part ill

disposed and vague, he the more willingly exercised himself in these schools. We meet with a great number in different collections, and after beholding one, we are at no loss to recognize the remainder, both from the heads which are often repetitions of each other, and from the rosy tinge of his fleshes, and of the general tone of his pictures. He was extravagantly fond indeed of this last colour; which he often misapplied in regard to the hands and the extremities of the fingers. For the rest the composition of his colours was sweet; his shades delicate, in the Correggio manner, and his profiles often borrowed from the antique, while his whole handling was free and elevated.

Marco Liberi, his son, was not in any way comparable to his father, either in point of dignity or beauty, when left to his own invention. His forms are either caricatures, in a manner, of those of his father, or are very inferior where they are original. This striking difference may be observed in numerous collections, where their paintings of Venus are placed together, as we see in that of Prince Ercolani at Bologna. Still he was an excellent copyist of his father's works, a talent possessed by many others of the same school, whose imitations are easily mistaken for originals, even by professors themselves.

An excellent foreign artist ought not to be omitted in this place, one who flourished during a long period, and taught and died in Padua. His name is Luca Ferrari, from Reggio, fully deserving of being enrolled in the _Abbeccedario Pittorico_. Although Guido's pupil, his style became rather lofty than delicate; so that judging by the pictures that he produced for Santa Maria della Ghiaja in Reggio, Scannelli pronounced him a disciple of Tiarini. In some of the airs of his heads, however, and in certain graceful motions, he shews himself not unworthy of the character of the former master. In Padua there is a _Pieta_ of his at San Antonio, of a very masterly kind, a picture that displays the rarest beauty of colouring. In his pieces abounding with figures, like that of the Plague of 1630, painted for the Domenicani, he does not appear to so much advantage; nor had Guido, indeed, offered him any great examples in this line, being accustomed rather to weigh than to number his figures. Minorello and Cirello, two of his pupils and followers, continued to support in Padua some relish of the Bolognese School. Their names might be added to the dictionary above mentioned, as Rosetti seemed to wish, and the former, who might sometimes be confounded with Luca, ought to hold a higher place in it than the latter. Francesco Zanella deserves likewise to be recorded there, as an artist of spirit, though neither very diligent nor very learned in his art. He is esteemed almost the Giordano of this city, from the great number of his works conducted in a short time, and may be computed almost as the last of the school; for Pellegrini, who flourished during the same age, was not a native, though tracing his origin to Padua; nor did he reside there many years.

The city of Vicenza produced nothing original during this epoch; though it possessed a school, sprung from that of Paul Veronese and from Zelotti, of which I promised the reader a series in a more appropriate part of the work. In regard to its style, this school, in part, belongs to a better age; but its productions are chiefly so very indifferent, and so much the result of mechanic art, that it may rather be ascribed to the present. Vicenza indeed might have had reason to boast, had it possessed artists at all equal in point of genius to its architects. I shall first commence with the name of Lucio Bruni, whether a native of the state or a foreigner is uncertain, an artist who produced, for San Jacopo, a little altarpiece, representing the marriage of S. Catherine, executed in 1585, and partaking of the genius of a better age. I have met with no other notice of him; for as he was probably little known in times when Italy abounded with the choicest artists, he found no historian who might have rescued his reputation from oblivion. Yet this I would willingly do, if not by giving him a rank in this school, at least including him in the list of artists of the city, where I find mention of his name. Giannantonio Fasolo received the instructions of Paul, and for a longer period those of Zelotti; still adhering, however, to Paul as his first example. At San Rocco there is one of his pictures, a Probatica, so beautifully decorated with perspective, and so finely filled with sick figures, in various groups and distances, that Paul Veronese would not have disclaimed it for his own. There are likewise three Roman histories in the ceiling of the prefectory palace; Mutius Scaevola before Porsenna, Horatius at the Bridge, and Curtius before the Gulf; the whole of them nobly executed. By some strange mistake Orlandi mentions Verona as the place of his birth, and where he exercised his talents.

Among his pupils was Alessandro Maganza, son of the same Giambatista whose name I recorded among Titian's followers. Fasolo inspired him with his own taste; and we may likewise consider him a fine imitator of Zelotti and of Paul Veronese; as he has shown in his Epiphany, at San Domenico; and in his Martyrdom of S. Giustina, at San Pietro. In his architecture he was excellent, judicious in his composition, very pleasing in his countenances; in his fleshes inclining towards white; in his folds somewhat hard and monotonous; and for the most part wanting in expression. Vicenza has an abundance of his paintings, both private and in public; besides the provinces and the adjacent cities, to such an amount, that we have no difficulty in believing that he flourished till his seventy-fourth year; that he painted for good prices, and with little trouble. A few of his pictures, such as we meet with at Vicenza, are amply sufficient to give us an idea of the rest; not unfrequently presenting us with the same features and the same attitudes and motions. We are to look for the cause of this, not so much in his genius, which he shows in many of his works to have been excellent, as in his domestic anxieties, occasioned by a numerous family for whom he had to provide. This artist was extremely unfortunate as a father. Giambatista, the eldest of his sons, emulated him in knowledge; and if we may venture to judge from one of his histories, of San Benedetto, at the church of S. Giustina, in Padua, he was superior to him in point of elegance. But the support he derived from this young man's talents was soon cut off by his early death, leaving a young family of his own to the care of their grandfather. His second son, Girolamo, who had also to make provision for his own children, and Marcantonio, quite a youth, afterwards assisted their father in his productions, and already began to acquire some degree of reputation from their own. When, in the year 1630, their native place was ravaged by the plague, Alessandro had the grief to witness the death of his two sons, and, one by one, of the whole of his grandchildren; until left "the last of his race," to lament over the destruction of his kindred, he shortly followed them to the tomb, closing with his death that noble school which the two illustrious Veronese had founded in Vicenza.

Yet it did not altogether perish; but was continued by Maffei, by Carpioni, and by Cittadella, three artists who, compared with the Maganza, sometimes appear to have sprung from the same academy, either from having studied in Vicenza the models they imitated, or because the style, which partakes both of that of Paul and Palma, was then in high repute, as that of Cortona at another period among us. They were all three, like Alessandro himself, rapid in their composition; and were their pictures, even belonging to the city, to be enumerated, they would most likely be found to equal those of all the other foreign or native artists employed there. Francesco Maffei, from Vicenza, had been the pupil of Peranda, some of whose unfinished pieces he completed. He next undertook to imitate Paul Veronese, with a tolerable degree of spirit and learning. His style is on a lofty scale; in so much that Boschini entitles him the great mannerist, extolling him as the painter of giants. Nor is he wanting in a certain grace peculiarly his; which distinguishes him from the mannerists. His picture of St. Anna, at San Michele di Vicenza, besides many works produced at the same place for the public palace, and elsewhere, extremely poetical, full of fine portraits, and coloured in the best Venetian taste, show that he was able to compete with more skilful artists than Carpioni and Cittadella, his contemporaries. And as he, perhaps, did not consider them very formidable rivals, he did not finish his pieces with much care, leaving many of his heads, besides other portions of his figures, incomplete; scanty in his colouring, employing dark grounds, and altogether painting rather for years than for ages. At San Francesco, in Padua, there is a grand picture of his "Paradise," which, owing to this method, has lost almost every trace of colour. This result extinguishes the praise which Boschini bestows upon him, that with four touches of his pencil he could make the observer raise his eyebrows with admiration, and is a very excellent warning, we think, for over expeditious artists. Their pictures may be said, indeed, to resemble certain children, the offspring of unhealthy parents, who sometimes exhibit a florid countenance in youth, accompanied with every other symptom of health, but, declining as they advance, their constitution becomes exhausted in a few years.

Giulio Carpioni, a pupil to Padovanino, and for the same reason familiar with the composition of Paul Veronese, has assuredly more vivacity, power of expression, and poetry than Maffei. He was not, however, equally inclined to grand proportions, and works upon an extensive scale. His figures do not usually exceed the size of those of Bassano; and they are more frequently met with in collections than in churches, throughout the whole Venetian state. In many noble houses we also find pictures consisting of bacchanals, dreams, fables, and capricci, or fancy pieces, as well as histories, all touched with a spirit and a taste in his tints, which his master himself might have thought worthy of his pencil. He appears to have produced others for the people, if indeed they are not the work of his pupils, or of his son Carlo, who is supposed to have followed, in all points, the example of his father; though I never met with any piece that was positively genuine. He was, likewise, a good portrait painter; and in the public Council Hall at Vicenza, as well as in the church of the Servi at Monte Berico, appear the portraits of several of the magistrates in that government, accompanied by their trains; in which, to singular correctness of feature, we meet with much ideal beauty in his representation of the Virtues, that he introduced with appropriate and noble inventions. Such an artist ought to be well known in Venice and Vicenza, where he flourished during many years. He passed his latter days in Verona, where his contemporary, Bartolommeo Cittadella, had likewise taken up his residence; last of the three whom I have just before mentioned. It is uncertain whether he was a pupil, or only a companion of Carpioni; but he is indisputably his inferior in point of genius and ability. To the same school we may add the name of Niccolo Miozzi, of Vicenza, recorded in the _Gioielli Pittoreschi_ of Boschini; and, though more doubtful, that of Marcantonio Miozzi, known by his superscription attached to a sacred subject, in possession of the house of Muttoni, at Rovigo.

Towards the close of the century, one of the artists in most request was Menarola, whose style approaches nearer to the modern. He was pupil to Volpato, though chiefly following the manner of Carpioni. Next to him was Costantin Pasqualotto, more distinguished for colouring than for design; and Antonio de' Pieri, called Zoppo, of Vicenza, who possessed a rapid, but less decided hand; along with some others who may be recognized in this description. Still higher in repute than these was Pasquale Rossi, little of whom remains in Vicenza, having chiefly attached himself to the Roman School, where he will be found mentioned. Gio. Bittonte, leaving Vicenza, established himself, and painted a good deal at Castelfranco; where, from the circumstance of founding a school both of painting and of dancing, he acquired the surname of Ballerino. Melchiori represents him as pupil to Maffei, and master of Melchiore, his father, who lived also in Castelfranco, where he was much employed, although engaged also at Venice, in the Casa Morosini, where he competed with the Cavalier Liberi.

When the ancient school had become wholly extinct at Bassano, there appeared a Gio. Batista Volpati, who produced many pictures for his native state; somewhat resembling Carpioni in his capricci and in his style, but more common, perhaps, in his features and whole design. His pupils are said to have been one Trivellini, and one Bernardoni, both still inferior to their master. He left behind him several treatises upon the pictoric art, which are yet existing in MS. in the rich and select library of Count Giuseppe Remondini. In the preface to these he asserts that he had no master, though he is said, in a MS. at Castelfranco, to have been a pupil of Novelli. The work is interspersed with good remarks, such as to lead us to suppose him a tolerable theorist; and Algarotti took a copy of it, as we learn from the index of his works upon the fine arts, already before the public.

We have above alluded to a branch of the Veronese School, transplanted to Padua, where it flourished with extraordinary success. Referring to its origin, and to those Veronese artists who lived contemporary with Palma, and until the close of the 17th century, it must be observed, that they maintained the national reputation no less than those of Padua, and were even more constant in the good old method of managing their grounds and their style of colouring. I have noticed the name of Claudio Ridolfi[82] in a former school, from the circumstance of his having flourished in the pontifical state. He did not, however, desist from his labours in the Venetian state, some of which appear in the capital and the adjacent cities, particularly in his native place, and Padua. In the celebrated church of S. Giustina, there is a very fine piece, representing the honours of the Benedictine order, professed by princes, adorned by martyrs, and the nurse of the most distinguished pastors of the holy church. The invention is very appropriate, the execution altogether elegant and well finished, and the ornaments equally rich as in any of his other works. He presented his country with a good disciple of his style, in Gio. Batista Amigazzi, though his chief talent seemed to consist in the excellence of his copies. In San Carlo, at Verona, there is one taken from a Supper by Paul Veronese, not only finely drawn, but exhibiting colours fresh and vivid even at the present day. Still superior to him, and almost equal to his master, we meet with Benedetto Marini, of Urbino, an artist unheard of in his own country, though greatly distinguished at Piacenza.[83]

