The History Of Painting In Italy Volume V Part 11

Of the two Semini, Andrea and Ottavio, it is not ascertained that they had in Genoa any other master than their father Antonio; but after the example of their father, they deferred much to Perino, as did also Luca their contemporary. In confirmation of which it is said, that Perino having found them engaged with a print of t.i.tian, and hearing them remarking on some incorrectness in the drawing, reproved them by observing, that in the works of the great masters we ought to pa.s.s over their faults and extol their excellence. But the two brothers, enchanted by the style of Raffaello, became ambitious of drinking at the fountain of the art, and, repairing to Rome, applied themselves to the diligent study of the works of that master, and the remains of antiquity, particularly the Trajan column. They were afterwards employed both at Genoa and in Milan, where they painted many works, both in conjunction and separately, all in the Roman style, particularly in their early career. Andrea discovered less talent than Ottavio; and was, perhaps, more tenacious than he in his imitation of Raffaello, especially in the contours of his faces. He sometimes wants delicacy, as in a crucifixion lately come into the possession of the Duke of Tuscany; and sometimes correctness, as in the Presepio, in the church of St. Francis in Genoa, which is in other respects very Raffaellesque, and may be reckoned among his best works. Ottavio, an unprincipled man, was an eminent artist, and succeeded so well in the imitation of his master, as is scarcely credible to those who have not seen his works. He painted the facade of the palace Doria, now Invrea, and there displayed so fine a taste in the architecture, and decorated it with busts and figures of such relief, and particularly with a Rape of the Sabines, that Giulio Cesare Procaccini took it for a performance of Raffaello, and asked if that great master had left any other works in Genoa. Of equal merit, or nearly so, were many of his frescos, painted for the n.o.bility, until, as is often the case with fresco painters, he ended his career in a freer but less finished style. Of these latter he left many specimens at Milan, where he pa.s.sed the latter years of his life. In that city the entire decoration of the chapel of S. Girolamo at S. Angelo is painted by him, the chief composition of which is the funeral group which accompanies the saint to the sepulchre. It possesses, if not a n.o.ble design, yet great fertility of invention, great spirit, and a strong and beautiful colour, as he possessed that part of the art in an eminent degree in works of fresco; for in oils he was either unwilling or unable to colour well.

Luca Cambiaso, called also Luchetto da Genoa, did not quit his native country to obtain instruction, nor did he frequent any other school than that of his father; obscure indeed, but of a good method, and sufficient to a mind of genius. Giovanni his father, a tolerable _quattrocentista_, and a great admirer of Vaga and Pordenone, after having exercised him in copying the designs of Mantegna, a master of chasteness of contour, and having instructed him in the art of modelling, so useful in relief and foreshortening, carried him to the palace Doria, and there pointed out to his attention those great prototypes of art, with the addition of his own instruction. The study of these performances, by a youth who was born a painter, awakened in him such emulation, that he began in his fifteenth year to produce works of his own invention; and gave promise of one day ranking, as he did, with the first painters of his age. He displayed facility, fire, and grandeur of design, and was on that account adduced by Boschini as an example of fine contours, and held in high esteem in the cabinets of the dilettanti. He embodied his ideas with such despatch and success, that Armenini affirms that he had seen him paint with two pencils at a time, and with a touch not less free, and more correct than Tintoretto. He was, moreover, fertile and novel in his designs, skilful in introducing the most arduous foreshortenings, and in surmounting the difficulties of the art. He was deficient at first in the true principles of perspective; but he soon acquired the theory from Castello, his great friend and companion, as we shall shortly see. Through him he improved both his colouring and his style of composition. In conjunction with Castello he executed several works, so much alike, that one hand can scarcely be distinguished from the other. These, however, were not his best performances. He must be seen where he painted alone; and he shines no where more than in Genoa, nor beyond a period of twelve years, within which s.p.a.ce Soprani circ.u.mscribes his best time. Let it not appear strange to those who hear this opinion of that writer. Luca had not the good fortune to benefit from those great masters who, with a word, put their scholars in the right path; he went on, however, improving from his own resources, a long and laborious course, in which a thousand wishes are formed before the goal is reached. But Cambiaso attained it, and held it until an ungovernable pa.s.sion, as we shall see in the sequel, threw him back again.

Confining ourselves to the works of the best twelve years of his practice, we see in him a man who possessed a high predilection for the Roman School; deriving instruction from prints, and impelled by his own genius to attempt I know not what of originality. Where this originality appears, we should not wish Cambiaso other than himself, and where it does not appear, we should not wish him any thing but an imitator. Of the first kind is the Martyrdom of St. George in the church of that saint, which for the n.o.ble character of the sufferer, the sympathy of the spectators, the composition, variety, and force of chiaroscuro, is considered his chef d'oeuvre. Of the second kind there are, perhaps, more specimens to be found; as the picture at the Rocchettini, of S. Benedetto with John the Baptist and St. Luke, very much in the style of Perino and Raffaello; and above all, the Rape of the Sabines in Terralba, a suburb of Genoa, in the palace of the Imperiali.

Every thing combines to please in this work; the magnificence of the buildings, the beauty of the horses, the alarm of the virgins, the ardour of the invaders, the several episodes which, in various compartments, crown the princ.i.p.al subject, and, as it were, continue the story. It is related that Mengs, after having viewed this picture, said, that out of Rome he had not seen any thing that more strongly brought to his recollection the loggie of the Vatican, than these works. He also executed other works of singular merit, particularly for private collections, among which I have found more pictures of a free than of a devout description. Being left a widower, he became enamoured of a female relative, whom he in vain endeavoured to obtain permission from the Pope to marry. This disappointment induced the neglect of his art. He then repaired to the court of Madrid, with the view of facilitating his wishes, and when he found himself deprived of all hope in this object, he fell sick and died.

He left many works in the Escurial, and amongst these the subject of Paradise, in the vault of the church, a large composition, and a work very much praised by Lomazzo, but not equally so by Mengs, who had seen and examined it for several successive years.

