The History of Painting in Italy. Luigi Lanzi

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Название The History of Painting in Italy
Автор произведения Luigi Lanzi
Жанр Документальная литература
Серия
Издательство Документальная литература
Год выпуска 0
isbn 4064066390006



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a timid, servile, and meagre pencil; he will not be long able, with a free hand, to keep his own style concealed under the manner of another, more especially in regard to less important points, such as the penciling of the hair, and in the fore- and back-grounds of the picture.[17] Certain observations on the canvas and the priming ground may sometimes assist inquiry; and hence some have endeavoured to attain greater certainty by a chemical analysis of the colours. Diligence is ever laudable when exerted on a point so nice as ascertaining the hand-work of a celebrated master. It may prevent our paying ten guineas for what may not be worth two; or placing in a choice collection pictures that will not do it credit; while to the curious it affords scientific views, instead of creating prejudices that often engender errors. That mistakes should happen is not surprising. A true connoisseur is still more rare than a good artist. His skill is the result of only indirect application; it is acquired amidst other pursuits, and divides the attention with other objects; the means of attaining it fall to the lot of few; and still fewer practise it successfully. Among the number of the last I do not reckon myself. By this work I pretend not, I repeat it, to form an accomplished connoisseur in painting: my object is to facilitate and expedite the acquisition of such knowledge. The history of painting is the basis of connoisseurship; by combining it, I supersede the necessity of referring to many books; by abbreviating it I save the time and labour of the student; and by arranging it in a proper manner on every occasion, I present him with the subject ready prepared and developed before him.

      By the mutual assistance which the painter has afforded to the man of letters, and the man of letters to the artist, the history of painting has been greatly advanced. The merits of the best painters are already so ably discussed that a modern historian can treat the subject advantageously. The criticisms I most regard are those that come directly from professors of the art. We meet with few from the pen of Raphael, of Titian, of Poussin, and of other great masters; such as exist, however, I regard as most precious, and deserving the most careful preservation; for, in general, those who can best perform can likewise judge the best. Vasari, Lomazzo, Passeri, Ridolfi, Boschini, Zanotti, and Crespi, require, perhaps, to be narrowly watched in some passages where they allowed themselves to be surprised by a spirit of party: but, on the whole, they have an undoubted right to dictate to us, because they were themselves painters. Bellori, Baldinucci, Count Malvasia, Count Tassi, and similar writers, hold an inferior rank; but are not wholly destitute of authority: for though mere dilettanti, they have collected both the opinions of professors and of the public. This will at present suffice, with regard to the historians of the art: we shall notice each of them particularly under the school which he has described.