Posterior to Ridolfi appeared three scholars of Felice Brusasorci, in addition to Creara, an artist less celebrated; all of whom, on the death of their master, pursued their studies at Rome. There they imbibed, more or less, the prevailing style; and all of them occupy a distinguished rank in the history of the art. Alessandro Turchi, surnamed _Orbetto_, is, in particular, distinguished among the first of his age; he was called Orbetto, observes Pozzo, because, when quite a boy, he was in the habit of guiding an old blind mendicant, either his father, or some other person. Passeri declares that he derived it from his having a defect in one of his eyes; which was observable in his left eye, as I am informed by Signor Brandolese, after having seen his portrait, engraved after the original, in possession of the Signori Vianelli. Brusasorci, from certain undoubted symptoms, discovered in him a fine genius for the art; and, giving him the best instructions, in a few years encountered a rival, rather than a disciple. Residing afterwards in Venice, under Carlo Caliari, and thence proceeding to Rome, he formed a style wholly his own, possessing some strength but more elegance. He established himself in Rome, where he entered into competition with the followers of the Caracci, with Sacchi, and with Berrettini; with whom he appears to advantage in the church of the Concezione, as well as in a few others. But no city has so many of his pieces in public as Verona, to say nothing of those he painted for private persons. The family of the Marchesi Girardini alone, who patronised him and supported him at Rome, for which we have original letters and documents, possesses sufficient to enrich several collections, among which it is amusing to trace his progress from the inferior to the more correct specimens, and from a lower degree of ornament to the highest. Some, indeed, have ventured to put him in competition with Annibal Caracci; a comparison that, in other times, would have created as great a sensation in Bologna as the celebrated Rape of the Bucket, and one which ought not to be listened to, indeed, any where. Annibal was a painter worthy of our veneration, and Turchi succeeded in imitating his design in the "Sisara" of the Casa Colonna and elsewhere. But he was not so happy in every instance, and, generally, his naked figures, (which approach, in Annibal, to those of the ancient Greeks,) are not equal to such as he has thrown into costume. On the contrary, Passeri, in describing his picture at the Camaldolesi, in Rome, admits that he did not display _perfect_ taste in his art, while Pascoli, in his life of Gimignani, says he enjoyed _some_ degree of reputation at Rome; an incautious expression, if I mistake not, but which at least shews that Turchi is not entitled to a comparison with Annibal Caracci. Still he exhibits so many attractions, that he never fails to please us in every subject. He seems to have aimed at forming an union of various schools, and added to it a certain originality in giving dignity to the portraits introduced into his histories, with the most animated, yet the most delicate complexions. He excelled in the choice and distribution of his colours, among which he introduces a reddish tint, which much enlivens his pictures, and is one of the indications by which we may recognise the author. He is said to have employed exquisite care in the application of his tints, and to have possessed some secret art, by means of which they continue to attract the envy of posterity. The truth is, he selected, purified, and kneaded well his colours, besides consulting chemists upon the subject. From some pictures we feel inclined to turn away in disgust, so extremely do the colours resemble the tints made use of by coach painters; and we have reason to complain of want of refinement in many instances. But how very few apply themselves seriously to select and refine their materials, to make experiments, and to analyse those colours that have been once applied.

At the church of San Stefano, in Verona, there is exhibited his "Passion of the Forty Martyrs," a work that, in regard to depth of colours and foreshortening, partakes much of the Lombard; in point of expression and design, of the Roman; and in its colouring, of the Venetian School. It is one of the most studied, finished, and animated pieces that he produced: there is a choiceness in the heads that approaches Guido's; and a skill of composition, that throws into the background of the picture a great portion of the multifarious history, as appearing in a field of vast extent, where his figures are admirably varied, according to the distances in which they are supposed to appear. Yet he does not belong to that class of artists who go about in search of personages for their histories, in order to fill them with figures. On the other hand, he appears to take more pleasure in introducing an inferior number. Thus his picture of a Pieta painted for the church of La Misericordia, at Verona, exhibits only a dead Christ, the Virgin, and Nicodemus; but the whole so well designed, arranged, and animated, as well as coloured, that it has been esteemed by many his masterpiece, and is certainly one of the best paintings in Verona. In that of his Epiphany also, in possession of the Signori Girardini, of which the rough draft is preserved in the Casa Fattorini, at Bologna, he is by no means lavish of his figures; but he succeeded in arraying those of the Magi in so noble a manner, as to remind us of Titian and Bassano. Turchi died at Rome, leaving behind him two excellent disciples in Gio. Ceschini, and Gio. Batista Rossi, called il Gobbino. The first of these produced copies of his master's works, that had all the appearance of originals. Both continued to employ themselves at Verona, though declining in importance and in credit in proportion as they advanced in years.

Pasquale Ottini, the same who, with Orbetto, completed some pictures by Felice, was a good artist in regard to his forms, and of no common expression, particularly in the works he conducted after having seen Raffaello's. Of this we have a striking specimen in the "Slaughter of the Innocents," placed at San Stefano, although it is subjected to an unfavourable comparison, being placed opposite to one of the finest productions of Orbetto. He appears to more advantage, perhaps, at San Giorgio, where we meet with his picture of San Niccolo, with other saints, in the best Venetian style of colouring; whereas, in other instances, his colours are somewhat languid; a defect most probably arising from time, and unfavourable situations. Finally, he is in high repute in his own country; and in the learned Alessandro Carli's _History of Verona_, he is mentioned as approaching the nearest of all, in point of excellence, to Paul Veronese. Subsequent to him, and not inferior in talent, we meet with Marc Antonio Bassetti, who, leaving his fellow pupils, set out, very young, to complete his studies at Venice. After again joining them, he next transferred his residence to Rome; and having copied from the best models of both schools, he ultimately returned to his native place. He is particularly commended by Ridolfi in the branch of design, in which he was truly great; add to which, he was an excellent colourist. And he was accustomed to advise those who aimed at good colouring to return, in the first place, to Venice, and again to consult the most beautiful productions of the art. There is one of his altarpieces at San Stefano, in Verona, representing various holy bishops of the city, all arrayed in their sacred habits, all admirably contrasted, and in a taste nearly approaching that of Titian, were it not for the vicinity of Turchi, who seems here again to throw him somewhat into the shade. He left no succession of the school,[84] nor, indeed, many works of his own, though they were highly valued. For he was accustomed to say that painting ought not to be pursued by journeymen, like a mechanic art, but with the leisure that is bestowed upon literature, for the sake of the pleasure it affords. It would appear that Dante adopted almost the same maxim in his poetry, when he watched for, observed, and encouraged the impressions that nature, the first guide of all true geniuses, implanted in his spirit.[85] These two friends met their fate together, dying of the plague in the year 1630, as well as many other scholars of Brusasorci, mentioned by the Commendatore del Pozzo. But I omit their names, either because of their early death, or want of talent to distinguish themselves. Thus, about the same year, when Orbetto had already established himself in Rome, the succession of Brusasorci's school ceased in Verona. The disciples of Paul Veronese, mentioned subsequent to him, Montemezzano, Benfatto, Verona, and others, died likewise about this period; insomuch that every trace of the municipal school may be said to have disappeared, and it was succeeded by a variety of foreign styles.

Indeed, for some time before, the young Veronese artists had become attached to foreign academies, and several strangers had established themselves in Verona. Dionisio Guerri had formed, under the direction of Feti, a very striking and clear style; in himself equal to repairing the loss of many artists. But he died young, in 1640, leaving few works behind him, in a great measure dispersed through foreign collections; and he was much lamented. Francesco Bernardi, called _Bigolaro_, supposed to have been a native of Brescia, until the Commendatore del Pozzo proved him to have been of Verona, was an artist educated by the same master. He exhibited, in his picture of the Titular Saint, at the church of S. Carlo, seen in the act of attending his infected brethren, as well as in another piece, a companion to it, all the taste of his master. But he produced much more for private collections, than for the public. The Cavalier Barca was an artist who sprung from Mantua, though he subsequently became a citizen of Verona. It is uncertain whether he was instructed by Feti. His style is various; and in a Pieta of his, remaining at San Fermo, he appears a painter capable of producing a good effect; in other pieces, at the Scala, he abounds with pictorial grace and beauty, and he is fully worthy of commemoration.

The city of Bologna, likewise, contributed to repair the loss sustained by Verona of so many artists. Guido and Albani conferred great obligations, by instructing the Cavalier Coppa (his real name, however, was Antonio Giarola, or Gerola) who is to be enumerated in the list of their best disciples, though he is somewhat too loaded in his composition, and, with a view of catching the sweetness of Guido, became wanting in strength of colouring. There is one of his Magdalens in the Desert, however, placed at the Servi, which is full of fine expression. And in the refectory, also, of the Veronese college, is his Supper of Emmaus, a picture conducted in the style of the best Venetians. Although addicted to the style of Guido, he was also considered by Albani as one of his favourite pupils, who sent him as court painter to the Duke of Mantua, as we are informed by Malvasia.[86] From the same academy sprung Giacomo Locatelli, distinguished for several works, chiefly produced for San Procolo, as well as on account of the merit of some of his pupils. They rose into notice in the decline of the art, about the close of the seventeenth century. Andrea Voltolino, a careful but cold painter, was more fitted to succeed in portraits than in compositions; Biagio Falcieri, instructed also by the Cavalier Liberi at Venice, possessed much of the fire and imagination abounding in the Venetian School. Of this he gave an example in his great picture representing the Council of Trent, where the figure of St. Thomas, in the act of overthrowing heretics, appears conspicuous on high, a piece that adorns the church of the Domenicans. Santo Prunato was instructed by these two professors, an artist who brought the Veronese School into fresh notice, as we shall have occasion to observe in the following period.

The school of Moretto continued during this epoch to flourish in Brescia; _a master exquisitely delicate in his colours, and extremely diligent, as is evident from his works_. Such is the opinion expressed by Vasari; but he did not always preserve the same excellence. There is not the same degree of finish in his disciples, and it was, indeed, too difficult, while so large a portion of the state put a high value upon celerity of hand, to pursue more tedious processes. The Brescian artists who succeeded him, having in part received a Venetian education, the city abounded in mannerists and the class of _tenebrosi_. Still there appeared among these some excellent painters. Antonio Gandini and Pietro Moroni, or Maroni, are enumerated among the pupils of Paul. The former sometimes imitated Vanni, without neglecting Palma; vast, varied, and ornate in his compositions, an artist every way deserving of consideration in the grand history of the Cross, which he painted in the old cathedral, where his son Bernardino, a poor imitator of his father, also employed himself. Moroni studied a good deal the works of Titian, and was one of the most accurate and fine designers the school could, at that time, boast; nor does he yield to any of his contemporaries in the strong body, and in the clearness of his colouring. Such at least he appeared to me at San Barnaba, in his picture of Christ going to Mount Calvary, when compared with other productions of the same period exhibited there.

Filippo Zanimberti, pupil to Peranda, and an artist of fine character, and a fine hand, as well as a very natural colourist, has never been sufficiently appreciated in Brescia. But in Venice, where he resided many years, and where he painted with real genius and skill for different churches, he is very highly esteemed. In Santa Maria Nuova appears his grand picture of the Manna, so much commended by Ridolfi, by Boschini, and by Zanetti; though he chiefly seems to have employed himself in the ornament of palaces. He possessed singular talent for drawing small figures, and composing fables and histories, which were eagerly sought after, insomuch that the poet of the Venetian paintings affirms that whoever possessed Zanimberti's pictures, was sure of his money.

Francesco Zugni, of Brescia, is mentioned by Ridolfi among the best of Palma's disciples. He could not compete with him in the beauty of his forms and attitudes, though he surpassed him in the fulness of his colouring, and in the spirit in which he conducted his works. These were for the most part in fresco, and frequently exhibited the perspectives of Sandrini, an architect of great merit. With him he was employed in the hall of the Podesta, in that of the Capitano, and in several villas. He displayed equal excellence in his oil paintings, as we gather from that of the Circumcision at the Grazie, and from some small figures adorning one of the choirs, designed and touched with great spirit.

Grazio Cossale, or Cozzale, produced a variety of pieces upon a large scale, still remaining in his native province. He was gifted with a rich imagination, and of a character, compared by Cozzando, the historian of Brescia, to that of Palma; and he indeed appears to have emulated his facility without abusing it. His picture of the Presentation, which he left at the church of the Miracoli; his Epiphany at the Grazie, and other pieces dispersed throughout Brescia, are all calculated to arrest the eye of the spectator, who must likewise possess little feeling, should he fail to lament the unhappy fate of so great a man, who fell by the hand of one of his own sons. Neither in Camillo Rama, Ottavio Amigoni, nor in Jacopo Barucco, all disciples of Palma, have I met with any works of equal beauty throughout that city, the last of whom, indeed, has loaded his pieces with a more than ordinary degree of shade. Amigoni, who had been pupil to Gandino, likewise held his school, in which he counted, among other scholars, Pompeo Ghiti, an artist who, under Zoppo of Lugano, succeeded in improving his manner, or rendered it at least more powerful. He possessed a rich imagination, excellent in the art of design, and in his touch similar to, though perhaps not so strong as the Luganese. Francesco Paglia was a pupil and imitator of Guercino, and the father of Antonio and Angelo, both devoted to the art. He was most successful in his portraits, though he painted also scriptural pieces; one of the most esteemed of which is to be seen at La Carita. He was excellent in the laying on of his colours, and in chiaroscuro, but displayed little spirit, while his proportions were frequently too long and slender. But to describe minutely the manner of the successors of Ghiti and Paglia, would occupy too much of our space; such are the names of Tortelli, very spirited in Venetian composition, of Cappelli, instructed likewise by Pasinelli at Bologna, and by Baciccio at Rome, along with some others of a more modern character, who succeeded tolerably in the path marked out by the artists of Bologna, and a few of whom may be referred to the ensuing epoch.