Gio. Batista Castello, the companion of Cambiaso, is commonly called in Genoa Il Bergamasco, to distinguish him from Gio. Batista Castello, a Genoese, a scholar of Cambiaso, and the most celebrated miniature painter of his age. Our present subject, born in Bergamo, and brought, when a youth, to Genoa, by Aurelio Buso, (_v._ vol. iii. page 184) was, on his sudden departure, left by him in that city. In this state of desertion he found a patron in one of the Pallavicini family, who gave him a friendly reception, and a.s.sisted him with the means of prosecuting his studies; sending him to Rome, from whence he returned to Genoa an accomplished architect, sculptor, and painter, not inferior to Cambiaso. His taste, formed by studying at Rome, was similar to that of Luca, as I have already observed; and in the church of S. Matteo are works painted by them in concert. We may observe in these the style of Raffaello already verging on mannerism, but not so much so as that which prevailed in Rome in the time of Gregory and Sixtus. Connoisseurs discover in Cambiaso a greater genius and more elegance of design; in the Bergamese more care, a deeper knowledge, and colour occasionally partaking more of the school of Venice than of Rome. It is however very probable that when so friendly an intercourse subsisted they may have aided each other, even in those places where they worked in compet.i.tion, where each claimed his own work, and distinguished it by his name. Thus at the Nunziata di Portoria Luca represented on the walls the final state of the blest and the rejected in the last judgment; while Gio. Batista, in the vault, painted the Supreme Judge in the midst of the angelic choir, calling the elect to bliss. He appears in the att.i.tude of uttering the words _Venite benedicti_, appended in capital letters. It is a highly finished performance, and of so exalted a character that we should think that Luca, when he painted the laterals to it, was asleep, so inferior are they in composition and expression. On many other occasions he painted alone, as the S. Jerome surrounded by monks terrified at a lion, in S. Francesco in Castelletto; and the S. Sebastian in the church of that saint, receiving the crown of martyrdom; a picture rich in composition, studied in execution, and far beyond any commendation of mine. He painted in Genoa other pictures, and always discovered an air of life in the countenances, a magnificence in the architecture, a strength of colour and chiaroscuro, which makes one regret that he was so little known in Italy; and possibly he was prevented from being known as an oil painter by the numerous works in fresco which he executed in Genoa; the largest of which is in the Palazzo Grillo. We there see a portico painted in arabesque, and a saloon, in the ceiling of which is represented the banquet given by Dido to aeneas; a beautiful work, particularly the arabesques, but not sufficiently studied. This artist, in his latter years, was painter to the court at Madrid, whither, on his death, Luca Cambiaso was called to finish the larger historical subjects; but the grotesques, and the ornamental parts interspersed with figures, were continued by the two sons of Gio. Batista, whom he had carried with him to Madrid as his a.s.sistants. Palomini makes honourable mention of them, and the Padre de'

Santi Teresiani, and the Padre Mazzolari Girolamino, in their description of the Escurial, enumerate their works, commending their variety, singularity, and beauty of colour. One was called Fabrizio, the other Granello; and the latter, as Ratti conjectures, was the son of Nicolosio Granello, an able fresco painter of the school of Semini, whose widow was married to Castelli, and probably brought with her this son of her first marriage.

Painters have in general been found to impart instruction more freely to native scholars than to strangers; and yet the latter have always profited more than the former, so that it rarely happened that on the death of the chief of a school the reputation of that school has been continued by a son or a nephew. Such was the case with the Genoese, where Calvi, the Semini, and Cambiaso, had each a numerous progeny, and a progeny too attached to the art; and yet amongst so many there was not one who pa.s.sed the bounds of mediocrity, except perhaps Orazio, the son of Luca Cambiaso, of whom Soprani merely says that he followed in a praiseworthy manner his father's style, and initiated some pupils in the art. It was therefore to his better scholars that Cambiaso was indebted for a.s.sistance in his profession; one of whom, Lazzaro Tavarone, followed him even into Spain, and remained there for some years after his master's death. He afterwards returned to Genoa, stored with the designs of Luca, and loaded with riches and honours. Luca seemed to live again in his scholar, so fully did he possess his style. He moreover distinguished himself by a method of colouring in fresco, which, if I mistake not, raised him above all his predecessors in this school, and above all who succeeded him, except Carloni. This peculiarity consisted in a richness, brightness, and variety of colour, which brings distant objects vividly to the sight, the whole composition appearing brilliantly illuminated, and the tints splendidly and harmoniously blended. One may perhaps occasionally wish in them more softness, but in general they have all the richness of oil paintings. The tribune of the Duomo, where the patron saints of the city are represented, particularly S. Lorenzo, from whose history some pa.s.sages are selected, is the chef d'oeuvre of his public works. The facade of the palace of the doge is also a considerable performance, representing St. George slaying the dragon; around it and above are other numerous figures of citizens of eminence, of the virtues, of genii with nautical weapons and the spoils of the enemy, some of which might pa.s.s for the work of Pordenone. This grand work is exposed to the sea, the spray of which has affected, but not destroyed it. In many other churches and palaces also are to be found the works of Tavarone; histories, fables, and imaginary compositions, often so well preserved that the scaffolding and the steps by which the artists ascended and descended, appear as if just removed. Fortunate, had his works been fewer in number, and finished with equal care. Some pictures in oil are mentioned by him, but more rare and of less merit than his frescos.

Cesare Corte was of Pavian extraction. Valerio, his father, who was born in Venice, was the son of a gentleman of Pavia, and became, under the instruction of t.i.tian, an excellent portrait painter; and his talents insuring him a favourable reception in Genoa, he settled there. He remained in that city for the rest of his life, and died in poverty, his means being all consumed in fruitless experiments in alchemy. He was the intimate friend of Cambiaso, whose life he wrote; and to him he committed the instruction of his son Cesare. This son did not indeed equal his father, but he surpa.s.sed the greater number of his fellow scholars. In the church of S. Piero he painted the tutelar saint at the foot of the Madonna, surrounded by angels; a picture of chaste design and of a true and harmonious colouring. His historical pictures and his portraits are found in many collections: one of the former, in the Casa Pallavicino, on a subject from the Inferno of Dante, was celebrated by Chiabrera in an elegant sonnet. The fame of this artist was tarnished by his heretical opinions, imbibed by the perusal of some pernicious work, as often happens to the half informed, who read every thing, understand little, and finally believe nothing. He however abjured his errors, though never released from his prison, where he died. David, his son, restricted himself to the limits of a copyist; and in this so highly distinguished himself, that his pictures are placed in some collections at the side of the originals as wonders of art.

Bernardo Castello frequented the school of Andrea Semini more than that of Cambiaso; in his principles he inclined more to the latter, and in practice he followed both indifferently. Travelling afterwards through Italy he saw other works, and formed a style not devoid of grace, nor of correctness, when he worked with care; as in the Martyrdom of St. Clement and St.

Agatagnolo, in the church of S. Sebastian, and the St. Anne at S. Matteo.

