The History of Painting in Italy. Luigi Lanzi

and noticed by some of our antiquarians; and exclusive of those we find mentioned in the old book of the Society of Painters." (See Baldinucci in Notizie del Gioggi.) The Florentine painters of this age, whose names have been produced by the Canon Moreni from the records of the diplomatic archive, may be seen in part the fourth of his Notizie Istoriche, p. 102. Others have been collected and communicated to me by the Abbate Vincenzo Follini, Librarian to the Magliabecchi collection, extracted from various MSS. of the same, besides those from the Novelle Litterarie of Florence, from the Delizie de' Letter. of the P. Ildefonso, C. S. and from the Viaggi of Targioni; works which will always be found to supply the brevity of the present history.

[62] Vasari.

[63] They are believed to be anterior to the year 1300 by the historian of the art of Painting at Friuli; but to this I cannot agree. The pictures bear a very great resemblance to the designs of Orcagna; or rather to the poetry of Dante, who, in the year above mentioned, feigns to have had his vision, and described it in the years immediately succeeding. In confirmation of this opinion, it must be remarked that the style is Florentine, and induces us to suppose that a painter of that school must have been there. See Lettera postuma del P. Cortinovis sopra le Antichità di Sesto, published in the Giornale Veneto, (or Memorie per servire all' Istoria Letter. e Civile) Semestre ii. p. 1. of the year 1800. It was reprinted at Udine in 1801, in octavo, with some excellent notes by the Cav. Antonio Bartolini, who has distinguished himself by other productions connected with bibliography and the fine arts.

[64] Vide Giuseppe Maria Mecatti, who has given an exact description of it.

[65] Vasari is by no means so bitter against the Venetian school as it is wished to make him appear. In regard to these pictures he declares, "that they are universally admitted, with justice, to be the best which were produced among many excellent masters, at different times, in that place." They are, therefore, preferred by him to the whole of the Florentine and Siennese paintings there exhibited; and his opinion is authorized by that of P. della Valle, who frequently differs from him. If it could be proved from history, as it may be reasonably conjectured, that Antonio was a painter when he came from Venice, and did not commence his art at Florence, he would merit the reputation of being the greatest artist of that school known to us; as well as of having conferred some benefit upon that of Florence, from the Venetian school. But this point is very doubtful.

[66] We cannot reconcile it to dates that Paolo Uccello was one of his scholars, having been born after the death of Antonio, if, indeed, there be not some error in regard to the chronology either of the master or of his pupil. Starnina might have been his pupil, as he is said to have been born in 1354; and, therefore, in 1370, he might possibly be one of his school. Yet it appears that Antonio had then renounced the easel. In his epitaph we find written:

      Annis qui fueram pictor Juvenilibus, artis Me Medicæ reliquo tempore cœpit amor, &c.

      (See Vasari ed. Senese, tom. ii. p. 297.)

[67] The old painters varied the manner of their superscriptions, even in the following ages, according to the taste of the Greeks. Sebastianus Venetus pingebat a. 1520; is written upon a St. Agatha in the Palazzo Pitti; and this corresponds to the ΕΠΟΙΕΙ, faciebat; by which the Greek sculptors wished to convey, that such work was not intended to exhibit their last effort; so that they were at liberty to improve it when they pleased. The subscription of Opus Belli is obvious, and similar ones, drawn from the ΕΡΓΟΝ, (for example,) ΛΥΣΡΡΟΥ which we see in Maffei. I recount in my fifth book as singular, the epigraph Sumus Rogerii manus; it is, however, derived from the Greeks, who, for instance, sometimes wrote ΧΕΙΡ. ΑΜΒΡΟΣΙΟΥ. ΜΟΝΑΧΟΥ, as I read in a Fabrianese church called Della Carità, where there is a picture of the General Judgment; the figures very small, and highly finished, upon a large tablet; with, I think, more figures than are seen in the Paradise of Tintoretto. ΧΕΙΡ ΒΙΤΟΡΕ, was written by Vittor Carpaccio, under his portrait cited in the index. I omit other forms better known. That adopted at Trevigi, Hieronymus Tarvisio, is very erudite; and it is imitated from the military latercoli, in which, with the same view, the soldier and his country are named. In short, where the words fecit or pinxit are not used, the best plan was that of giving the proper name in the genitive case at the foot of the picture, as the engravers of Greek gems were wont to do in inscriptions, as ΑΥΛΟΥ ΔΙΟΣΚΟΡΙΔΟΥ, &c.

[68] Pascoli, tom. i. p. 199.

[69] Vasari.

[70] Verona Illustrata, tom. iii. p. 277.

[71] Gloria is a name given in Italy to a representation of the celestial regions.

[72] Vasari.

[73] In the dictionary of Guarienti, in the article, Gio. Abeyk, appears an account of a picture of this artist, existing in the gallery at Dresden, bearing date 1416; a time, says the writer, when he enjoyed his highest reputation, by painting in his second manner, in oil. It represents the Virgin in a majestic seat with the divine infant, who is seen very gracefully receiving an apple from St. Anne, seated on a couch of straw. The young St. John is seen assisting, and also St. Joseph, whose countenance represents the portrait of the painter himself. The introduction of arms shews that the picture must have been executed for some distinguished person. It is in high preservation, and is pronounced by Guarienti the miracle of painting, from its display of extreme diligence, even in the minute furniture, and particularly because the chamber in which the scene is represented, the couch, the window, the pavement, executed a punto alto, together with the whole action, are conducted with the most exact rules of perspective.

[74] In 1454 he was in great credit at Perugia. (See Mariotti, Lett. Perug. p. 133.)

[75] Lib. i. c. 18. Accipe semen lini, et exsicca illud in sartagine super ignem sine aqua, &c. Brustolato says, it should be pounded, and again subjected to the fire in water, then put into a press between cloths, and the oil extracted. He continues: Cum hoc oleo tere minium sive cenobrium super lapidem sine aqua, et cum pincello linies super ostia vel tabulas quas rubricare volueris, et ad solem siccabis, deinde iterum linies et siccabis. And in chap. 22, he says—Accipe colores quos imponere volueris, terens eos diligenter, oleo lini sine aqua; et fac mixturas vultuum ac vestimentorum sicut superius aqua feceras, et bestias, sive aves, aut folia, variabis suis coloribus prout libuerit.

[76] Gottingen, 1792. See Esprit des Journaux, Ottobre, 1792.

[77] Raspe (Lib. Cit.). Della Valle (Ann. al Vasari, tom. iii. p. 313). Tiraboschi (St. Lett. tom. vi. p. 407). Vernazza (Giorn. Pisano, tom. xciv. p. 220), cited by Morelli (Notizia, p. 114). More recently is added the authority of P. Federici Domenicano. It is absurd to suppose that Tommaso da Modena, or, according to him, da Trevigi, carried the discovery from this city into Germany,