During the time of Palma and the Venetian mannerists, the art had been maintained in Bergamo by the successors of Lotto, and of his contemporaries. We meet with ample commendations of Gio. Paolo Lolmo, a good artist in diminutive pictures. In the altarpiece of Santi Rocco and Sebastiano at S. Maria Maggiore, and executed about 1587, not one of his earliest pieces, he displayed a great partiality for the design of the fourteenth century; diligent, a minute observer of refinements in figures, though not sufficiently modern. But there were two excellent artists, altogether in the modern style, who flourished at the same period; Salmeggia and Cavagna, who competed with one another in perfect amity, for many years, in ornamenting their native province. One of them died in 1626, the other in the following year.

Enea Salmeggia, called Talpino, received instructions in the art from the Campi at Cremona, and from the Procaccini in Milan; whence proceeding to Rome, he studied for a period of fourteen years the models of Raffaello, imitating him during the remainder of his life. Orlandi and other writers join in extolling his San Vittore, at the Olivetani in Milan, as well as a few other of his works, observing that they had been even ascribed to Raffaello. And whoever attentively examines that fine specimen, will not feel inclined to refuse Salmeggia one of the most distinguished places in the rank of Raffaello's followers. The clearness of his contours (sometimes, however, carried to the borders of littleness) the expression of his youthful countenances, the smoothness of his pencil and the flow of his drapery, together with a certain graceful air in the motions and expressions, sufficiently mark him for an admirer of that sovereign master, however much inferior to him in point of dignity, in imitation of the antique, and in felicity of composition. His method of colouring was also different. He affects greater variety of colours in his draperies; the tints in a large portion of his works are at present faded; and the shades as in other pictures of the same period, are much altered. Yet it is probable that this great artist, as it has been observed of Poussin and of Raffaello himself, did not always bestow the same degree of care upon his colouring, satisfied with displaying from time to time his surpassing excellence in this department. In the church of La Passione at Milan, he produced his Christ praying in the Garden, as well as his picture of the Flagellazione, works conducted in his best style. The former of these is finely coloured in the manner of the Bassani; and the latter, of a more lofty and animated character, is superior to the other even in force of colouring. Bergamo boasts other specimens of him, and in particular in the two great altars of Santa Marta and of Santa Grata. There we meet with two noble pictures, each of which may boast its separate admirers who prefer it to the other; and each displays an union of colours, at once so fresh, clear, and beautiful, that we are never weary of contemplating them. In both he has observed the same general composition; the Virgin being represented on high, crowned with a glory, while below her are seen the figures of several saints; but in the second, perhaps, he has employed a greater degree of care. Here he has introduced a splendid variety of shortenings, of attitudes, and of lineaments; and even inserted the city of Bergamo, with some fine architecture in the style of Paul Veronese. The figures are arrayed with extreme care, among which appears a bishop in his sacred paraphernalia, that serves to remind us of Titian himself. His pictures for private ornament are rare and valuable, but not sufficiently known beyond his native province and its vicinity, a circumstance common to many very excellent artists belonging to all our schools. Italy, indeed, is too abundantly supplied with distinguished names to admit of the whole of them being generally known and estimated as they deserve.

The style of Enea was not such as to be easily maintained, without consulting the great examples of Raffaello as he had done. His two sons, Francesco and Chiara, although educated by their father, succeeded rather in imitating his studies and his figures, than in thoroughly penetrating into the principles of his art. The fruits, however, of a good education were sufficiently apparent in them; and when placed in competition with some of their contemporaries, they appear, if not very animated, at least very sedulous artists, and greatly exempt from the faults of the mannerists. The city is in possession of many of their public works; in some of the best of which their father is supposed to have afforded them his assistance.

Gianpaolo Cavagna seems in some way to have escaped the notice of Boschini, and even of Orlandi, who had bestowed so much commendation upon his rival. He ranks, in his native province, as high as Salmeggia, and he certainly appears to have possessed a still more enlarged genius, more decision, and more talent for extensive works. A pupil of Morone, the great portrait painter, as we have already mentioned, he evinced a taste for the Venetian School, attaching himself in particular to Paul Veronese, in whose style he conducted some of his best productions. He was ambitious of surpassing him likewise in point of design, which he assuredly did in his naked figures, exhibiting even the adult form with a degree of masterly power. He had acquired the best method of painting in fresco, in his native place, and he succeeded in it admirably, as appears from the choir of Santa Maria Maggiore, where he represented the Virgin received into Heaven, a very spirited and varied composition, abounding with figures of angels and of prophets, truly great; the distinguishing characteristic, perhaps, of this artist's genius. Nor did he appear to less advantage in oils, more particularly when the immediate vicinity of other celebrated painters put his talents to the test. Of this kind the most successful, perhaps, are his Daniel in the Lions' Den, and his picture of San Francesco receiving the stigmata, forming side pictures to one of the best altarpieces by Lorenzo Lotto at San Spirito; yet they are nevertheless worthy of that distinguished post. His Crucifixion, between various saints, placed at Santa Lucia, has been still more highly extolled as one of the finest productions the city has to boast, and preferred by many judges to any of the altarpieces of Talpino. I shall abstain from expressing an opinion upon a subject in which artists themselves would disagree, merely observing that it is more difficult to meet with inferior or careless pieces from the hand of Salmeggia than from Cavagna's. He had also a son a painter of the name of Francesco, called Cavagnuola, who, surviving his father, acquired some degree of celebrity. He attached himself wholly to the style of Gianpaolo, as well as certain foreigners sprung from the same school, such as Girolamo Grifoni, in whose productions we seem to trace the copy of a copy of the style of Paul. If the artists named Santa Croce belong to Bergamo, and to one family, as we are informed in the _Guida_ of Padua, we ought here to insert the name of Pietro Paolo, the least distinguished among the Santa Croce, but not unworthy of commemoration for one of his Madonnas at the Arena, and for other pictures at different churches in Padua, in all of which he appears attached to the school of Cavagna, or at least to the less mannered class of the Venetians.

Subsequent to the above two artists, we meet with the name of Francesco Zucco, a good pupil of the Campi at Verona, and of Moroni at Bergamo. From this last he acquired the art of giving a singular degree of spirit to his portraits, and from Paul Veronese the mode of ornamenting them with most taste and fancy. Even in his larger compositions he sometimes adhered so closely to the same artist, that several of them were ascribed even by his fellow citizens to Paul, a circumstance that occurred to his pictures of the Nativity and of an Epiphany, on the organ of San Gottardo. He adopted, moreover, a variety of manners, apparently ambitious of displaying to the public his power of imitating Cavagna or Talpino, as he pleased. Contemporary with these artists, he so far rivalled them, (as in his San Diego at Le Grazie, or in the large altar at the Cappuccine,) as to approve himself worthy of such emulation. In other works he gives us occasion to wish for a better union of his colours, in which he cannot be pronounced equal to the first masters of the school, so admirable in this department.

Subsequent to the year 1627, there was no want of artists of ability at Bergamo, among whom we may mention a Fabio di Pietro Ronzelli, whose style, if not sufficiently select and ideal, was at least solid and robust. To his we may add the name of Carlo Ceresa, an artist of much study and research, pleasing in his colouring, and having apparently formed his taste upon the models of the best age, successful in giving ideal beauty to his countenances. The former of these, most probably the son of one Piero, known as a good portrait painter, and respectable in point of composition, painted the Martyrdom of San Alessandro, for the church of Santa Grata, while the latter added the two side pictures without the least traces of mannerism. Contemporary with both these, Domenico Ghislandi distinguished himself as a painter of frescos, more

## particularly in architecture. He was the father of Fra Vittore, called

likewise Frate Paolotto, whom we shall have occasion to mention hereafter. At present it will hardly be desirable that I should extend my remarks to other names scarcely heard of beyond the limits of their native province; though in justice to the city I must observe that in its dearth of native talent, it spared no expense in decorating public places with the works of the best foreign artists, of every country. Ample proofs of this liberality may be seen in the cathedral and the adjacent church of Santa Maria Maggiore. Such are among the advantages enjoyed by cities, which are equally in possession of taste and of riches. But when deficient in either of these, they will be compelled to adopt the plan pursued in rural occupations, where each agriculturist employs the oxen that belong to his own fields.

Crema, at this period, might pride itself on having produced such an artist as Carlo Urbini, who, though of limited genius, was very pleasing skilful in perspective, and equal to grand historical pieces. He had afforded a specimen of his powers in one of the public halls, in which he exhibited national battles and victories, besides having employed his talents in different churches. In ornamenting that of San Domenico, however, an artist of the name of Uriele, most probably of the Gatti family at Cremona, was preferred before him, though extremely inferior. This injustice seemed to alienate his mind from his native place, and he proceeded to Milan, by whose writers he has been recorded with honour. Yet his history piece at San Lorenzo, conducted in fresco, seems to contain rather the seeds than the fruits of noble painting, and he appears to greater advantage in oil colours, as we gather from his picture of our Saviour taking leave of his virgin mother previous to his sufferings, a production ornamenting Santa Maria near San Celso, where it may compete with the best Lombard masters of that time. Lomazzo makes mention of him in reference to such as produced pieces most suitable to the places for which they were intended; an useful practice, familiar to the old masters, who took care to adapt their pictures, not only to places, but to household furniture, insomuch that in many of their vases and drinking cups, which we meet with in the kingdom of Naples, are represented, for the most part, scenes of festivity, mysteries, and fables of the Bacchanalian God. Subsequent to him flourished Jacopo Barbello, whose paintings in various churches at Bergamo are extolled by Pasta, more particularly in that of San Lazzaro, an altarpiece representing the titular saint, remarkable no less for its dignity of design, than for decision of hand. In the series of this school I find mention of no other artist after him, a school distinguished in its origin by the name of Polidoro, and afterwards adorned by few but very select artists.

We shall next proceed, according to our plan, to treat of certain painters of landscape, of battle pieces, of perspective, flowers, and similar subjects. Henry de Bles, a Bohemian, better known under the name of Civetta, an owl, from the frequent introduction of that bird into his landscapes, was an artist who resided for a long period in the Venetian state. Besides his specimens of landscape to be met with in Venice, and which uniformly present some traces of ancient crudeness, he painted a Nativity of our Lord, for San Nazaro in Brescia, resembling in its style of composition the manner of Bassano. Its prevailing tone is sky-coloured, and in the features of its countenances it partakes of a foreign expression. I have also seen small pictures from his hand intended for cabinets, often thronged with minute figures, known by the name of _Chimere_ and _Stregozzi_, or witch pieces, a kind in which he was extremely fanciful. But on this head we shall have occasion to return to him in a short time, and proceed to a Flemish artist, who flourished, about the beginning of 1600, in the state. His name was Lodovico Pozzo, or Pozzoserrato, called also da Trevigi, from his long residence in that city, where he died, leaving it, as Federici relates, beautifully decorated with specimens of his hand. He excelled in the representation of distant objects, like his rival Paol Brilli of Venice, in such as were viewed near; and he is more pleasing and select than the latter in, his variation of clouds and distinctions of light; while at the same time he was celebrated for his altarpieces. Subsequent to these appeared several foreign artists, eminent for their skill in landscape, in the time of Boschini at Venice, where several specimens of their art must be still in existence. They were afterwards extolled likewise by Orlandi. There was a Mr. Filgher, a German, who very happily represented the different seasons of the year, and even the different lights throughout the day; a Mons. Giron, a French artist, extremely natural in all kind of views, both of a terrestrial and aerial character, and a M. Cusin who imitated the noble manner of Titian in his landscapes, with much success. Nor ought we to omit Biagio Lombardo, a citizen of Venice, an artist highly commended by Ridolfi, who declares that he rivalled both the best Italian and Flemish painters in his landscape. Girolamo Vernigo, surnamed also da' Paesi, and particularly celebrated in his native city of Verona, where he fell a victim to the plague in 1630, is entitled to rank in the same list. Jacopo Maffei succeeded admirably in his display of incidents at sea, a picture of which kind was engraved by Boschini. Another artist of the name of Bartolommeo Calomato has been pointed out to me by his excellency Persico, in his cabinet of medals; and he ought apparently to be referred to this epoch, judging from his less vigorous and less refined style, although graceful and lively in his expression. He was remarkable for his small pictures representing both rural and civic views, along with small figures very animated and well composed.

A taste for battle pieces had begun to gain ground in this part of Italy from the time of Borgognone. The first who procured for himself a name in this branch was Francesco Monti, of Brescia, and a pupil of Ricchi, as well as of Borgognone himself. He was commonly called II Brescianino delle Battaglie, the Brescian battle painter, in which line he exercised his talents in different Italian cities, ultimately establishing himself at Parma, where he opened a school, and instructed one of his sons in the same style of painting. He pursued, as far as lay in his power, his master's example, though he remained much inferior to him in point of colouring. His productions are not scarce, but in many collections they do not appear under his name, being frequently attributed to the school at large of Borgognone. One of his fellow citizens and scholars, called Fiamminghino, but whose real name was Angiolo Everardi, acquired great reputation also by his battle scenes, but they are seldom to be met with, owing to his having died young. Another of his disciples, a native of Verona, named Lorenzo Comendich, flourished also about the year 1700, in high repute at Milan. Antonio Calza, a Veronese, is to be referred to the same period. Being ambitious of representing military actions, he left the school of Cignani, and transferred his residence to Rome, where, assisted by Cortesi himself, he met with success. He spent his time in Tuscany, at Milan, and in particular at Bologna. There we meet with his pictures pretty abundantly, innumerable copies of them having been taken by his pupils, who by frequently varying the disposition of the groups, succeeded in giving a seeming novelty to his pictures. Upon the authority of the Melchiori MS., I am inclined to add to the list of good battle painters, Agostino Lamma, a Venetian, who employed himself for collections; and in that of Sig. Gio. Batista Curti, there is a piece of his representing the Siege of Vienna, very excellent in point of taste, modelled according to his custom upon that of Matteo Stom.