He had a fertile invention, in which he was aided by the poets of the age, whose friendship he a.s.siduously cultivated.[67] He was eulogized by Lionardo Spinola, D. Angiolo Grillo, Ceva, Marino, Chiabrera, and by Ta.s.so, for whose Jerusalem he made the designs which were in part engraved by Agostino Caracci. His reputation raised him not only to the rank of one of the first masters of his school, but of Italy itself; and he was thus selected to work in the Vatican, as has been mentioned. He there painted St. Peter called to the apostleship, a picture which was soon afterwards removed, and one by Lanfranco subst.i.tuted in its place, either because it was injured by damp, or had not given satisfaction. Castello indeed did not possess that vigorous style which Rome at this time demanded, refusing her applause to the Vasaris and Zuccaris. He had much of their style of colour, nor was he exempt from their despatch; and, like them, he opened the way in his school to facility instead of correctness. Genoa is filled, or rather glutted, with his works, yet they still maintain their reputation, as they are all sustained by a certain vigour and grace of style. He sometimes appears in foreign collections, and in that of the Colonna in Rome I saw a Parna.s.sus by him with Poussin figures and a beautiful landscape, which may be ranked amongst his most finished works. Soprani informs us that he was again invited to Rome, to paint a picture of St. Peter, and that he died whilst he was preparing himself for this journey, aged seventy-two. But at so advanced a period of life one may doubt the truth of this report. He had three sons, painters, of whom Valerio alone is deserving of commemoration, and we shall notice him in his place.

Footnote 67: A strict intimacy existed, especially between him and the Cav. Marino, among whose letters we may enumerate twenty-eight more to Castello than to any other person. It is pleasing to observe the dexterity of the poet, who often praises the "miraculous pencil" and the "divine hand" of the painter, an homage bestowed still more liberally in the _Galleria_; and the grat.i.tude of the artist who designed and coloured for his friend gratis, and who exerts himself to requite every letter of the poet by some acceptable work of art, (p. 175).

Among his foreign scholars Simon Barabbino deserves remembrance, whose rare genius created so strong a jealousy in Castello as to induce him to expel him from his school. He retired from it, and afterwards painted at the Nunziata del Guastato the S. Diego, which Soprani almost prefers to the best work of Castello. But he did not obtain any great celebrity among his countrymen. Milan rendered him that honour which his own native place denied; in consequence of which he settled there, and worked in the palaces and churches. There is by him, at S. Girolamo, a Madonna with a dead Christ, accompanied by S. Michael and S. Andrew. The colour is true, the heads are correctly drawn, the naked figure well understood, the contours sufficiently accurate and well relieved. He would have attained still greater perfection, but he turned to merchandize, where instead of wealth he found only his ruin, and died in gaol.

Gio. Batista Paggi, a patrician by birth, was led to the profession of a painter by his predilection for the art, which, in spite of the opposition of his father, he indulged in from his earliest years. He was highly accomplished in letters, and his various attainments in poetry, philosophy, and history, all served to a.s.sist him in the composition of his pictures.

He was perhaps not so much extolled by the poets as Castello, but he attained a greater celebrity among his brother artists. He was directed by Cambiaso in his first studies, which was the drawing in chiaroscuro from the casts of antique ba.s.si-relievi, for the purpose of attaining a true idea of the beautiful, and preparing himself for the study of nature. Being well skilled in the practice of the crayon, with little labour, and almost alone, he learnt the art of colouring; and without the instructions of a master, taught himself architecture and perspective. Whilst he was rising into notice, he was compelled to flee his country for homicide; and, for about the s.p.a.ce of twenty years, he resided in Florence, protected by that court, and always profitably employed. Florence, at that time, abounded with men of first rate genius; and it was then that Cigoli, and all the young painters, abandoned their own languid style for the rich and vigorous Lombard. Paggi had not so much occasion as the others to invigorate his manner, as appears from the works he executed in Florence not long after his arrival there. There remains by him a Holy Family, and another picture in the church degli Angioli, and in the cloister of S. Maria Novella a history piece of S. Catherine of Siena. It represents the saint liberating a condemned person, and is a large composition, ornamented with beautiful buildings, and so pleasingly executed that I have heard it preferred to all in that convent. Nevertheless the great merit of Paggi was not at that time vigour, but a certain n.o.bleness of air, which always continued to be his characteristic, and a delicacy and grace which have led some to compare him to Baroccio, and even to Coreggio. It seems to me that he became more vigorous as he advanced, and a proof of it is to be seen in the stupendous Transfiguration, painted in S. Mark, which seems almost beyond his powers.

In the same style he painted for the Certosa at Pavia three pictures from the Pa.s.sion of our Saviour, which appear to me among his best works. He was ultimately recalled by the republic about the year 1600 for his excellence in his art, and the courts both of Pavia and Madrid invited, and were desirous of employing him. His patriotism however precluded him from accepting these honourable appointments. He ill.u.s.trated his native city with beautiful works in the churches and in collections. They have not all equal merit, as this artist also was not exempt from the disadvantages of bad priming, domestic anxieties, and the infirmities of age. His best works, according to some, are the two pictures at the church of S.

Bartolommeo, and the Slaughter of the Innocents, in the possession of his Excellence the Sig. Giuseppe Doria, painted in compet.i.tion with Vand.y.k.e and Rubens in 1606. He formed also some excellent scholars, the account of whom we shall reserve to the succeeding epoch. We shall there again recur to him, as he is placed on the confines of the two periods of his school, and may be regarded in the one as a scholar, and in the other as a master.

GENOESE SCHOOL.

EPOCH III.

_The Art relapses for some time, and is re-invigorated by the Works of Paggi and some Foreigners._

Every school, whatever may have been the celebrity of its founder, betrays in the course of time symptoms of decay, and stands in need of restoration.

The Genoese, in the hands of Castello, experienced a decline about the close of the sixteenth century, but soon afterwards revived, by the return of Paggi, and the arrival of some foreigners, who established themselves for a considerable period in that city. To this amelioration Sofonisba Angussola not a little contributed by the a.s.semblies of scholars and professors of the art, which were held in his house, much to their improvement, as we have before observed. Among these were Gentileschi, Roncalli, and the Procaccini, who were employed in various public works.

