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
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Издательство Документальная литература
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at Naples, probably, surnamed Guelfo; since his master Penni, if we are to believe Vasari, was in that year, 1516, still the scholar and assistant of Raffaello; nor does it seem probable that he educated a pupil of so much merit. The Leonardo, therefore, who painted in Volterra, must have been some other of more proficiency.

      FLORENTINE SCHOOL.

      EPOCH III.

       Table of Contents

      The Imitators of Michelangiolo Bonarruoti.

      Their study and constant practice has been to design from his statues: for the cartoon on which so many eminent men formed their style, had already perished; and his paintings were not to be seen in Florence but in Rome. They transferred into their compositions that statue-like rigidity, that strength of limb, and those markings of the origin and insertion of muscles, that severity of countenance, and those positions of the hands and figures, which characterized his sublimely awful style; but without comprehending the principles of this extraordinary man, without thoroughly understanding the play of the softer parts of the human figure, either by inserting them in wrong situations, or by representing, in the same manner, those in action and at rest; those of a slender stripling, and of the full-grown man. Contented with what they imagined grandeur of style, they neglected all the rest. In some of their pictures we may observe a multitude of figures arranged one above the other, with a total disregard of their relative situations; features that express no passion, and half naked figures that do nothing, except pompously exhibit, like the Entellus of Virgil, magna ossa lacertosque. Instead of the beautiful azure and green formerly employed, they substituted a languid yellowish hue; the full body of colour gave place to superficial tints; and, above all, the bold relief, so much studied till the time of Andrea, went wholly into disuse.

      Giorgio Vasari, of Arezzo, was descended from a family attached to the fine arts; being the great grandson of Lazzaro, who was the intimate friend of Pietro della Francesca, and the imitator of his paintings; the nephew of another Giorgio, who, in modelling vases in plaster, revived the forms of the antique, in their basso-relievos, and their brilliant colours; specimens of whose art exist in the royal gallery at Florence. Michelangiolo, Andrea, and some other masters, instructed him in design; Guglielmo da Marcilla, called the Prior, and Rosso, initiated him in painting: but he chiefly studied at Rome, whither he was brought by Ippolito, Cardinal de' Medici, the person to whom he owed his success; for by his means Giorgio was introduced to this family that loaded him with riches and with honour. After having designed all the works of his first master, and of Raffaello, at Rome, and likewise much after other schools and antique marbles, he formed a style in which we may recognise traces of his studies; but his predilection for Bonarruoti is apparent. After acquiring skill in painting figures, he became one of the most excellent architects of the age; and united in himself the various branches which were known to Perino, Giulio, and their scholars, who followed the example of Raffaello. He could unaided direct the construction of a grand fabric, adorn it with figures, with grotesques, with landscapes, with stuccos, with gilding, and whatever else was required to ornament it in a princely style. By this means he began to be known in Italy; and was employed as a painter in several places, and even in Rome. He was much employed in the hermitage of the Camaldules, and in several monasteries of the Olivets. In their monastery at Rimino he executed a picture of the Magi, and various frescos for the church; in that at Bologna three pieces from sacred history, with some ornaments in the refectory; but still more in that at Naples, where he not only reduced the refectory to the rules of true architecture, but splendidly adorned it with stuccos and pictures of every description. Assisted by many young men he spent a year in this work; and, as he himself says, was the first who gave an idea of the modern style to that city. Some of his pictures are to be seen in the Classe di Ravenna, in the church of S. Peter at Perugia, at Bosco, near Alessandria, in Venice, at Pisa, in Florence, and at Rome, where the largest part of them are in various places of the Vatican, and in the hall of the Chancery. These pictures are historical frescos of the life of Paul III. undertaken at the desire of Cardinal Farnese; with whom originated the idea of writing the lives of the painters, afterwards published at Florence. Brought into notice by these works, honoured by the esteem and friendship of Bonarruoti, and recommended by his multifarious abilities, he was invited to the court of Cosmo I. He went there with his family in 1553; at which time the artists above alluded to were either dead or very old, and, therefore, he had little to fear from competitors. He superintended the magnificent works executed by that prince; among which it would be wrong not to distinguish the edifice for the public offices, which is esteemed among the finest in Italy; and the old palace, with its several sub-divisions, which were all painted and decorated by Vasari and his pupils for the use of government. In one part of it, each chamber bears the name of some distinguished member of the family, and represents his exploits. This is one of his best works; and here the chamber of Clement VII. is chiefly conspicuous, on the ceiling of which he represented the Pontiff in the act of crowning Charles V., and all around disposed the emblems of his virtues, his victories, and his most