Towards the year 1660, when the three artists, Civetta, Bosch, and Carpioni, had already filled the galleries with that very tasteful class of pictures called capricci; when Salvator Rosa had produced such curious examples of his transformations and necromancies; and Brughel, surnamed _dall'Inferno_, had drawn from the scenes of that abyss, and from its monsters, a large supply for every capital in Italy; at that period another artist, Gioseffo Ens, or Enzo, the son of him I have mentioned in the preface, and father of Daniele, a tolerably good figurist, was acquiring rapid celebrity in Venice with some highly imaginative little pictures, partaking in some measure of the style of the above artists. For the chief part they represent allegorical fictions, in which are introduced sphinxes, chimerae, and monsters in grotesque shape; or to speak more correctly, perhaps, extravagances of imagination quite unauthorized by ancient example, and formed out of the grotesque union of various parts of different animals, much in the same manner as they are seen by persons in their delirious dreams. Boschini adduces an example of this strange poetical folly at page 604, where Pallas is seen putting to flight a troop of these wild fancies, haunting an old decayed mansion, buried in fire and smoke, as the symbol of Virtue dispersing the shades of ignorance and error. In such a career did Enzo arrive at the honour of being made a Chevalier of the Cross, by his Holiness Pope Urban VIII. Subsequently, however, he applied himself with more judgment to the study of truth, and left behind him, in Venice, several altarpieces, one of which adorning the church of the Ognissanti is extremely beautiful. I have also noticed in different collections some burlesques of dwarfs, &c. from the hand of Faustino Bocchi, a Brescian, and pupil to Fiamminghino. He was admirable in his portraits of these embryos, as it were, of the human race; representations by no means displeasing to some of the ancients, and of which we have examples afforded us in what are termed Etruscan vases. In the production of fables, in which the dwarfs were to appear as actors, he displayed the most fanciful combinations, and in the Carrara collection at Bergamo, there is represented a sacrifice of these pigmies, and a popular feast in honour of an idol, full of humour, in which one of them is seen caught in the claws of a crab, while some of his own party attempt to save him, and his mother hastens, half distracted, to his relief. In order to convey a better idea of their size he inserted a small water melon, which appears almost like a mountain by their side. The design does not seem to differ much from that of Timanthes, who introduced little satyrs, in the act of measuring one of the Cyclops' thumbs with their thyrsus, as he lies asleep, to give a just notion of his bulk. It is to be regretted that Bocchi became addicted to the sect of the _tenebrosi_, owing to which many of his labours seem to be fast losing their value.

The same period likewise abounded in painters of flowers and fruits, in every part of Italy; but I observe that their names are, for the most part, forgotten, or where they exist in books, are accompanied by no mention of their works. Fortunately, among the pictures at Rovigo, I meet with the name of Francesco Mantovano, whether his surname or patronymic is uncertain, an artist who excelled in similar works about the time of Borghini; besides those of Antonio Bacci and Antonio Lecchi, or Lech, both florists, and all mentioned by Martinioni in his _Additions to Sansovino_. To the number of these add the name of Marchioni, a native of Rovigo, an artist considered as the Bernasconi of the Venetian School, from her singular skill in flower painting, though not equalling the Roman lady in point of celebrity. Their works are to be seen in some of the collections at Rovigo, which abound also with many celebrated figure painters, no less of the Venetian than of other Italian Schools.

Pictures of animals do not seem to have been much in vogue with Venetian artists about this period, if, indeed, we are not to include Giacomo da Castello in the Venetian state. From verbal communications I learn that in collections at Venice he is not at all rare. I have seen only a few specimens at the Caza Rezzonico, and these consisting of various species of birds, drawn with great truth and force of colouring, as well as beautifully disposed. Domenico Maroli, a painter of flocks and herds, as well as of other rural subjects, was born at Messina, and exercised his talents in Venice. He was intimate with Boschini, who extolled him as a new Bassano, and as a specimen of his talents, inserted in his _Carta del Navegar_ an engraving after one of his designs. It represents a shepherd with his flocks, figures of cows with a dog, very forcibly and beautifully drawn; and it is altogether one of the best designs that has been engraved for that work. There resided also at Venice, where he was employed in the Casa Sagredo, and in that of Contarini, an artist named Gio. Fayt di Anversa, who, in addition to his paintings of fruits, and various rural implements, was esteemed one of the best copyists of animals, both alive and dead, in which he displayed a very polished, natural, and novel manner.

Among the perspective pieces of this epoch, ornamenting different collections, those by Malombra, as I have before stated, have been

## particularly commended by Ridolfi. And in architectural views we may

mention Aviani, a native of Vicenza, very superior in this branch, as well as in sea views and landscapes. He was born during the lifetime of Palladio, or at least while his school still flourished, and resided in a city where every street presented specimens of a taste for architecture. He thus produced pictures of so fine a character, filled with little figures by Carpioni, under his direction, so extremely pleasing, that it is surprising he did not acquire equal celebrity with Viviano and other first rate artists. Probably he did not long flourish, and then, for the most part, in his native place. In the Foresteria, or Stranger's Lodge, of the Padri Serviti, are four of his views, exhibiting temples and other magnificent edifices, while several more are to be met with in possession of the Marchesi Capra, in the celebrated Rotunda of Palladio, as well as of other nobles in various places. He likewise decorated the ceilings, or cupolas of several churches. Indeed there was then a pretty considerable school established for this branch of the art in Brescia. Tommaso Sandrino was an artist who distinguished himself in it, as well as Ottavio Viviani his pupil, though he displayed a less sound and more loaded style than his master. Faustino Moretto, belonging to the same state, employed himself more at Venice than at Brescia. Domenico Bruni was an artist highly extolled by Orlandi; he exercised his talents at the Carmini, in his native place, as well as at Venice, along with Giacomo Pedrali, also a Brescian, who flourished in the time of Boschini. Together with these appeared Bortolo Ceru, whose scenes have been engraved in aqua fortis by Boschini himself. Zanetti also records the name of Giuseppe Alabardi, called Schioppi, and of Giulio Cesare Lombardo, an artist still superior to him. I might here introduce other artists and architects of the ornamental class, distinguished in proportion to their antiquity; for towards the close of the century architectural exhibitions became too much loaded with vases, figures, and a variety of ornament, which detracted much from that simplicity of taste so essential in some way towards the effect of every thing really great or beautiful.

A kind of minor painting is believed to have been introduced at this epoch, by a priest called Evaristo Baschenis, from Bergamo. He flourished contemporary with the three great artists, Cavagna, Salmeggia, and Zucchi; and he appears to have been instructed by one of these in representing every kind of musical instrument with much nature and effect. He arranged them upon tables covered with the most beautiful kinds of cloth, and mingled with them music books, leaves, boxes, fruits, inkstands, &c., drawn just as they might happen to lie; and from these objects he composed pictures executed with so much art as quite to deceive the spectator. Such was their effect, that they are still very much valued in different collections. There were formerly eight of them to be seen in the library of San Giorgio, the ingenuity of which has been highly commended by Zanetti.

[Footnote 77: In the _Memorie Trevigiane_, I find that this artist was known also at Rome, in the Guide to which place, however, his name is not to be met with. I have some doubt it may have been confounded with that of Gio. Carbone. But this last was from S. Severino, and a follower of Caravaggio; the other a Venetian, attached to Titian; and, in some pictures he produced at San Niccolo of Trevigi, he subscribes not _Carbonis_, but _Carboncini opus_.]

[Footnote 78: Let no one, from this instance, altogether condemn the use of varnishes in the restoration of paintings; for by the application of mastic, and of gum water, according to all the most recent experiments, the colour does not suffer. But oil is injurious to ancient paintings, for the new never becomes incorporated with the old, and, in a short time, every fresh touch is converted into a stain.]

[Footnote 79: _Quattro-centisti._ Artists of the fourteenth century.]

[Footnote 80: Literally from below to above. Foreshortening on a ceiling.]

[Footnote 81: Vide pp. 512 and 513.]

[Footnote 82: V. tom. ii. p. 196; and, in the same place, I gave him as a pupil to Dario Pozzo, on the authority of the Commendatore del Pozzo. But writers disagree in regard to the chronology of this man; which, until it be further cleared up, may rest, for me, without this honour.]

[Footnote 83: An account of him may be found, tom. ii. p. 198, and in the series of painters of the Barocci school.]

[Footnote 84: Melchiori informs me of a pupil of his, unknown to Pozzo, probably because a non-resident in Verona. This was Father Massimo Cappucino, a Veronese by birth, and, in the historian's opinion, an excellent artist. In proof of this, he mentions four large pictures, placed in the dome of Montagnana, besides several altarpieces, distributed by him among the churches of his order. Along with this ecclesiastic I find mention of two contemporary lay brothers, who assisted him in the art, neither of them unworthy of being placed upon record. These are Fra Semplice, a native of Verona, and pupil to Brusasorci, and Fra Santo, of Venice; both of whom were particularly employed in painting for churches and convents, within the Venetian territory. Fra Semplice produced also some for Rome. A fine picture of San Felice, from his hand, placed at Castelfranco, was engraved in 1712.]

[Footnote 85:

Io mi son un che quando Amore spira noto; ed a quel modo Che detta dentro vo significando.--_Purg._ C. 24.]

[Footnote 86: Tom. ii. p. 266.]

VENETIAN SCHOOL.

EPOCH IV.

_Of Exotic and New Styles in Venice._

If, according to the plan laid down by Pliny, and which I have hitherto observed, each several epoch ought to be deduced from one or more masters of a school, who may have given a new aspect to the art, it will be proper, in this instance, to vary my system. The epoch here nearest to us will be found to take its rise at a period when the Venetian artists, having almost wholly abandoned their national models, attached themselves some to one, and some to another foreign method, or formed out of them one of their own. Such were the times of which Signor Zanetti, in his work, observes, "there appeared in Venice as many different manners, as there were artists to practise them." This would appear to have been the state of the art towards the end of the 17th century. Those artists who followed, approaching still nearer to modern times, although various in point of style, resembled each other in a study of ideal beauty, and all agreed in copying from the modern Roman, or Bolognese Schools, with the addition, however, of their own defects. Still the old masters were not, on this account, underrated; but were rather spoken of as the ancients who flourished at a golden period, whose customs are to be admired, indeed, but not imitated. Fashion, as it sometimes happens also in sciences, had usurped the seat of reason; while the artists who followed in her train alleged in excuse, that the age was fond of such novelties, and that it was incumbent upon them to second its inclination, in justice to their own fortunes. Amidst these changes, the Venetian School, which had always preserved its ascendency in point of colouring, then began to alter, losing the truth of nature, as it became more brilliant. Thus few artists flourished at that period who might not, more or less, be termed mannerists in colouring. But in other respects the school appears to have improved, and particularly in treating its history pieces more appropriately, without the introduction of portraits, dresses, and other accessaries, ill adapted to them; a defect to which it had been more attached, and had more obstinately adhered, than any other of the schools. Yet it cannot be denied, that during this period of the decline of art throughout Italy, the Venetian School shone peculiarly conspicuous in the number of superior inventors it produced. For whilst Lower Italy aimed at nothing beyond the striking contrasts of the followers of Cortona; whilst in so many schools of Upper Italy, the imitators of the imitators of the Caracci were esteemed the great models; in Venice, and the adjacent state, various styles were seen to spring up, which, though not perfect, were at least original, and valuable in their way; if, indeed, the whole of Europe has not been deceived in its estimation of them, purchasing the pictures of the Ricci, of Tiepolo, of Canaletto, of Rotari, and of numerous other artists of the same time, at immense sums. But we must take a more

## particular survey of them.

The Cavalier Andrea Celesti, who died in the early part of the century, was disciple to Ponzoni, but without becoming his imitator. As an artist, he is very pleasing, fertile in noble images, flowing in his outlines, with delightful scenery, with airs, with features, and with draperies all graceful, and often resembling Paul Veronese. His style of colouring, also, was not remote from nature, equally lucid, pleasing, and soft. Owing to his fondness for the chiaroscuro, one of the chief attractions of his style, or rather, perhaps, to the imperfection of his grounds, there are few of his productions that continue to preserve their original beauty. Occasionally he seems to belong to the sect of Tenebrosi, and his middle tints have in some instances disappeared, destroying the harmony that in some of his best-conducted pictures was admirable. His distinguishing character was a happy audacity of hand, in which he is excelled by very few. He painted both history, and altarpieces for churches, a specimen of which is seen in his _Probatica_ at the Ascension. In the public palace there is one of his histories from the Old Testament, abounding with all that masterly talent for which he was so remarkable, creating at once admiration and surprise. He produced pieces for private ornament, from profane history, with conversations, games, and rencounters, like Caravaggio's. Alberto Calvetti, an inferior artist, educated in his school, resembles him as little in talent, as, for the most part, in his style.