Aurelio Lomi of Pisa settled in Genoa, taught there, and left some excellent works at San Francesco di Castelletto, at the Nunziata del Guastato and elsewhere. Nor ought we to omit Simon Balli, his scholar, unknown in Florence, his native city, but deserving of being remembered for his style, which partook considerably of Andrea del Sarto's, and for some small cabinet pictures on copper. Antonio Antoniano of Urbino also resorted thither, if we are to believe Soprani.[68] He brought with him the beautiful picture painted for the Duomo by Baroccio, who was his master; and he himself, in the church of S. Tommaso, painted the picture of the saint and another picture; and, if I mistake not, some others for private individuals, which are at the present day attributed to Baroccio, so successful was his imitation of that master. There came to Genoa from Siena Salimbeni and Sorri, and with them Agostino Ta.s.si. The two latter remained there for a length of time, both working and teaching; and besides these, Ghissoni, who was also a Sienese of some merit, a scholar of Alberti in Rome, and a fresco painter of a vigorous and engaging style. Simon Vovet also repaired thither, but did not remain long; he however executed some works, one particularly of the Crucifixion, at St. Ambrose, not unworthy, as Soprani informs us, of his great name. Amongst the most considerable aid which Genoa experienced from foreign talents we must enumerate Rubens and Vandyck; the first of whom left there some n.o.ble public works, and a number of private historical pieces, and the second a very great number of his eloquent and animated portraits. Gio. Rosa of Flanders also established himself there, mentioned by me in Rome, where he studied; a happy imitator of nature in her most agreeable forms, especially animals. He died in Genoa, and left there Giacomo Legi, his countryman and scholar; of whom there remain some excellent pictures of animals, flowers, and fruit, though few in number, as he died young. G.o.dfrey Waals, a German, and Gio. Batista Primi, a Roman, scholars of Ta.s.si, and landscape painters of much merit, resided there for some time; and Cornelio Wael, with Vincenzio Mal, two Flemish painters, clever in battles, landscapes, and humorous pieces, and the latter also in altar-pieces. Some other Flemish artists must have resided there a shorter time, by whom I have seen in some palaces pictures of large size, and to all appearance painted on the spot; and these I regard as additional aids to a school that benefited at that time more from example than from instruction.

Footnote 68: In the Dictionary of the Artists of Urbino the existence of this artist is rejected as fabulous; and it is attempted to subst.i.tute for him, in Soprani's work, Antonio Viviani, who was indeed in Genoa. Considerable weight is given to the conjecture, from the family of Antoniano not being mentioned in Urbino; and I may add the circ.u.mstance of not finding any other works of this Antonio than those named by Soprani and his copyists. And how is it possible that one who came to Genoa an accomplished master, should not have left, either in Urbino or the neighbouring territory, even a vestige or memorial of his pencil?

The young artists of Genoa, thus enriched in the course of a few years by fresh examples, entered on a new career, and adopted a more vigorous and grander style than they had before practised. And not a few of them, after receiving the rudiments of instruction in their native place, repaired to Parma, or Florence, or Rome, to finish their studies; and from these and other sources added celebrity to their country. Thus the seventeenth century did not possess in Genoa so decided a character as the preceding, nor so select or ideal: it had however an abundance of excellent artists, and particularly of the best portrait painters and colourists, sufficient indeed to supply Venice with at her least happy epoch. It would also have attained a higher pitch of repute, if the plague of 1657 had not swept off a vast number of promising artists; the names of some of whom, cut off at an early period of life, may be found mentioned in Soprani. The primary cause of this revival of the art in Genoa may be ascribed to the riches and to the taste of her n.o.bility, who invited and supported these eminent foreign artists. And in the next place much of this merit is due to Paggi.

There was at one time great danger of these excellent colourists being negligent designers; and it is indeed a common opinion, adopted also by Algarotti, that the best colourists are seldom correct in design. Paggi, in this important point, supported the credit of the school. He had studied design among the Florentines, the best masters in Italy; and he composed for the instruction of youth a small treatise, ent.i.tled _Diffinizione o sia Divisione della Pittura_, which he published in 1607. Soprani considers it a useful compendium, and containing, in plain and unaffected language, the principles of the art. It is mentioned with particular commendation in a letter of the younger Vasari, which must make us regret the loss of it; and it would be desirable to search the libraries where papers of this description are preserved, to ascertain whether it may be still in existence. All that we at present possess by Paggi is the Treatise mentioned by us a few pages back. In the mean time we shall commence a new epoch with him and his school.

Domenico Fiasella is called il Sarzana, from being born in the city of that name, where he obtained the rudiments of his style. He devoted himself to the study of the n.o.ble picture of Andrea del Sarto, which was then in the church of the Predicatori; and where there is at this day a beautiful copy of it. After being instructed for some time by Paggi he repaired to Rome, and studied Raffaello, and imbibed also other favourite styles. He there spent ten years, and became an eminent master, much praised by Guido Reni, and employed as an a.s.sistant by the Cav. d'Arpino and Pa.s.signano. He finally returned to Genoa, and in that city and in others of higher Italy, executed numerous works. A very considerable part of them he left imperfect, being in the habit of neglecting them, or leaving them to be finished by his scholars, as is the tradition of his native place.

Independent of this impatience he was a great artist, and possessed many eminent qualities, a felicity in grand compositions, a style of design often worthy of the Roman School, great life in the heads; an admirable colour in his oil pictures, and an easy imitation of various styles. He is very Raffaellesque in a S. Bernardo, which is to be seen at S. Vincenzio in Piacenza; Caravaggesque in a S. Tommaso di Villanova, at S. Agostino in Genoa; in the Duomo of Sarzana, where he painted the Slaughter of the Innocents, and in the archiepiscopal gallery of Milan, in an infant Christ, he is a follower of Guido; and in other places an imitator of Annibal Caracci and his school. He can command our admiration when he pleases, and has left a stupendous work in the church of the Augustines in Genoa, representing St. Paul, the first hermit, for whose body, discovered in a lonely forest by St. Antony the Abbot, a lion is in the act of scooping a grave. Many of his pictures are found in private collections. I have met with specimens at Sarzana, in the house of his Excellency the Marquis Remedi, a house celebrated for the cordial and generous hospitality of the owner; and in others too there and in the state. His Madonnas have for the most part a similarity of features; not so ideal as those of Raffaello, but still agreeable and prepossessing.

