, entrusted to him the care of his son Angiolo, and another son, whom he was to instruct in a knowledge of the art. It is therefore evident that the Florentine early exercised an influence over the Milanese School. We are informed at the same time of two native artists, who, according to Lomazzo, flourished at the period of Petrarch and of Giotto. These are Laodicia di Pavia, called by Guarienti, _pittrice_, and Andrino di Edesia, also said to belong to Pavia, although both his name and that of Laodicia lead us to conjecture that they must have been of Greek origin. To Edesia and his school have been attributed some frescos which yet remain at S. Martino and other places in Pavia.[41]

I cannot speak positively of the authors; their taste is tolerably good, and the colouring partakes of that of the Florentines of the age. Michel de Roncho, a Milanese, is another artist discovered by Count Ta.s.si, at the same time that he gives some account of the two Nova who flourished at Bergamo. Michele is said to have a.s.sisted in their labours in the cathedral of that city, from the year 1376 to 1377, and remnants of these paintings survive, which shew that they approached nearer the composition of Giotto than the artists of Pavia. There are some pictures in Domodossola that also bring us acquainted with an able artist of Nova. They are preserved in Castello Sylva and elsewhere, and bear the following memorandum--_Ego Petrus filius Petri Pictoris de Novaria hoc opus pinxi_, 1370. Without, however, going farther than Milan, we there find in the Sacristy of the Conventuali, as well as in different cloisters, paintings produced in the fourteenth century, without any indication of their authors, and most frequently resembling the Florentine manner, though occasionally displaying a new and original style, not common to any other school of Italy.

Footnote 41: See Notizie delle Pitture, Sculture, ed Architetture d'Italia, by Sig. Bertoli, p. 41, &c.

Among these anonymous productions in the ancient style, the most remarkable is what remains in the Sacristy of Le Grazie, where every panel presents us with some act from the Old or the New Testament. The author would appear to have lived during the latter part of the fourteenth and beginning of the fifteenth centuries; nor is it easy to meet with any other Italian production, conducted during that age by a single artist, so abundantly supplied with figures. The style is dry, but the colouring, where it has escaped the power of the sun, is so warm, so well laid on, so boldly relieved from its grounds, that it yields in nothing to the best Venetian or Florentine pieces of the time, insomuch that whoever be the artist he is fully ent.i.tled to all the praise of originality. Another Lombard artist, formerly believed to be a Venetian, is better known. His name has been incorrectly given by Vasari, in his life of Carpaccio, and in that of Gian Bellini, as well as by Orlandi and by Guarienti, in three articles inserted in the Dictionary of art. In one article, following Vasari, he is called by Orlandi, Girolamo Mazzoni, or Morzoni, and in the two others he is named Giacomo Marzone, and Girolamo Morzone, by Guarienti, a writer happier perhaps in adding to the errors and prejudices entertained about the old painters, than in correcting them. His real name is to be found upon an altar-piece which is still preserved at Venice, or in its island of S.

Elena, a piece representing the a.s.sumption of the Virgin, with the t.i.tular saint, S. Gio. Batista, S. Benedetto, and a holy Martyr, along with the following inscription--_Giacomo Morazone a laura questo lauorier. An. Dni._ MCCCCx.x.xXI. The excellent critic Zanetti is persuaded, from its Lombard dialect, as well as from the fact of the artist having painted a good deal in different cities of Lombardy, as related by Vasari, that he does not belong to the Venetian, but to the Lombard School, and the more so as he took his name from Morazzone, a place in Lombardy. It is true, that granting this, there is no great sacrifice made, inasmuch as this Giacomo, who, when in Venice, was the compet.i.tor of Jacobello del Fiore, displayed little merit, at least in this picture, which cannot boast even a foot placed upon the ground according to the rules of perspective, nor any other merit that raises it much above the character of the thirteenth century.