Antonio Zanchi da Este was an artist, also, better known in Venice for the number, than for the excellence of his works. His style is altogether distinct from that of the foregoing, and it is uncertain whether he derived it from his master Ruschi, or from some other of the sect of naturalists whom we have before described. Such, at least, appears the cast of his genius, common in its forms, sombre in its colours; but nevertheless exciting surprise, by a certain fulness and felicity of hand, by its picturesque spirit, by its effect of chiaroscuro, and by a grand general result, which imposes upon us by its power. If we examine more particularly into his manner, we shall not unfrequently discover an incorrectness of design, along with that kind of indecision, and indistinctness of outline, which is mostly the resource of weak, or, at least, of very hasty artists. He chiefly attached himself to Tintoretto, some traces of whom may be found in his style. In the college of S. Rocco, where that great master rendered his name immortal, we behold one of the best specimens of Zanchi. The subject, admirably fitted to his manner, contributed greatly to his success. He has there given a bold exhibition of the great plague that afflicted Venice in 1630, a picture filled with a concourse of the sick, the dying, and the dead, borne to one universal grave. Opposite to this grand painting there is another from the hand of Pietro Negri, his pupil, as is supposed, but more probably his rival, which represents the liberation of the city from that fatal scourge; and in it, too, we perceive the peculiar ease, and the manner of Zanchi, somewhat improved, however, and ennobled in its forms. Francesco Trevisani, another of his pupils, took up his residence at Rome, in the list of whose professors he has already been commended (tom. ii. p. 296). Gio. Bonagrazia, however, remained in the Venetian state; and acquired some reputation in his native town and province of Trevigi, more particularly for his paintings at San Vito.

Antonio Molinari belonged, likewise, to the same school, but almost wholly renounced the maxims he had acquired in it.[87] His style is by no means equally sustained; a case that frequently occurs to such as abandon the methods in which they have been educated, and attempt to strike into new paths. I have seen some of his pictures at Venice, and elsewhere, in fine relief, and others quite the contrary; at times, too, he appears beautiful, but cold. In the vigour of his powers, however, when he produced the works most decisive of his merits, such as his History of Oza, at the Corpus Domini, he displays a style no less solid than pleasing, and which equally satisfies the judgment and the eye. There is a study both of design and of expression, ample beauty of forms, richness of drapery, with a taste and harmony of tints not surpassed by any artist of the times.

We may mention, likewise, as distinguished by their manner, Antonio Bellucci, and Giovanni Segala, two painters who, like their masters, became addicted to the use of strong shades. Yet they possessed sufficient intelligence to derive some advantage even from a wrong direction of their powers. For the former disposed them in grand masses, yet delicate, and moreover united to pleasing colouring; while the latter made use of dark grounds, which he contrasted with very spirited lights, and with a skill that enlivens while it enchants us. Indeed, the style of both seemed adapted for great works, and both possessed genius enough to conduct them well. Segala, however, is preferred by Zanetti to his contemporary, and his picture of the Conception, executed for the college of La Carita, is particularly extolled by him, and, in truth, he there competes with, if he does not surpass, some of the first painters of the age. We ought to estimate the merit of Bellucci from those specimens he conducted with most care, and upon the best grounds, such as his scripture piece in the church of the Spirito Santo. He appears to most advantage, perhaps, in small figures, many of which he inserted in the landscapes of the celebrated Tempesta. When at Vienna, he became court painter to Joseph I. and to Charles VI.; and subsequently to other German princes, which he chiefly owed to this kind of talent.[88]

To this epoch, also, belongs the name of Gio. Antonio Fumiani, who acquired from the Bolognese School, in which he was educated, an excellent taste, both in composition and design. And from the works of Paul, which he studied with assiduity, he obtained a knowledge of architectural and other ornaments. Some have considered him deficient in warmth of tints, and in a just counterpoise of lights and shades, to which I should add, also in expression; appearing, as he does to me, cold in all his attitudes, even beyond the custom of this school. Perhaps his Dispute of Jesus with the Doctors, at the church of La Carita, is his finest work. Bencovich, having resided at Bologna, will be enumerated among the followers of Cignani.

Nearly contemporary with Fumiani, though he flourished longer and painted more, was the Cav. Niccolo Bambini, a pupil of Mazzoni, in Venice, and afterwards of Maratta, at Rome. There he became accomplished in design, exact and elegant, and capable of sustaining those noble conceptions derived from nature, which he developed in very enlarged works, both of oil and fresco. Fortunate, indeed, had he succeeded as well in his colouring; in which branch he was so sensible of his own mediocrity, as to forbid his scholars practising the art from his pictures. His taste is sometimes wholly Roman, as in his altarpiece at San Stefano, executed soon after his return from Rome. At other times, he has a more flowing manner, like that of Liberi, which he imitated for several years with success, ever afterwards retaining the beauty of his heads, especially in his women. Again he occasionally soars above himself, and in such works as he himself conceived and executed, and which were afterwards re-touched and animated, as it were, by Cassana, the Genoese, he shines as a great portrait painter, and a very powerful colourist. In the _Guida_ of Zanetti, we meet with the names of Giovanni and Stefano Bambini, two of his sons, and most probably his pupils, though from the same, and from another more extensive work, where he makes no mention of them, we can gather that they were held in very small esteem. Girolamo Brusaferro, and Gaetano Zompini were also his pupils, and ambitious, as well, of imitating Ricci, forming a kind of mixed style not altogether destitute of originality. The second of these received honourable commissions from the court of Spain, in which he displayed a rich fund of imagination, and, in some measure, distinguished himself by his engravings.

Gregorio Lazzarini was pupil to Rosa, and not only freed himself from the sombre sect, but rising into great reputation, wholly banished it from the Venetian School, of which, for accuracy of design, he might be pronounced to be the Raffaello. Whoever contemplates the pictures of Lazzarini would, at first, suppose he must have received his education at Bologna, or rather, perhaps, at Rome. Yet he never left Venice, and by the strength of his genius alone, acquired the esteem of the most learned professors in the art, and particularly of Maratta, a very scrupulous panegyrist of his contemporaries. Thus the Venetian ambassador at Rome, having occasion to apply to him for a picture, intended to ornament the hall of the Scrutinio, he declined the commission, expressing his surprise that it should be deemed requisite to apply to him at Rome, while they had Lazzarini at Venice. And the latter artist produced a piece which justified the judgment of Maratta, representing in the noblest manner the triumphal memory of Morosini, surnamed by the Venetians, Peloponnesiaco, which adorns the forementioned hall. He most distinguished himself by his picture of San Lorenzo Giustiniani, painted for the patriarchal church; perhaps the best specimen in oil displayed by the Venetian School during this period, whether for its taste of composition, its elegance of contours, or the original beauty and variety of its countenances and its attitudes. It possesses, likewise, force of colouring, in which he was not always equally successful. In small figures he was extremely graceful, a specimen of which may be seen in a choir of Santa Caterina, at Vicenza, where he executed some very beautiful histories, in the most glowing colours imaginable. The last altarpiece, bearing his own name, was completed by his excellent pupil, Giuseppe Camerata, who in this, as well as other pieces produced for churches, pursued the same career as his master. Another of Lazzarini's pupils, however, Silvestro Manaigo, persevered in an opposite course, for though of a fine character, he was too rapid, and too much of a mannerist.

There flourished, likewise, at that period, two artists of Trevisi, Francesco, included in the list of the Roman School, and Angiolo Trevisani, who, both by birth and domicile, must be claimed for that of Venice. Fine in his inventive pieces, as we gather from those at La Carita, and various other churches in the capital, he was still more celebrated for his portraits. In exercising this branch, he formed a style founded upon nature, not, indeed, sublime, but very select, and in

## part conformable to the schools then in vogue. His pencil displayed

diligence and research, especially in his management of the chiaroscuro.

Jacopo Amigoni can scarcely be justly estimated in Venice, where, if we except his picture of the Visitation at the monastery of San Filippo, there is nothing of his remaining in public in his best manner; that which he acquired by studying the masterpieces of the Flemish School in Flanders. It was there that his genius, naturally fertile and animated, uniting with facility qualities of grandeur and of beauty, and seizing upon the finest subject for copious histories, also discovered the kind of colouring he had in vain sought for at Venice. There, too, he "_achieved the art of attaining, by force of shades, even to pure black, which colour he employed to produce perfect clearness, without injuring the beauty of his piece_:" thus we are informed by Signor Zanetti. Had he succeeded in giving a little more relief to his pictures, and employed less care in giving brilliance to every part of his composition, he would have appeared to more advantage; but only in the eyes of good judges, as the multitude could not well be presented with any thing more calculated to enchant them than one of his pictures. Nor was it without reason that his style was so much applauded throughout England, Germany, and Spain, in which last country he died, when painter to the court, in 1752. Various productions of his hand are to be met with, though but rarely, in possession of private families in Italy, chiefly consisting of little histories, conversations, and similar pieces, in the manner of the Flemish artists. Of the Flemish, I say, in respect to the size, not the perfection of the drawing, this artist being accustomed to alter his tints in some degree, particularly in the shifting hues, to labour by touching, often leaving his outline undefined, and to raise the colour so as to produce effect in the distance. His pieces upon a larger scale are more rare, though I have seen several exhibiting great truth in the expression of countenance, and a rich flow of drapery, in possession of the celebrated musician, Farinello, at Bologna. And in these portraits the musician himself always appeared, as received at different courts, and in the act of being applauded and rewarded by the European Sovereigns.

Giambatista Pittoni, though less generally known than the preceding, is still entitled to a rank among the first artists of his age. The disciple and nephew of Francesco Pittoni, here mentioned, rather from his pupil's merit than his own, he subsequently became attached to foreign schools, and formed a style which displays some novelty in the warmth of its colouring, and in a certain pictorial amenity and attraction which prevail throughout the whole. He cannot, indeed, be said to be very select, but he is in general correct, polished, and intelligent in his entire composition. He particularly shone in figures, smaller than the life; and the galleries in the Venetian state are thus by no means scantily furnished with his histories; while we may observe of his altarpieces that they seem to increase in beauty in proportion to the diminution of their size. This we perceive at the Santo in Padua, where he painted in competition with the best of his contemporaries, the Martyrdom of San Bartolommeo, which he coloured upon a small canvass. A very rapid tourist attributes it to the pencil of Tiepolo, whose manner is altogether different.

Gio. Batista Piazzetta, on the other hand, was an artist of as sombre a cast as the two preceding were animated and lively. He had acquired a good knowledge of design, either under his father, a tolerably skilful statuary in wood, or under some very exact naturalist; and in his early attempts he painted in a free and open style. Afterwards he embraced an opposite manner, and employing himself with Spagnolo at Bologna, and there likewise studying Guercino, he aimed at producing an effect by strong contrasts of lights and shades, and in this he succeeded. He had long, as it is supposed, observed the effects of light applied to statues of wood and models in wax; and by this he was enabled to draw, with considerable judgment and exact precision, the several parts that are comprehended in the shadowing, owing to which art his designs were eagerly sought after, and his works repeatedly engraved with assiduity. One of these, placed at the Domenicani delle Zattere was engraved by the celebrated Bartolozzi; another by his school; that is to say, his San Filippo, painted for the church of that name in Venice. Many were engraved also by Pitteri, by Pelli, and by Monaco, besides other prints that were executed in Germany. His method of colouring, however, diminished in a great measure the chief merit of his pictures. Thus his shades having increased and altered, his lights sunk, his tints become yellow, there remains only an inharmonious and unformed mass, which the venerators of names, indeed, may admire, but can hardly give a reason why. Where we happen to meet with a few of his pictures in good preservation, the effect is altogether so novel and original as to make a strong impression at first sight, more especially where the subject requires a terrific expression, as that of his beheading of St. John the Baptist in prison, produced at Padua, a work placed in competition with those of the first artists in the state, and at that period esteemed the best of all. Yet if we examine him more narrowly he will not fail to displease us by that monotonous and mannered colour of lakes and yellows, and by that rapidity of hand, by some called spirit, though to others it often appears neglect, desirous of abandoning its labour before it is complete.

Piazzetta could hardly boast strength enough to deal with pictures abounding with figures, and having received a commission from a Venetian noble, to represent the Rape of the Sabines, he spent many years in conducting it. In his altarpieces and other sacred subjects he produced a pleasing effect from the spirit of devotion, but never for the dignity he displayed in them. Duly estimating his own ability, he was more desirous of painting busts and heads for pictures adapted for private rooms than any other subjects. In his caricatures he succeeded admirably, several of which in possession of the Conti Leopardi d'Osimo would excite the risible muscles of a professed enemy to mirth. At one period this artist had a great number of followers, a fashion nevertheless that soon ceased. Francesco Polazzo, a good painter, but a better restorer of ancient pictures, somewhat softened down the style of Piazzetta with that of Ricci. Domenico Maggiotto also tempered it in his Miracle of San Spiridione, and in his other works engraved at Venice and in Germany. Various artists of this school in the same way gave softness to his manner by studying other models. Perhaps the one most addicted to his method was Marinetti, from the name of his native place more commonly called Chiozzotto.