On the death of Paggi, Fiasella became the princ.i.p.al instructor in Genoa, and I shall mention his most conspicuous scholars. We may commence with his relative, Gio. Batista Casone, changed by Orlandi into Carlone, who did not paint much in Genoa. If we may judge from the altar-piece delle Vigne, representing the Virgin surrounded by saints, he retained the style of Fiasella, the colouring of which he endeavoured to invigorate. Gio. Paol Oderico, a n.o.ble Genoese, painted always with great care, was select in his forms, and possessed a strong and rich colouring. The PP. Scolopi have a picture by him of the S. Angiolo Custode, the work of a young hand, but bearing promise of great talents. His historical compositions are also to be found in galleries, but they are rare, according to Soprani, and placed among the most precious possessions. His portraits are not of such rare occurrence, and in these he displayed great talents, and had numerous commissions. We find but few public works of Francesco Capuro, in consequence of his being engaged by the court and individuals in Modena, where he pa.s.sed a great part of his life, at a distance from his own country. He was among the stricter followers of Fiasella in regard to design and composition, but in his colouring he partakes of Spagnoletto, under whom he studied in Naples; and in the style of that painter he executed some pictures of half-size, which probably procured him his highest reputation. We have still fewer public works by the young Luca Saltarello; but a S. Benedetto, in the church of S. Stefano, in the act of restoring a dead person to life, a picture of sober colouring, beautifully harmonized, and full of expression and knowledge, sufficiently denotes his early maturity, and his capacity, if he had lived, of forming an epoch in his school. Being desirous of adding to his other accomplishments the advantages to be derived from the ancient marbles, he repaired to Rome, and died there through excess of study.

Gregorio de' Ferrari of Porto Maurizio received from Sarzana instructions conformable to his principles, but which did not correspond with the genius of the scholar, which was naturally disposed to a style of greater freedom and grandeur. He repaired to Parma to study the works of Coreggio, and there made a most careful copy of the great cupola, which was purchased many years after by Mengs; and he returned home with a very different style to his first. Coreggio was his only prototype, and he imitated him most happily in the air of the countenances, and in many individual figures; but not in the general style of composition, in which he is not so ideal; nor in the colouring, as in his frescos he is somewhat languid. He is in general negligent in his drawing; so that, with the exception of the two pictures at the Theatines of S. Pier d'Arena, this censure attaches to all his works. In his foreshortenings and in his draperies he sometimes falls into affectation. He possesses however considerable attractions: he is ingenious and novel, and displays a vigorous, rich, and correct colouring, particularly in the fleshes. By these qualities his S. Michele, at the church of the Madonna delle Vigne, predominates amongst the pictures of that church: and it may be justly ranked with those Venetian productions in which the spirit and n.o.ble colourings atone for the inaccuracy of the drawing. He was much employed in Turin and in Ma.r.s.eilles; and still more so in the princ.i.p.al palaces in his own country, particularly in that of the Balbi. There however the great names of that celebrated collection, both foreign and native, wage against him, as we may say, a continual war.

Valerio Castello is one of the greatest members of the Genoese School. He no sooner made his appearance amongst his fellow scholars than he distanced the oldest of them, and soon afterwards even rivalled his masters. The son of Bernardo, and the scholar of Fiasella, he followed neither the style of the one nor the other, but selected other prototypes more consonant to his genius, the Procaccini in Milan, and Coreggio in Parma; and from the study of these, and a grace wholly his own, he formed a style unique and peculiarly belonging to himself. If it is not the most correct, it seems to deserve pardon for its select composition, for its beautiful colouring and chiaroscuro, and for the spirit, facility, and expression, which always distinguish his pencil. He excelled in frescos, so as to please even by the side of Carloni; and is perhaps sometimes, as in S. Marta, even superior to him. In his perspectives he occasionally employed Gio. Maria Mariani d'Ascoli, who also lived in Rome. Nor was he inferior in oil pictures. He painted in the oratory of S. Jacopo the baptism of that saint, in compet.i.tion with the chief of his contemporaries, and eclipsed them all, with the exception perhaps of Castiglione. He worked also for collections; and in the royal gallery of Florence his Rape of the Sabines is highly prized, a subject which, on a more extended scale, but yet with some resemblance both of figures and architecture, he repeated in the palace Brignole. He is not however frequently met with, as he died early, and from the great celebrity he acquired, his works were in much request in all the first collections, and thus his productions were dispersed. He taught Gio.

Batista Merano, and, after his own example, sent him to study at Parma, in which city he met with sufficient employment both from the prince and private individuals. The Slaughter of the Innocents, at the Gesu in Genoa, is pointed out to us as one of his best pictures, and is a copious and careful composition, extremely well arranged. We must not confound this artist with Francesco Merano, called, from his first employ, Il Paggio, a scholar and a respectable follower of Fiasella.

Returning to the scholars of Gio. Batista Paggi, one of them, who was himself the educator of a generous race to his country, was Gio. Domenico Cappellino. He had an extraordinary talent for imitation, whence, in his first works, he came very near his master. There was not in him that air of n.o.bility that in Paggi and Bordone seems to have been derived from their birth and education. He possessed nevertheless other qualities of art which fail not to interest the spectator. This is evident in the Death of S.

Francesco, placed in S. Niccol; and at S. Stefano in the S. Francesca Romana, who to a dumb girl imparts the powers of speech. They are works which possess in the whole a peculiar originality, and in the separate figures a natural charm, and an expression of the affections and a delicacy of colouring highly attractive. He afterwards changed his style, as may be seen in two pictures of the Pa.s.sion at S. Siro, and in many others at Genoa, always vigorous, but less spirited than at first, rather obscure in tints, and removed from the manner of Paggi. He aimed at originality, and, finding her, pursued her without a rival.

He had the good fortune to be the instructor of a foreigner, one of those men of genius who in themselves ill.u.s.trate a whole school. This artist was of the family of Pioli, which had already produced an excellent miniature painter called Gio. Gregorio, who died in Ma.r.s.eilles, and a Pier Francesco, a scholar of Sofonisba, who died young, with the reputation of being one of the best imitators of Cambiaso. Pellegro Piola, of whom we have now to treat, enjoyed a still shorter period of life, being a.s.sa.s.sinated at the age of twenty-three, by an unknown hand; and, as it is believed, through envy of his rare talents. It is not easy to describe very precisely the style of this young man; for, as a student, he studied all the best works and formed himself upon them, and willingly inclined to the more beautiful.

He then tried a wider flight, and pursued it always with exquisite diligence, and a taste which charms us; and whatever style he adopted he seemed to have grown grey in it. A Madonna by him, which is now in the great collection of the Marchese Brignole, was considered by Franceschini an original of Andrea del Sarto. His S. Eligio, in the street of the goldsmiths, was by Mengs ascribed to Lodovico Caracci. He however aspired at something far beyond mere imitation, and said that he had a mental conception of the beautiful, which he did not despair to attain if his life should be spared. But he was prematurely cut off, as I have stated, and his works in consequence are very rarely met with.