Michelino was an artist who also retained the ancient style, and continued to the last the practice of making his figures large and his buildings small, a practice blamed by Lomazzo even in the oldest painters. He a.s.signs to him a rank, however, among the best of his age on account of his designs of animals of every kind, which he painted, says Lomazzo, wonderfully well, and of the human figure, which he executed with effect, rather in burlesque than in serious subjects; and in this style was esteemed the model of his school. He would appear likewise to have been esteemed by foreigners, as we find in the Notizia Morelli, that in the house of the Vendramini at Venice there was preserved "a small book in 4to. bound in kid-skin, with figures of animals coloured" by this artist. At a little interval, according to Pagave, we are to place the period of Agostino di Bramantino, an artist unknown to Bottari, as well as to more recent investigators of pictorial history. I apprehend that an error committed by Vasari gave rise to an additional one in the mind of Pagave, a very accurate writer. Vasari, remarking that in a chamber of the Vatican, which was subsequently painted by Raffaello, the previous labours of Pier della Francesca, of Bramantino, of Signorelli, and of the Ab. di S. Clemente, were destroyed to accommodate the former, supposes that the two first of the artists, thus sacrificed, conducted them contemporaneously under Nicholas V. about 1450. Induced by the esteem he had for the same Bramantino, he collected notices also of his other works, and discovered him to be the author of the Dead Christ foreshortened, of the Family which deceived the horse at Milan, and of several perspectives; the whole of which account is founded in error, when attributed to a Bramantino, who flourished about 1450, yet the whole is true when we suppose them to have been the work of one Bramantino, pupil to Bramante, who lived in the year 1529. I cannot perceive, however, in what way the Consiglier Pagave could have detected Vasari's mistake in the Milanese works; whilst in those of the Vatican, which, according to Vasari himself, all belong to the same individual, he has taken occasion to repeat it. He had better have a.s.serted that the historian had erred in point of chronology, in supposing that Bramantino painted under the pontificate of Nicholas V. than have ventured on the hypothesis of the existence of an ancient Bramantino, called Agostino, by whom a very beautiful work was to be seen in the papal palace, and no other specimen at Rome, at Milan, or elsewhere. I disclaim all belief then in this old artist until more authentic proofs are brought forward of his existence, and I shall be enabled to throw new light upon the subject before I conclude the present epoch.

In the time of the celebrated Francesco Sforza, and of the Cardinal Ascanio his brother, both desirous no less of enriching the city with fine buildings than these last with the most beautiful decorations; there sprung up a number of architects and statuaries, and, what is more to our purpose, of very able painters for the age. Their reputation spread through Italy, and induced Bramante to visit Milan, a young artist who possessed the n.o.blest genius, both for architecture and painting, and who, after acquiring a name in Milan, taught the arts to Italy and to the world. The former had made little progress in point of colouring, which, though strong, was somewhat heavy and sombre, nor in regard to their drapery, which is disposed in straight, hard folds, until the time of Bramante, while they are also cold in their features and att.i.tudes. They had improved the art, however, in regard to perspective, no less in execution than in writing on the subject; a circ.u.mstance that led Lomazzo to observe, that as design was the peculiar excellence of the Romans, and colouring of the Venetians, so perspective seemed to be the chief boast of the Lombards. It will be useful to report his own words, from his Treatise upon Painting, p.

405. "In this art of correctly viewing objects, the great inventors were Gio. da Valle, Costantino Vaprio, Foppa, Civerchio, Ambrogio and Filippo Bevilacqui, and Carlo, all of them belonging to Milan. Add to these Fazio Bembo da Valdarno, and Cristoforo Moretto of Cremona, Pietro Francesco of Pavia, and Albertino da Lodi;[42] who, besides the works they produced at other places, painted for the Corte Maggiore at Milan, those figures of the armed barons, in the time of Francesco Sforza, first duke of Milan:" that is to say, between the period of 1447 and 1466.

Footnote 42: Note that Lomazzo would not have pa.s.sed over the name of Agostino di Bramantino, were it true that he had flourished as early as 1420, and employed himself at Rome, an honour to which the rest of these Milanese did not attain.

In treating of these artists, I shall observe nothing further in reference to the last four, having described those of Cremona in their own place, and not being aware that any thing more than the name of the other two survives at Milan; I say at Milan, because Pier Francesco of Pavia, whose surname was Sacchi, left, as we shall find, some fine specimens at Genoa, where he resided during some time. It is doubtful whether any altar-piece remains by the first of these, (Gio. della Valle,) it being impossible to ascertain the fact. Nor do I know of any genuine work belonging to Costantino Vaprio, though there is a Madonna painted by another Vaprio, surrounded by saints in different compartments, at the Serviti, in Pavia, with this inscription:--_Augustinus de Vaprio pinxit 1498_: a production of some merit.