The last of the Venetian artists who procured for himself a great reputation in Europe, was Gio. Batista Tiepolo, so frequently commended by Algarotti. He was honoured likewise with a poetical eulogy by the Ab. Bettinelli, became celebrated in Italy, in Germany, and in Spain, where he died painter to the court of Madrid. Pupil to Lazzarini, whose deliberate and cautious style served to curb his too great warmth and rapidity, he subsequently studied Piazzetta, animating and enlivening as it were his manner, as he appears to have done in his picture of the Shipwreck of San Satiro at San Ambrogio in Milan. He next became an assiduous imitator of Paul Veronese, whom, though inferior to him in the airs of his heads, he very nearly approached in his folds and his colouring. From the engravings also of Albert Durer, that storehouse of copious composers, he derived no little advantage. Nor did he at any time abandon the study of nature in observing all the accidents of light and shade, and the contrasts of colour best adapted to produce effect. In this branch he succeeded admirably, particularly in his works in fresco, for which he appears to have been endued by nature with promptness, rapidity, and facility in great compositions. While others were accustomed to display the most vivid colours, he only availed himself in his frescos of what are termed low and dusky colours; and by harmonizing them with others of a common kind, but more clear and beautiful, he produced a species of effect in his frescos, a beauty, a sunlike radiance, unequalled, perhaps, by any other artist. Of this the grand vault belonging to the Teresiani in Venice presents a fine specimen. He has there represented the Santa Casa, accompanied by numerous groups of angels finely foreshortened and varied, surrounded by a field of light that appears to rise into the firmament. Such an artist would have been truly great, had he, in works upon this scale, succeeded in observing equal correctness in every part; in the whole he always produces an agreeable effect. He appears more correct and careful in his oil pieces, which we find dispersed throughout the metropolitan city as well as the state. At San Antonio in Padua we meet with his Martyrdom of Santa Agatha, a picture alluded to by Algarotti as a very rare example of fine expression, at once uniting that of terror at approaching fate, and of joy for the glory of beatitude in view. Many other beauties are remarked by Rossetti in this picture, which he admits, however deeply interested in defending it from every imputation cast upon it by Cochin, is not altogether perfect in point of design.

In the list of his disciples we find the name of Fabio Canale, mentioned with honour in the work so often cited, from the pen of Zanetti; and to such of his pictures as he mentions we may add those he produced in Palazzo Zen at the Frari, and in that of the Priuli at the bridge of the Miglio. To this artist we might join a few others of this last age, recorded in the Guide to Venice, the same that was published by Zanetti in 1733, and some of whom are likewise mentioned in the _Pittura Veneziana_, where, beginning at p. 470, he gave a catalogue of the names of such of the members of that estimable academy, as were then alive, some of whom are still in existence. But whoever is desirous of cultivating an acquaintance with them and with their works which are in possession of the public, may consult the above books as well as some of the more recent Guides of the city, which have continued from time to time to appear. I ought to add, that the Signor Alessandro Longhi has presented us with the portraits and the Elogj of the most celebrated of these moderns, in the year 1762, and this work also may supply what my brevity or my silence has omitted or compressed.

Proceeding in the next place from Venice to the cities of the state, we shall find that these also have produced many memorable artists. The Friuli will occupy but little of our attention, boasting few masters, and none of them distinguished for their figures. Pio Fabio Paolini, a native of Udine, studied at Rome, where he produced in fresco his San Carlo, which adorns the Corso, and was united to the academy there in 1678. Returning thence into his own country he painted several altarpieces and other minor pictures, such as to entitle him to a high place among the followers of Cortona. Giuseppe Cosattini, born at the same place, and canon of Aquileja, devoted himself to the same pursuit, and rose into so much estimation as to be declared painter to the Imperial Court. He particularly distinguished himself by his picture of San Filippo, preparing to celebrate mass, painted for the Congregation of Udine; the work of a real artist not of a dilettante, as he appears in some other of his paintings. Pietro Venier, a disciple of the Venetian artists, displayed some merit in his oil pieces, not uncommon at Udine; and more in his frescos in the ceiling of the church of San Jacopo, where he appears to great advantage. But the best painter of frescos in these later times, amongst his countrymen, was Giulio Quaglia, a native of Como. From his age and style I should suspect that he belonged to the school of the Recchi, although his design is less finished than that of Gio. Batista Recchi, the head of that family of painters. It would appear that he visited Friuli young, towards the close of the last century, and there he conducted works, for the most part, in fresco, to an amount that almost defies enumeration. His histories of our Saviour's Passion, ornamenting the chapel of the Monte di Pieta at Udine, are held in high estimation, although he conducted works upon a much larger scale, for various halls of many noble families, in all which we trace a fecundity of ideas, a decision of pencil, a power for vast compositions, sufficient to have distinguished him in his age not only in the limits of Como but at Milan. I omit the names of those professors of the art who merely designed without colouring, or who never attained to mature age; and those of a few others I have to reserve for foreign schools, and for different branches of painting.

Proceeding towards the Marca Trevigiana, I meet with an artist's name that has been claimed by different schools of Italy, according to the place in which he painted, or studied, or gave instructions in the art. For this reason I have judged it best to speak of him as connected with his native place, which boasts a sufficient number of his works. This artist is Sebastiano Ricci, which the Venetians write Rizzi, one who can be reckoned second to none among the professors of our own epoch, in point of genius for the art, and the taste and novelty of his style. He was born in Cividal di Belluno, educated, as we have observed, by Cervelli at Venice, and afterwards conducted by his master into Milan; he there acquired, both from him and from Lisandrino, every thing that was of importance in the pursuit of his profession. Thence he went to study at Bologna and at Venice, subsequently transferring his residence to Rome and Florence. Lastly he made the tour of all Italy, employing his pencil wherever he received commissions, at any price. Having acquired reputation, and being invited by different potentates, he passed into Germany, England, and Flanders, in which last country he perfected his style of colouring, which had been always very pleasing and spirited, even in his first attempts. From his acquaintance with such a variety of schools, he stored his mind with fine images, and by dint of copying many models, his hand became practised in different styles. In common with Giordano he possessed the art of imitating every manner; some of his pictures in the style of Bassano and of Paul, continuing yet to impose upon less skilful judges, as in the instance of one of his Madonnas at Dresden, for some time attributed to Coreggio. The chief advantage he derived from his travels was, that on having occasion to represent any subject, he was enabled to recollect the manner in which different masters might have treated it, availing himself of it without plagiarism accordingly. Thus the Adoration of the Apostles at the Last Supper, a piece adorning the church of Santa Giustina at Padua, betrays many points of resemblance to the painting on the cupola of San Giovanni at Parma, while his San Gregorio at San Alessandro in Bergamo recalls to mind one by Guercino, executed at Bologna. The same method he observed in his scriptural histories, produced for SS. Cosmo and Damiano, which are preferred to any others he conducted in Venice, or perhaps in any other parts, and which frequently present us with fine imitations, but never with plagiarisms. He did not early acquire a good knowledge of design, but he afterwards succeeded in this object, which he cultivated with extreme assiduity in the academies, even in mature age. The forms of his figures are composed with beauty, dignity, and grace, like those of Paul Veronese; the attitudes are more than usually natural, prompt, and varied, and the composition appears to have been managed with truth and with good sense. Although rapid in the handling, he did not abuse his celerity of hand, as so many artists have been known to do. His figures are accurately designed, and appear starting from the canvass, most frequently coloured with a very beautiful azure, in which they shine conspicuous over all. Such pieces as he conducted in fresco, still preserve the native freshness of their tints; while some of his others seem to have suffered, owing to the badness of the grounds, or of the body of colour, which was weaker in the later than in the earliest Venetian artists. The amenity of Ricci's style soon procured for him disciples, in the list of whom Marco, his nephew, greatly distinguished himself, and subsequently devoting himself to the composition of landscape, he accompanied his master upon his travels, employing himself a good deal, both at Paris and in London. Gasparo Diziani, his fellow countryman, was an artist who excelled in his facility of painting large theatrical works, and in that line was employed in Germany. He was, moreover, a very pleasing composer of pictures for private ornament, several of which are now to be met with in the collections of the Sig. Silvestri and Sig. Casalini at Rovigo. Francesco Fontebasso, a pupil also of Bastiano, succeeded, notwithstanding some degree of crudeness, in acquiring celebrity in his day, both in Venice and the adjacent cities.

In the Guide of Padua Rosetti includes, in the list of its painters, Antonio Pellegrini, as being the son of one of its citizens, who had established himself, however, at Venice, where Antonio was born. And the Venetians, indeed, may concede him to that city without much sacrifice of fame. For the surprising success he met with in some of the most civilized kingdoms of Europe, is to be attributed to the decline of the art, and to the lively and mannered style he assumed, which found a welcome reception in all parts. He may be pronounced an artist of some ingenuity, facility, and sprightly conception; but he was by no means well grounded in the art; and he expressed his ideas with so little decision, that the objects which he represents sometimes appear to float in a kind of half-existence between visible and invisible. He was so very superficial a colourist, that even in his own times it was said his productions would not continue to last during a half century. And, in truth, those I have seen at Venice and at Padua are already become extremely pallid; while such as he executed at Paris will, doubtless, be in the same state. Yet in that city he obtained a large sum in the year 1720, for merely painting a frieze in the celebrated hall of the Mississippi, which he executed in about six weeks. His best work is, perhaps, to be found at San Moise, consisting of the Serpent of Bronze, erected by Moses in the Desert; no other equal to it having issued from his studio.

As the preceding one is considered the last of the Paduan artists of any note, we may mention, as the last among those of Bergamo, at least of any merit in composition, Antonio Zifrondi, or Cifrondi, pupil to Franceschini. Indeed he greatly resembled the former in his natural bias for the art, in an imagination adapted for great compositions, in facility and rapidity of hand, to such a degree as to dash off a picture in two hours. He likewise passed into France, though without meeting with success, and then resided in his native place, employing himself for those churches that are adorned with so many of his pictures, few of which are free from errors of over haste and carelessness. Thus he did not scruple at the church of S. Spirito, to place near his picture of a Nunziata, conducted in his best style, three other historical pieces of quite an opposite character. We meet with his name mentioned more than once, in the Lettere Pittoriche, with much commendation. Several other artists, whose names are to be met with in Tassi, and his continuator, are known to have flourished at the same period. Nor ought we, by any means, here to omit that of Vittore Ghislandi, who, though little skilled in works of invention, yet in his portraits, and some of his heads, in the way of capricci, has almost equalled in our own times the excellence of the ancients. He was instructed in the art by Bombelli, and by dint of very assiduous study, particularly in the heads of Titian, in order to develop his whole artifice, he attained a degree of perfection that is truly surprising. Whatever can be esteemed most desirable in a portrait painter, such as lively features, natural fleshes, imitations of the most varied drapery, to make a distinction in dresses; these constitute a portion of his merits. The Carrara collection, above any other, may boast of several, distinct both in point of age and costume; and though surrounded by very select pictures from every school, and though mere portraits, they fail not to attract and surprise us. Less celebrated than many others, he is nevertheless an artist whose productions would do no discredit to any palace. One more generally known, however, is Bartolommeo Nazzari, pupil to Trevisani in Venice, and afterwards under Luti, and the other Trevisani, he perfected himself at Rome. Finally he established himself at Venice, though he continued to visit various capitals, both of Italy and of Germany, invariably extolled, as well for his portraits of princes and of their courtiers, as for his heads of old men and youths, drawn from life, very fancifully dressed and ornamented.

Pietro Avogadro was a Brescian, and the scholar of Ghiti, who adopted the models of Bologna, imitating them without affectation, adding some mixture of Venetian colour, more particularly in his ruddier fleshes. The contours of his figures are correct, his shortenings pleasing and appropriate, and his compositions very judicious; the whole expressing great harmony and beauty. Next to the three leading artists of this city, he is entitled to the fourth place, at least in the esteem of many. Perhaps his masterpiece is to be seen in the church of San Giuseppe, representing the Martyrdom of the saints Crispino and Crispiniano. Andrea Toresani was also a Brescian, who flourished at the same period; excellent in design, with which he ornamented the cities of Venice and Milan more than his native place. His chief merit, however, lay in an inferior branch, that of painting animals, sea views, and landscapes in the Titian manner, often accompanied with figures in tolerably good taste.

Having taken a hasty view of the other cities of the state, we must dwell some little while on that of Verona, which, from the beginning of the century, until the present time, has enjoyed a high degree of reputation. Though ravaged by the plague, we have already seen how it again flourished, with the aid of other Italian schools, to which we might add that of the French, inasmuch as Louis Dorigny, a Parisian, and pupil of Le Brun, arriving in Italy at an early age, devoted himself to the study of Roman and Venetian models. He established himself at Verona, where, having for some time employed his talents, and obtained several pupils, he died in the year 1742. He also left works behind him in Venice, the most esteemed of which adorns the church of San Silvestro, as well as in other cities, both of the state and of all Italy. He resided likewise with Prince Eugene in Germany.