The rarity of the productions of Pellegro was compensated for by a brother, who filled the city and the state with his works. This was Domenico Piola, a scholar of Pellegro and Cappellini, the a.s.sociate of Valerio Castelli in many works, and for some time an imitator of that master, afterwards of Castiglione; and, finally, the founder of a style bordering on that of Cortona. There is not in it a sufficient contrast; the forms are various, ideal for the most part, nor without beauty; the chiaroscuro is generally little finished; the design partakes of the Roman. There is, however, a considerable resemblance to Pietro in the distribution of the colours, and in his facility and despatch. He had a singular talent for the representation of children, and he refined it by the imitation of Fiammingo. He enlivened every composition by their introduction, and in some palaces he interwove them in elegant friezes. From this soft and easy manner, examples of which are to be met with in every part of the Genoese territories, he could occasionally depart, as in the picture of the Miracle of St. Peter at the Beautiful Gate of the Temple, painted at Carignano, where the architecture, the fleshes, the gestures, are highly studied; and there is a force of effect which seems to emulate the Guercino, which is opposed to it. He also departs from his ordinary style in the Repose of the Holy Family at the Gesu. Of three sons whom Domenico instructed, Paolo will be mentioned among the most excellent artists of a future epoch; Antonio commendably followed his father's style in his youth, but afterwards changed his profession. Gio. Batista could copy or follow the designs of others, but nothing beyond. This latter had a son, Domenico, who, whilst he was beginning to emulate the glory of his family, was cut off by death, and with him was extinguished a family which, for the course of nearly two centuries, had conferred honour on the profession.

Giulio Benso, the scholar of Paggi, excelled all his school in architecture and perspective. Genoa, perhaps, does not possess any work in this department superior to that of Benso in the Nunziata del Guastato; in the choir of which he represented one of those perspective pictures with bal.u.s.trades and colonnades, in which Colonna and Mitelli so much excelled.

These two artists were great admirers of this work of Giulio, but to us it may perhaps appear too much loaded with ornament. He there represented the Glorification of the Virgin, and added some histories, in which he rigorously observed the laws of the _sotto in su_; an art then little practised in his school. Giovanni and Batista Carloni, who painted so much in this church, are surpa.s.sed by him in this department; nor do they much exceed him in composition and colour. Benso left but few oil paintings in Genoa; that of S. Domenico in the church of that saint is one of the best, and partakes more of the School of Bologna than that of Genoa.

Castellino Castello possessed a sober style of composition, like that of Paggi his master, and, as far as we may judge from various pictures, was a correct and elegant artist. He highly distinguished himself in the picture of the Pentecost, placed on the great altar of the church of the Spirito Santo. He, however, like many others of this period, is indebted for his celebrity to his success in portrait painting; in confirmation of which it is sufficient to state, that Vandyck was desirous of being commemorated by him, and painted him in return. This fact exalts his reputation even more than the commendations he received from contemporary poets, among whom were Chiabrera and Marino, whose features he also preserved for posterity. He was appointed portrait painter to the court of Savoy, and in this department he had a rival in his own family, in Niccolo his son, who was in high reputation in Genoa when Soprani wrote. Some others of the school of Paggi, distinguished in landscape or in other branches of painting, are reserved for the conclusion of this epoch.

Paggi had a rival in Sorri of Siena. His style is a mixture of Pa.s.signano and Paol Veronese; and, if I err not in my judgment, of Marco da Siena also, whose Deposition from the Cross in Araceli was, in a manner, repeated by Sorri at S. Siro in Genoa. He there instructed Carlone and Strozzi, two luminaries of this school. Gio. Carlone repaired soon to Rome, and afterwards to Florence, where he was taught by Pa.s.signano, the father-in-law and master of Sorri. Pa.s.signano was not so remarkable for his colouring as for his design and grandeur of composition; but we have already observed, that the style of colour is that portion of the art least influenced by precept, and which is formed more than any other by the individual genius of the painter. Carlone possessed as great talents for composition as any of his contemporaries; correct and graceful in design, decided and intelligent in expression; and above all, he had an extraordinary brilliancy of colour in his frescos. In this branch he was anxious to distinguish himself; and although he saw eminent examples at Florence and in Rome, he did not adhere to them so much as, if I am not wrong in my conjecture, he attempted to follow, or rather to surpa.s.s and to reduce to a more pleasing practice, the style exhibited by Tavarone, in the histories of S. Lorenzo. I have already described that style; the vigour, beauty, and freshness with which it prepossesses the spectator, and approximates the most distant objects. If, in respect of Giovanni, we wish to add any greater praise, it is that he surpa.s.sed Tavarone in these gifts; and besides, he is more correct in his contours, and more varied and copious in composition. But in all these qualities they were both excelled by Gio. Batista Carlone, a scholar also of Pa.s.signano, and a student in Rome, afterwards the a.s.sociate of Giovanni, his elder brother, in principle and practice, whom he survived fifty years, as if to carry their style to the highest pitch of perfection.

The church of the Nunziata del Guastato, a splendid monument of the piety and the riches of the n.o.ble family of Lomellini, and an edifice which confers honour on the city, which has enlarged and ornamented it as its cathedral, possesses no work more astonishing than the three naves, almost nearly the whole of which are decorated by the two brothers. In the middle one the elder brother represented the Epiphany of our Lord, his Entrance into Jerusalem, the Prayer at Gethsemane, the Resurrection, the Ascension, the Descent of the Holy Ghost, the a.s.sumption of the Virgin, and other pa.s.sages of the New Testament. In one of the smaller naves, the younger brother painted St. Paul preaching to the Mult.i.tude, St. James baptizing the Neophytes, St. Simon and St. Jude in the Metropolis of Persia; and in the opposite nave three histories from the Old Testament, Moses striking the Rock, the Israelites pa.s.sing the Jordan, and Joseph, on a high seat, giving Audience to his Brethren. All these stories seem to be adopted as giving scope to a fancy rich in invention, and capable of peopling these immense compositions with figures almost innumerable. It is not easy to mention a work on so vast a scale executed with so much zeal and care; compositions so copious and novel, heads so varied and so animated, contours so well expressed and so strongly relieved, colours so enchanting, so lucid and fresh after such a lapse of years. The reds (which perhaps are too frequent) are as deep as purple, the blues appear sapphires, and the green, above all, which is a wonder to artists, is bright as an emerald. In viewing the brilliancy of these colours we might almost mistake them for paintings on gla.s.s or enamel; nor do I recollect to have seen in any other artists of Italy so original, beautiful, and enchanting a style of colour.

Some persons who have compared these colours with those of Raffaello, Coreggio, or Andrea del Sarto, have thought them too near bordering on crudeness; but in matters of taste, where the sources of pleasing are so many, and where there are so many gradations in the merits of artists, who can possibly gratify all? The similitude of style would lead the unskilled to believe them the works of the same master; but the more experienced are able to ascertain the composition of Gio. Batista from a peculiar delicacy of tints and of chiaroscuro, and from a grander style of design. It has been attempted to ascertain more minutely his method of colouring; and it has been discovered, "that in decorating the ceilings and walls of rooms, he previously laid on the dry wall a colour ground, to protect his work from the action of the lime. These paintings were executed with the most delicate gradations, and the most surprising harmony; hence his frescos have all the richness of oil colours." These are the words of Ratti, and Mengs joins him in the encomium.

I have only enumerated the paintings which these artists exhibited in the Guastato, but Giovanni left numerous works in the same style and on similar subjects, at the Gesu and at S. Domenico in Genoa, and at S. Antonio Abate in Milan, where he died; without mentioning the many fables and stories with which he adorned various palaces in his native city. Of the other brother it is not equally easy to recount all that he painted in private houses, and in the before-mentioned churches, and at S. Siro and elsewhere.

The histories of the chapel in the Palazzo Reale are amongst his most original and delightful works; Columbus discovering the Indies; the Martyrdom of the Giustiniani at Scio; the Remains of the Baptist brought to Genoa, and other Ligurian subjects. Nor is it easy to enumerate his many altar-pieces and oil pictures to be found in the churches. I shall limit myself here to the three histories of S. Clemente Ancirano at the Guastato; pictures, characterised by such congruity, such truth, and such a peculiar horror, as to force us to withdraw our eyes from the inhumanity of the scene. Some persons may, perhaps, be indisposed to give full credit to all that I have written of Gio. Batista; as it seems incredible that an artist should be so little known, who united in himself the most opposite qualities; a wonderful skill both in oil and fresco; equal excellence in colour and design; facility and correctness; an immense number of works, and a diligence shewn by few fresco painters. But they who have viewed the works I have mentioned, with unprejudiced eyes, will not, I feel confident, differ far from me in opinion. He lived to the age of eighty-five, and lost neither his vigour of invention nor his genius for grand composition; nor the freedom of hand, and incomparably fine pencil with which he treated them. I shall allude, in another epoch, to his sons Andrea and Niccolo; but I must not neglect to observe, that both Pascoli and Orlandi have written of this family with little accuracy.

The other great colourist and scholar of Sorri was Bernardo Strozzi, better known under the name of the Capuchin of Genoa, from his professing that order. He is also called _il Prete Genovese_, because he left the cloister, when a priest, to contribute to the support of an aged mother and a sister; but the one dying and the other marrying, he refused to return to his order; and being afterwards forcibly recalled to it and sentenced to three years of imprisonment, he contrived to make his escape, fled to Venice, and there pa.s.sed the remainder of his days as a secular priest. The larger compositions of this artist are only to be seen in Genoa, in the houses of the n.o.bility, and in San Domenico, where he executed the great picture of the Paradiso, which is one of the best conceived that I have seen. There too, in Novi and in Voltri, are various altar-pieces; and above all, an admirable Madonna in Genoa, in a room of the Palazzo Reale. Some of his works are also to be seen in Venice, where Strozzi was preferred to every other artist, to replace a _Tondo_, executed in the best age of Venetian art, in the library of St. Mark, and there painted a figure of Sculpture.

He, however, left few public works. Whoever wishes to see admirable productions, must observe his pictures in eminent collections; as the St.

Thomas Incredulous, in the Palazzo Brignole. When placed in a room of excellent colourists he eclipses them all by the majesty, copiousness, vigour, nature, and harmony of his style. His design is not very correct, nor sufficiently select; we there see a naturalist who follows neither Sorri nor any other master; but one who, after the example of that ancient master, derives instruction from the mult.i.tude. There is a deep expression of force and energy in the heads of his men, and of piety in those of his saints. In the countenances of his women and his youths he has less merit; and I have seen some of his Madonnas and angels vulgar and often repeated.

He was accustomed to paint portraits, and in his compositions derived all his knowledge from the study of nature; and often painted half figures in the style of Caravaggio. The royal gallery at Florence has a Christ by him, called _della Moneta_; the figures half-size, and exhibiting great vivacity. He is esteemed the most spirited artist of his own school; and in strong impasto, in richness and vigour of colour, has few rivals in any other; or rather, in this style of colouring he is original and without example. His remains were deposited at S. Fosca in Venice, with this inscription: _Bernardus Strozzius Pictorum splendor, Liguriae decus_; and it is his great praise to have merited this encomium in the seat and near the ashes of the greatest colourists.

Gio. Andrea de' Ferrari perfected himself under this master, having been previously the scholar of Castelli, whose feeble style may be detected in the Theodosius, painted by Ferrari as an altar-piece in the Gesu. In many works he is a respectable follower of Strozzi; as in the Nativity in the Duomo of Genoa, and in the Nativity of the Virgin, in a church of Voltri, full of figures which seem inspired with life. Although little known, and perhaps too little commended by Soprani, he is one of the first Genoese artists; and, to establish his reputation, it is sufficient to state, that he was the master of Gio. Bernardo Carbone, the chief of this school of portrait painters. Even by the more experienced his portraits were often mistaken for those of Vand.y.k.e, or purchased at prices little inferior to those given for a true Vand.y.k.e. He also composed well, as may be seen in his picture of the King S. Louis at the Guastato. But this picture did not please the person who gave the commission, and a second was ordered in Paris, and afterwards a third, which successively superseded each other on the altar. But they did not prove satisfactory, and that of Carbone was restored to its place, and the other two were added as laterals, as if to attend on it.

Another deserving scholar of Strozzi resided a considerable time in Tuscany, and there distinguished himself; Clemente Bocciardo, from his great size called Clementone. He first studied in Rome, afterwards in Florence, and practising much with Castiglione, he formed a style more correct and ideal than that of his master, to whom, however, he is inferior in truth of colour. Pisa was his theatre of art, where, in the Duomo and elsewhere, he left some highly respectable works; over all of which, in his life, the preference is given to S. Sebastian, placed in the church of the Carthusians. He painted his own portrait for the royal gallery of Florence, which has had a better fate than those of many common artists, and remains there to the present day.