There was another foreigner, who, about the same period, became a resident at Verona. His name was Simone Brentana, a Venetian, well versed in literature, as well as in the information necessary to form an artist. He devoted himself with extreme assiduity to the works of Tintoretto, whom he emulated in his pictorial enthusiasm, which scarcely permitted him to bestow sufficient time upon the completion of his labours. In his forms and colouring he partakes of the Roman manner of his time, and displays something extremely novel and original in his compositions. His pictures were sought after to adorn the galleries of sovereigns, no less than for private persons. Several are to be met with in the churches of the state, and in that of S. Sebastiano at Verona is one representing the Titular Saint, well drawn, without drapery, in the act of consummating his Martyrdom, while an angel is supporting him in his arms, a figure both in aspect and in attitude extremely graceful. Girolamo Ruggieri, an artist born at Vicenza, was pupil to Cornelio Dusman of Amsterdam, and having established himself at Verona, he there produced several history pieces, landscapes, and battle scenes, in the Flemish style.

Approaching the Veronese artists and their neighbours, some of them will be found to have flourished in the beginning of the century, whose merits deserve to be here recorded. One of these is Alessandro Marchesini, pupil to Cignani, of whom there remains little exhibited in public at Venice, and not much at Verona. He chiefly employed himself for private persons, with fables and histories, consisting of small figures, in which he succeeded, though having addicted himself to these compositions as a trade, he despatched them with more facility than care. In similar little pieces Francesco Barbieri also displayed the most merit, an artist called il Legnago, from his native place. An imitator of Ricchi, and in some measure of Carpioni, he displayed great pictorial enthusiasm in every kind of history, in capricci, and in rural views; but he was inferior in point of design, having applied himself to it too late in life.

Antonio Balestra of Verona was at first devoted to a mercantile life, until at the age of twenty-one, after studying in Venice under Bellucci, and thence passing to Bologna, and afterwards to Rome, under Maratta, he selected the best from every school, uniting a variety of beauties in a style of his own, which partakes least of all of the Venetian. He is an artist of judgment and high finish, well versed in design, of a rapid hand, lively and animated, but always with a solidity of talent that makes us respect him. He taught in Venice and in the college of La Carita, where he painted the Nativity of our Lord, and the Taking down from the Cross, while he competes equally well with the first artists of his time in other places. Commissions from foreign courts and the cities of the state, never allowed him to be idle. He was particularly employed at Padua in an altarpiece for the church del Santo, representing Santa Chiara. He painted also a good deal for his native place; his picture of San Vincenzo at the Domenicans,[89] being one of the finest altarpieces he ever produced, and one of the best preserved, for his method of colouring with boiled oils has been found injurious to many of his pieces. Such as he painted, however, in oil less boiled, have better resisted the effects of time. Many of these figures are in possession of the Conti Gazzola, ornamenting one of their halls, and in particular a very beautiful one of Mercury. He promoted the reputation of the Venetian School, both by his lectures and example, besides affording an excellent imitator in Gio. Batista Mariotti, and in his pupil Giuseppe Nogari, a painter of portraits, as well as of half-length figures, held in much esteem, insomuch as to recommend him, for a great length of time, to the service of the court of Turin. In pieces of composition, such as his San Piero, placed in the cathedral of Bassano, he appears a respectable artist, and somewhat ambitious of reconciling his master's style with that of Piazzetta. Another Venetian of the name of Pietro Longhi, first instructed by Balestra, and afterwards by Crespi, aimed at pleasing the eye in collections, by those humourous representations of masks, of conversazioni, landscapes, &c. which we find in various noble houses. Angelo Venturini, also a Venetian, is mentioned in the Guida of Zanetti, for his paintings in the church of Gesu e Maria, of which he adorned the ceiling, and various portions of the walls. Another pupil of Balestra's, in Verona, was Carlo Salis, who approached very near his style, more particularly in the handling of his colours. He prosecuted his first studies in Bologna, under Giuseppe dal Sole. Some of his pictures are also to be met with in the state, such as his San Vincenzio, in the act of administering to the sick at Bergamo, a piece finely mellowed, and more than commonly spirited. An artist named Cavalcabo, a native of a district in Roveredo, was instructed by Balestra, and afterwards by Maratta. In the choir of the Carmine at his native place, he left behind him a very beautiful altarpiece, representing the Holy Simone Stoch, with four lateral pieces of great merit. For a more particular account of these and other works by this artist, we may refer the reader to his life, written by the Cavalier Vannetti.

The whole of the names, however, we have here mentioned, scarcely excepting that of Balestra himself, have been thrown into the shade by the talent of the Conte Pietro Rotari. He was honoured with the title of painter to her court, by the empress of all the Russias, and in her dominions he closed the period of his days. This very elegant artist, who devoted many years to the art of design, succeeding in attaining a grace of feature, a delicacy of outline, united to a vivacity of motion and expression, and to a natural and easy mode of drapery, that would have left him second to none of his age, had he possessed, in an equal degree of perfection, the art of colouring. But his productions often partake so much of the chiaroscuro, or at least of a strong ash colour, as to render them remarkable among all. Some, indeed, have attributed this defect to want of clearness of sight, while others conjecture it must have been owing to his long practice in design, previous to his attempting colours, in the same manner as Polidoro da Caravaggio and the Cavalier Calabrese are known to have failed as colourists, falling like him into a weak and languid tone. The education he received from Balestra may also have tended to produce it, as both he and the disciples of Maratta were somewhat addicted to a certain duskiness of style, which we may particularly observe in several examples seen at Naples, where he resided for some time. Whatever it be owing to, there still prevails a repose and harmony in that melancholy expression of his colouring, that is far from unpleasing, in particular where he affords somewhat warmer touches to his tints. This he appears to have done in his picture of a Nunziata at Guastalla, in that of San Lodovico in the church del Santo at Padua, and in a Nativity of the Virgin at San Giovanni, in the same city. This last specimen, indeed, is almost unequalled in its attractions, and seems to authorize the praises bestowed upon Rotari by a poet, "that he resembled his fellow citizen Catullus in being nursed by the Graces," a species of eulogy applicable also to Balestra and to other Veronese artists.

Santo Prunati was contemporary with Marchesini and Balestra, and after receiving the instructions of Voltolino and Falcieri in Verona, he attended those of Loth in Venice. Better to acquire superior correctness and dignity of manner, he next proceeded to Bologna. In that school he found the taste in colouring that he wanted, at once soft and natural. In the design, and in the expression of his heads, he displays more of the naturalist, if I mistake not, than any of those who preceded him. He was engaged also for larger compositions, in which he distinguished himself, both in his own district and elsewhere, and left behind him a son named Michelangiolo, who pursued, as far as lay in his power, the footsteps of his father. In the cathedral of Verona, however, is one of his pictures, placed near the San Francesco di Sales of his father, which serves to mark the wide difference that exists between them.

In the same school, along with Michelangiolo, studied Gio. Bettino Cignaroli, an artist instructed also by Balestra. Until about the year 1770 he ranked among the first of his time, receiving very flattering invitations from foreign courts, to which he invariably preferred the convenience of his own house and country. The prices he was in the habit of attaching to his works, were, nevertheless, those of a court painter; and many were executed for the principal royal galleries, as well as for the cities of the state, and those of other parts of Italy; but which, we must admit, are by no means of equal merit. I omit his paintings in fresco, on account of his having abandoned that branch of the art, owing to his state of health, while yet young, though not until he had afforded specimens of his powers in the noble house of Labia at Venice, during a four years' residence there. It is his pictures in oil, of which we here speak, and to which he owed his great reputation. The one at Pontremoli, however, representing, as it is said, a San Francesco in the act of receiving the marks of Christ, and extremely well executed, I have not seen. His San Zorzi at Pisa stands conspicuous among a number of excellent pencils, all employed in the ornament of that single cathedral. Perhaps his finest is his Journey into Egypt, seen at San Antonio Abate in Parma. In this he has represented the Virgin with the Holy Child, in the act of passing a narrow bridge, while S. Joseph appears engaged in assisting them to cross it in safety. In the countenance and whole action of the saint, his anxiety for them is strongly depicted, which is beautifully expressed by his disregarding a part of his mantle, fallen from his shoulders into the water below, an image equally skilful and natural in every point of view. The rest of the picture is also in his best style. The angels in attendance, the Divine Infant, the Holy Virgin, all drawn, as he so well knew how, with a sedate and dignified beauty, in the usual manner of Maratta. In some points, indeed, Cignaroli much resembled him; in certain attitudes, in a peculiar sobriety of composition, in a certain choice and vicinity of colours, though not in their just and equal tone. His fleshes, too much mannered with green, in a few places touched with red, render his colouring less agreeable to admirers of what is true, while his chiaroscuro, sometimes sought for beyond the limits of nature, is apt to produce an effect in his paintings, not so pleasing to the judgment as to the eye. He often displays novelty in the individual parts, availing himself of architecture, of sea views, and of landscape, in a manner above common; besides introducing into his compositions, for the most part of a scriptural character, the playful figures of cherubims, with other enlivening incidents. This artist was indisputably possessed of a fine genius, and born in times favourable to the eminence he enjoyed. Memoirs of him were collected and published by the celebrated Padre Bevilacqua dell'Oratorio in the year 1771, and eulogies were pronounced upon him both in prose and verse, by a number of literary characters connected with that city, so highly polished and so grateful to such of its citizens as reflect honour upon their native place. A collection of these was subsequently made, and put forth in the year 1772, and from such publications it would appear that few artists had received equal honours, during their lifetime, from the great, particularly from the Emperor Joseph II., who was used to declare, "that he had beheld two very rare sights in Verona--one the Amphitheatre, and the other the most celebrated painter in Europe." He appears, likewise, to have been an artist of great learning, as well as fond of conversing with learned men; he was acquainted with philosophical systems, wrote Tuscan poetry, relished the Roman classics, besides producing treatises upon his own art, written with so much taste and sound judgment, that we have only to regret, for the sake of the art he loved, the too sparing use he made of such talents. The academy, on which he bestowed the whole of his works upon Painting, after his decease, still preserves his bust along with his eulogy, a farther honour conferred upon him by the liberality of his country. He left several pupils, among whom Giandomenico, his brother, produced some paintings in Bergamo that have been commended by Pasta. The Padre Felice Cignaroli, Minore Osservante, is an artist likewise worthy of mention. He painted little, and his masterpiece appears in the refectory of San Bernardino, his convent at Verona, consisting of a Supper of Emmaus, in which, though less studied, he displays no less invention than his brothers.

Next to these, who escaped oblivion as belonging to the family of Cignaroli, an artist named Giorgio Anselmi deserves best to be put upon record, and in particular for his painting of the Cupola of San Andrea at Mantua, ably executed in fresco: at one time he was the pupil of Balestra. Marco Marcola was an almost universal artist, rapid in his labours, abundant in his inventions, though I am unable to learn who had been his master. Tiepolo gave instructions to Francesco Lorenzi, distinguished both for his frescos and his oils, and always by his adherence to his master's example. There are various ceilings painted by his hand in Verona, and Brescia presents a Holy Family, all of which display an able artist, according to the manner of the age.

In inferior branches of the art, there flourished, during this period, professors of much repute. The art of drawing in crayons rose to a high degree of excellence, through the genius of a distinguished lady of the name of Rosalba Carriera,[90] whose paintings in miniature have been highly commended by Orlandi. She next proceeded to the use of oils, but finally devoted her talents to that of crayons. So great was her progress in this branch that her specimens in point of force were often equal to oil pieces. They were in much request from the period in which she flourished, both in Italy and other parts; nor did they merely please by their clearness and beauty of colouring, but were remarkable for the grace and dignity of design, with which she animated every thing she drew. Her Madonnas and other scriptural subjects at once unite elegance and majesty of manner, while her portraits continued to increase in value without losing any thing of their truth. We meet with another excellent portrait paintress in Niccola Grassi, pupil to Cassana, of Genoa, and a rival of Rosalba. Nor was she unequal to works of invention, one of the most extensive of which adorns the church of San Valentino in Udine, where she painted the Assumption in the ceiling, a fine piece on the large altar, and drew figures for other pictures of various saints belonging to the Order of the Serviti. Pietro Uberti, son of Domenico, an artist of mediocrity, is celebrated in the Guida of Zanetti for his portraits, of which he produced eight, representing the Avogadori of his times, for the Avogaria or courthouse, which was considered a very honourable commission, bestowed formerly upon Paolo de' Freschi, Domenico Tintoretto, Tinelli, Bombelli, artists all celebrated in the same career. Orlandi bestows great commendation upon Gio. Batista Canziani of Verona, distinguished likewise in this branch, and who, on being banished from his native place for an act of homicide, continued to exercise it with success in Bologna.

I do not recollect to have seen the landscapes of Pecchio in Verona, though the fine encomium bestowed upon him by Balestra, in one of his _Lettere Pittoriche_, leads me to hold him in high esteem. In the adjacent parts at Salo appeared Gio. Batista Cimaroli, a pupil of Calza, who was much admired, both by foreigners and natives at Venice. Among landscape painters I find in several galleries the name of Formentini, the figures of whose pieces were from the pencil of Marchesini. D. Giuseppe Roncelli of Bergamo is another artist who acquired reputation, and whose virtues procured for him, from the pen of Mazzoleni, the honour of a life, while his singular skill in depicting nocturnal conflagrations, as well as landscapes, induced Celesti to add figures to them. In Padua the landscapes of Marini were in high repute, to which Brusaferro likewise added variety with his figures. Still more than these Luca Carlevaris, an excellent painter of landscape at Udine, rose into notice, no less distinguished also by his perspectives and sea views. Public specimens of his labours still remain at Venice, though not so numerous as in private houses, particularly in possession of the Zenobri family, who so far patronized his talents as to procure for him the name of Luca di Ca Zenobrio. To him succeeded the nephew of Sebastiano Ricci, named Marco, who, pursuing the safe career chalked out by Titian, and availing himself of the delightful site of his native place at Belluno, became one of the ablest landscape painters belonging to the Venetian School. It would be no exaggeration to say that few before his time distinguished themselves with equal force of truth, and that those who succeeded him have never equalled him in this respect. In order to estimate his worth, we are not to consult such landscapes as he painted for sale and disposed of to dealers; nor those executed in water colours upon goatskin, which, though very pleasing, are wanting in solidity. We ought to consult only his oil productions, conducted with far more care, and more commonly to be met with in England than in Italy. Indeed he had a much more extended taste than he displayed in his works. The two brother artists named Valeriano, declared that he had afforded them the most enlightened views of the art. These were Domenico, a painter of perspectives, and Giuseppe, a figure painter, both employed in ornamenting different churches, and more particularly theatres, in Venice, and indeed throughout Italy and other parts of Europe. Francesco Zuccarelli passed a great portion of his life in the city of Venice, an artist already recorded by us among the Florentines, and by whose example Giuseppe Zais was formed as a landscape painter, being particularly employed in that branch by the British Consul Smith, a distinguished patron of youthful genius devoted to the art. In point of invention he was more varied and copious than his master, but inferior to him in the mellowness of his tints. He had acquired from Simonini, who also resided during a long period at Venice, the art of painting battle pieces, in which he shewed equal skill. But he failed to sustain either his own dignity or that of his art, and giving himself up to carelessness and dissipation, he died a common mendicant in the hospital of Trevigi.

Carlevaris and Ricci are names likewise highly esteemed in architectural painting. Several specimens of this are to be seen in possession of his Excellency Girolamo Molin, placed as it were in competition with each other in one of the halls. If we compare them, the former will appear somewhat languid and monotonous, although he must be allowed to be an accurate observer of perspective, and succeeds in harmonizing his figures well with the picture. The latter, however, displays more strength, partaking of the erudite taste of Viviano, while the figures introduced into it by his uncle are full of pictorial fire and attraction, and greatly add to its worth. But both of these, to use the language of Dante, were afterwards _cacciati di nido_, driven from their nest, by Antonio Canal, more generally called Canaletto. Sprung from a painter of theatres of the name of Bernardo, he embraced the profession of his father, attaining to a novelty of design, and a promptness of hand in this branch, that were afterwards of great use to him in painting innumerable smaller pictures for private ornament. Disgusted with his first profession, he removed while still young to Rome, where he wholly devoted himself to drawing views from nature, and in

## particular from ancient ruins. On returning into Venice he continued in

like manner to take views of that city, views that nature and art seem to have vied with each other in rendering the most novel and magnificent in the world. A great part he drew exactly as he saw them, a pleasing illusion for the satisfaction of those who were never so fortunate as to behold the Adriatic Queen with their own eyes. He moreover composed a great number of inventive pieces, forming a graceful union of the modern and the antique, of truth and of fancy together. Several of these he produced for Algarotti; but the most novel and instructive of any, as it seems to me, is the production in which the grand bridge of Rialto, designed by Palladio, instead of that which at present is seen, overlooks the great canal, crowned beyond with the cathedral of Vicenza, and the Palazzo Chericato, Palladio's own works, along with other choice edifices, disposed according to the taste of that learned writer, who has so much contributed to improve that of all Italy, and even beyond Italy itself. For the greater correctness of his perspectives, Canaletto made use of the optic camera, though he obviated its defects, especially in the tints of the airs. The first indeed to point out the real use of it, he limited it only to what was calculated to afford pleasure. He aimed at producing great effect, and in this partakes somewhat of Tiepolo, who occasionally introduced figures into his pieces for him. In whatever he employs his pencil, whether buildings, waters, clouds, or figures, he never fails to impress them with a vigorous character, always viewing objects in their most favourable aspect. When he avails himself of a certain pictorial license, he does it with caution, and in such a way that the generality of spectators consider it quite natural, while true judges only are sensible of its art, an art that he possessed in a very eminent degree.

His nephew and pupil, Bernardo Bellotto, approached so nearly to his style, that it is with difficulty their respective pieces are distinguished. He also visited Rome, though when Orlandi bestowed his encomiums upon him in his work, he was at Dresden, and it is uncertain whether he again returned into Italy. Francesco Guardi was recently esteemed a second Canaletto, his views of Venice having attracted the admiration not only of Italy but of foreign parts, yet with such persons alone who are satisfied with the spirit, the taste, and the fine effect which he invariably studied; as in other points, in accuracy of proportions, and in judgment as regards the art, he cannot pretend to vie with his master. Several others likewise excelled in this species of painting, whose pictures I saw in the Algarotti collection and in other places; such as Jacopo Marieschi, who was also a good figurist, and Antonio Visentini, whose views were ornamented with the figures of Tiepolo and Zuccherelli. Gio. Colombini of Trevigi, pupil to Bastian Ricci, whose Pecile was the Domenican convent in that place, succeeded in his perspectives, in giving illusion to the eye, and in the masterly gradation of the different objects of view. The figures he has introduced are his own, though he was less skilful in this branch. He filled that place with his portraits, introducing another family as it were of painted Domenicans, and not without some appearance of caricature.

In other minor branches of the art, the flowers of Domenico Levo were extremely admired. He was pupil to Felice Bigi of Parma, who opened school in Verona. To his we may add those of one Caffi and a few other natives, though the most choice collectors pride themselves upon the specimens of Gaspero Lopez, a Neapolitan. Thus at least he subscribes himself in one of his most beautiful works, in possession of the Conti Lecchi at Brescia, where, as well as in the capital, he resided during a long period. About the middle of the century there appeared one of his imitators, named in various collections Duramano, an artist somewhat too much given to mannerism.

Both the flowers and birds of Count Giorgio Durante of Brescia were eagerly sought after, no less on account of their exact imitation of the life, than for their taste of composition, and the truly beautiful and picturesque attitudes in which they were drawn. They are rarely to be met with beyond Brescia, though several noble Venetian families, and among these that of Nani, possess a few specimens; but the best, perhaps, of all is to be seen in the royal court at Turin. The name of Ridolfo Manzoni is distinguished in the same line of composition; he was a native of Castelfranco, and several of his little pictures in oil, in the best taste, are there found in possession of different individuals. But he derived his chief reputation, as well as profit, from his miniature productions. In the History of Painting in the Frioul, we meet with the name of another artist, Paolo Paoletti, a native of Padua. He passed his early youth in Udine, and was employed for many years in the house of the Conti Caiselli. Although more particularly celebrated in his flowers, he drew with great truth all kind of fruits, herbs, fishes, and game. The family in which he was domesticated possesses quite a museum of these rarities, and numerous specimens are met with in other hands, both within and beyond the limits of the Frioul. In his flower paintings he is compared by Altan even with the celebrated Segers, an extent of liberality in which I by no means agree.

In the last place we have here to treat of an art that received great improvement during this century in Venice, an art which, though not directed to the increase of copies, is nevertheless of some importance to painting, inasmuch as it favours the duration of ancient productions, by adopting the most judicious means of preserving and restoring them. Such methods were more valuable also to Venice than to any other city, its climate being particularly unfavourable to paintings in oil, owing to the salts with which the air is impregnated, gradually eating away or injuring the colours. For this reason the government very judiciously appointed a number of artists to inspect the public exhibitions, and watch over the preservation of the paintings which were found inclined to decay, restoring them without incurring the risk, as it sometimes happens, of a new one being substituted for an ancient specimen. A studio for this purpose was opened in 1778, consisting of a large saloon at the Santi Giovanni e Paolo, the superintendence of which was entrusted to the care of the learned Peter Edwards, who received the title of President. The various processes adopted in the restoration of each specimen are extremely long and tedious, and executed with surprising accuracy; and in instances where the picture has not suffered too greatly from the effects of injury or time, it returns with renewed youth from the studio, calculated to survive the lapse of many more years.

Other equally useful methods have been adopted by the Republic for the preservation of the fine models that adorn its churches, in order that they should not run the risk of being sold and carried away. Hence it is that the state, even throughout its most diminutive districts and towns, has been enabled to preserve so many valuable paintings; while, at the same time, it has furnished provision for its youthful artists, best calculated to facilitate their improvement. During several centuries the ancient company of painters, ennobled by the names of distinguished pupils, continued to flourish; but there was still wanting the sort of reputation arising from dignity of situation and establishment, from the number and assiduity of its masters, and from the distribution of rewards. Since the year 1724 it was decreed, and confirmed in 1766, that a magnificent academy should be erected, devoted to the fine arts, "upon the plan," as was further stated, "of the principal institutions in Italy and throughout Europe." And it forms indeed an object gratifying to the mind of the most accomplished foreigners, to behold this seat of art, and to cultivate an acquaintance with its objects and pursuits. These views of the government have been promoted by the private individuals of that most splendid body of nobility, an assembly in which the Abate Filippo Farsetti very liberally distinguished himself, by presenting the institution with a large collection of paintings, and casts taken from the finest antique statues. Their successors have displayed the same kind of spirit, nor do they merely afford students access to the study of these monuments; but their finest productions, in every year, are selected according to the judgment of public professors, and rewarded with all the ceremony and munificence worthy of such an institution.

Nor have other nobles and gentlemen throughout the city and the state of Venice been wanting in liberality towards young artists of genius, enabling them to pursue their studies both at home and abroad, until they have completed their education. Few contributions indeed confer so much honour upon families as these; for in addition to the merit of succouring a fellow creature, and a fellow citizen, there are thus expectations to be indulged that some genius may rise up capable of conferring honour upon the arts, and perhaps restoring them to their ancient merit. We have it in our power to record various instances of this liberal spirit; we could mention a number of excellent artists who express their gratitude for the kindness of their patrons, did not the rule we have laid down for ourselves not to introduce the eulogies of living artists, in order to avoid occasion of complaint to such as may be omitted, forbid the enumeration of them. Still I may allude to an instance of it in another branch of the art, which is very generally known, and this is the generous encouragement afforded by their Excellencies Falier and Zulian, to Antonio Canova, the celebrated sculptor, encouragement to which Rome and Italy are in a great degree indebted for such an artist. He suffices to convince us, that though Fortune may indeed deprive our country of her great masterpieces of art, she cannot destroy the genius capable of reproducing them.

[Footnote 87: Melchiori mentions also with commendation, Gio. Batista, father of Antonio, and pupil to Vecchia, who had been unable to assist his son Antonio, left an orphan at a very tender age.]

[Footnote 88: Father Federici mentions also his son Gio. Batista, citing a fine altarpiece of his at Sorigo, and adds, that he would have become celebrated, had he not preferred the ease permitted him by a handsome fortune, to the glory of a great painter.]

[Footnote 89: In the Guide of Verona, of which I availed myself, I only found one picture by Rotari in the refectory at Santa Anastasia. I inquired by whom that of S. Vincenzo, which appeared extremely beautiful, was painted. I received for answer, that it was by Balestra, but it is in fact from the hand of Rotari, and engraved by Valesi.]

[Footnote 90: Melchiori gives us an account of this lady's master, not undeserving of being added to the last edition. This was the noble Gio. Antonio Lazzari, a Venetian, who had talents that rivalled those of Rosalba in crayons, had not his natural timidity proved a bar to his fame. In painting also he attempted little of an inventive character, copying much, and more particularly from Bassano with great success, as we have observed at page 211.]

END OF VOL. III.

J. M'Creery. Tooks Court, Chancery-lane, London.

Transcriber's Notes:

Standardized spacing after apostrophes in Italian names and phrases. Standardized hyphenation. Retained archaic spelling and punctuation, except as noted below. Moved footnotes to the end of each chapter.

Other adjustments:

For consistency in the text, standardized 'bassirilievi', 'bassi rilievi', and 'bassi relievi' as 'bassi relievi'. Changed 'thereis' to 'there is' ...there is made mention of his... Changed 'alter-pieces' to 'altarpieces' ...under one of his altarpieces, we read... Added missing close quotes in Footnotes 21 and 23 ...in the library of Pope Pius,"... ...Hoc Bellunellus nobile pinxit opus."... Added 'in' to ...'in spite of the authority of Vasari'... Deleted duplicate word 'of' ...a picture of the engravings of Parmigiano... Changed 'develope' to 'develop' ...sought to develop itself...