A third pupil of this school resided a considerable time in Venice, afterwards in Mirandola. This was Gio. Francesco Ca.s.sana, a soft and delicate colourist, and master of Langetti. By the Venetians he was but little esteemed, and painted only for private collections. He afterwards repaired to the court of Mirandola, and painted a S. Jerome for the Duomo of that city, and other pictures in various churches, which enhanced his reputation. He was the founder of a family that conferred honour on the art. Niccolo, his eldest son, who became one of the most celebrated portrait painters of his age, pa.s.sed the chief part of his life at Florence, and died at the court of London. The Grand Duke possesses some of his historical compositions, and some portraits full of expression, in the royal gallery, amongst which are two half figures of two court buffoons, admirably executed. It is said that his style, which nearly approaches to Strozzi, cost him great trouble, and that, when painting, he was so intent on his work as not to hear a person addressing him; and sometimes, in a rage, he would throw himself on the ground, exclaiming against his work as deficient both in colour and spirit, till s.n.a.t.c.hing his pencil again he brought it to his wishes. Gio. Agostino, called l'Abate Ca.s.sana, from the clerical dress which he always wore, was a good portrait painter, but distinguished himself more in the representation of animals. There are many of his pictures in the collections of Florence, Venice, and Genoa, and Italy in general, and they often indeed pa.s.s under the name of Castiglione.

The third brother was Gio. Batista, and excelled in flowers and fruits, which he painted with great effect. They had also a sister, of the name of Maria Vittoria, who painted sacred figures for private collections, and who died in Venice at the beginning of the last century. In all I have said of the Ca.s.sana family I have adhered to Ratti, as to a native and correct author. Some who have written on the gallery of Florence, where the portraits of the three first are found, differ in some particulars, ascribing to the one works belonging to the other. Niccolo was in fact the one that there enjoyed the highest favour of Prince Ferdinand; and he it is who is mentioned in the note to Borghini (p. 316) where it is said that the picture by Raffaello, transferred from Pescia to the Pitti palace, was finished by Ca.s.sana. But with respect to this notice, and others regarding the Ca.s.sani, we may consult the Catalogo Vianelli, p. 97, where we find described a remarkable portrait of a young man studying, painted by Niccol; and it is succeeded by a long memoir, which throws additional light on the history of this family.

I must now speak of another celebrated Ligurian, but neither a scholar of Paggi, nor of Sorri, nor indeed of any other considerable master, and almost self-instructed; for the elements of the art, which he learned from Orazio Cambiaso, a painter of mediocrity, could not carry him far. He was born in Voltri, his name Gio. Andrea Ansaldo. He is the only one of the school who contested precedency in perspective with Giulio Benso, by whom, in a quarrel, prompted by jealous feelings of his talents, he was wounded: an attempt which was repeated by an unknown hand, after an interval of some years. Near the choir of the Nunziata, painted by Benso, we behold the cupola of Ansaldo, injured by damp, yet notwithstanding remarkable for a most beautiful division and grandeur of the architecture, and for many figures which remain uninjured. When we survey this fine work, we cannot refuse to this artist a great talent for the decoration of cupolas, which may be esteemed the summit of the art of painting, as the colossal is of sculpture. His other works in fresco, in churches and in private houses, are very numerous; and he is particularly admired for his works in the palace Spinola at S. Pier d'Arena, where he has represented the military exploits in Flanders of the Marchese Federico, the boast of this family.

Amongst his oil pictures a St. Thomas baptizing three Kings in a church, is celebrated. It is placed in the chapel of that saint, and exhibits much vigour of design, a brilliant decoration of scenery and persons, and a display of graceful and delightful harmony. Such is his prevailing character, which is in part his own, acquired by an unwearied application, and in part derived from the Venetians, and especially Paolo. Ansaldo is one of those masters who painted both much and well.

Of his scholars, the one who followed him the closest was Orazio de'

Ferrari, his countryman and kinsman. He painted well in fresco, but better in oil. We need only inspect the Last Supper in the oratory of S. Siro, to form a most favourable idea of this young artist. Giovacchino a.s.sereto profited more from the design than the colour of Ansaldo; in general he attempted his chiaroscuro in the manner of Borzone, his first master, as in the picture of S. Rosario at S. Brigida. Giuseppe Badaracco was ambitious of introducing a new style into his native place, and repaired to Florence, where he remained many years copying and imitating Andrea del Sarto. He left many works there in private collections, and I imagine they are there still; but, as always happens to copyists and imitators, his name is never mentioned, and his works pa.s.s as belonging to the school of Andrea. In Genoa itself his name is almost lost. It is known that he in general painted for collections; but not for what houses. I found in the house of a gentleman of Novi an Achilles in Scyros, with the name of Badaracco, and with the date of 1654. In this work the artist seems to have forgotten Andrea, and to have followed the naturalists of his own country. There is no public work by him except a S. Philip, which is preserved in the sacristy of S. Niccol in _Voltri_.

To the foregoing masters we may add Gio. Batista Baiardo, of I know not what school, but certainly commendable for the talents displayed in his pictures at the portico of S. Pietro, and in the convent of S. Agostino, painted with vigour, freedom, and grace. The inferior works in that convent are certainly by another hand. Baiardo, Badaracco, Oderico, Primi, Gregorio de' Ferrari, and others in this school, were carried off by the plague in 1657. But we have now spoken sufficiently of the higher cla.s.s of works, and shall here pa.s.s to those of another kind, completing the notices which we have occasionally interspersed before.

We have often spoken of portrait painting, a lucrative branch of the art in every capital, and more cultivated in Genoa than in most cities. Besides the n.o.ble models of art left, as we have before mentioned, by the best Flemish artists, those of Del Corte, a scholar of t.i.tian, and of his son Cesare, were of great service. From the school of this master arose a succession of n.o.ble portrait painters, instructed by Luciano Borzone, who in the time of Cerano and Procaccini also studied in the Milanese School, and derived benefit from it; an artist highly esteemed by Guido Reni. He is ent.i.tled to a place in the higher walks of art for his numerous paintings for the churches and for collections; where however his greatest merit is the expression, which as a good portrait painter, or rather naturalist, he gives to his heads, which partake more of natural truth than of select beauty. The folds of his drapery are true and simple, and his style on the whole is not so strong as that of Guercino, but sufficiently so to please the eye. The Presentation at S. Domenico, and the B. Chiara at S.