The History of Painting in Italy. Luigi Lanzi

leopoldvs. francisci. avg. f. avstriacvs. m. d. ep

      ad. vrbis. svae. decvs. et. ad. incrementvm. artivm. optimarvm

      mvsevm. medicevm

      operibvs. ampliatis. copIsqve. avctis

      ordinandvm. et. splendidiore. cvltv. exornandvm. cvravit

      anno. m.dcc.lxxxix.

[245] He employed in this work the highly esteemed Sig. Cav. Puccini, from whom I understand, that almost a third of the pictures now in the gallery were placed there by the munificence of Ferdinand. Sig. Puccini has arranged them in a manner so symmetrical and instructive as to form a model for all other collections.

[246] In 1801 Lodovico I. began his reign in Tuscany. Dying shortly after, he was succeeded by the infant Carlo I., under the regency of the Queen-mother Maria Louisa. From this period the arts have experienced new patronage and encouragement. The very copious and select Salvetti library has been appropriated for the use of the academy; a noble example to all parts of Italy, possessing similar institutions. A new improvement also here made, is the reunion in one place of masters in scagliola, and mosaic work, gems, and the restoring of pictures, an occupation recently introduced; and in place of a master, who formerly presided, a director, with greater authority and emolument, has been appointed. Sig. Pietro Benvenuti, whom I dare not venture to commend as he deserves, for he is still living, was selected for this charge. The addition of casts also by our new rulers is of great utility, in particular those from the works of the celebrated Canova, who has been requested to produce a new statue of Venus, on the model of the Medicean, lost to us by the chance of war. The honour conferred by the queen regent upon the arts, deserves likewise a place in history; who, in the meeting of the academy, held in 1803, Sig. Alessandri being president, distributed rewards to the young students, and encouraged them to do well. It was upon this occasion that the same Cavaliere Puccini, secretary to the institution, delivered another excellent discourse, intended to prove that the pursuit of the fine arts forms one of the most expeditious and least perilous paths to human glory;—a discourse that, equally for the credit of the writer and of the fine arts, was given to the world at Florence, in the year 1804.

      BOOK II.

       Table of Contents

SIENESE SCHOOL.

       Table of Contents

EPOCH I.

       Table of Contents

      The old Masters.

The Sienese is the lively school of a lively people; and is so agreeable in the selection of the colours and the air of the heads, that foreigners are captivated, and sometimes even prefer it to the Florentine. But this gaiety of style forms not the only reason of this preference; there is another, which few have attended to, and none have ever brought forward. The choicest productions of the painters of Siena are all in the churches of that place; and he who wishes to become acquainted with the school, after having seen these, need not be very solicitous to visit the private collections, which are numerous and well filled. In Florence it is otherwise: no picture of Vinci, of Bonarruoti, of Rosso, is to be seen in public; none of the finest productions of Andrea, or of Frate, and few of any other master who has best supported the credit of the school: many of the churches abound in pictures of the third and fifth epochs; which are certainly respectable, but do not excite astonishment like the works of the Razzi, the Vanni, and other first rate artists, every where to be met with in Siena. They are, moreover, two different schools, and ought not to be confounded together in any work of art; possessing, for a long period of time, different governments, other heads of schools, other styles; and not affected by the same changes. A comparison between the two schools is drawn by P. della Valle,[247] whom we have mentioned, and shall afterwards mention with respect; and his opinion appears to be, that the Florentine is most philosophical, the Sienese the most poetical. He remarks on this head, that the school of Siena, from its very beginning, displays a peculiar talent for invention; animating with lively and novel images the stories it represents; filling them with allegory, and forming them into spirited and well constructed poetic compositions. This originates in the elevated and fervid genius of the people, that no less aids the painter, whose poetry is addressed to the eye, than the bard who yields it to the ear. In the latter, and also in extemporary poets, the city abounds, and still maintains in public estimation, those laurels, which, after Petrarca and Tasso, her Perfetti won in the capital. He likewise observes that those artists particularly attended to expression. Nor was this difficult, in a city so adverse to dissimulation as Siena, whose natural disposition and education have adapted the tongue and countenance to express the emotions of the heart. This vivacity of genius has perhaps prevented their attaining perfection in design, which is not the great attribute of those masters, as it is reckoned of the Florentines. To sum up all, the character of the school of Siena is not so original as that of some others; and we shall find, during its best period, that some of its artists distinctly imitated the style of other painters. With regard to the number of its artists, Siena has been prolific in the proportion of its population; its artists were numerous while it had many citizens; but on the decrease of the latter, its professors of the fine arts also diminished, until every trace of a school was lost.

The accounts of the early painters of Siena are rather confused during the three first centuries by the plurality of the Guidi, the Mini, the Lippi, the Vanni (abbreviations of Giacomo, Filippo, Giovanni), and such sort of proper names as are used without a surname: hence it is not sufficient to peruse only such accounts; we must reflect on them and compare them. They are scattered in many histories of the city, especially in Ugurgieri, who was pleased to entitle his work Le Pompe Sanesi; in the Diary of Girolamo Gigli; and in several works of the indefatigable Cav. Gio. Pecci, whom we have before noticed. Many manuscripts, rich in anecdotes of painting, still remain in the libraries: of this number are the histories of Sigismondo Tizio, of Castiglione, who lived at Siena from 1482 to 1528; the Cathedral of Siena, minutely described by Alfonzo Landi; the Treatise on old Paintings of Giulio Mancini; and some Memoirs of Uberto Benvoglienti, whom Muratori denominates diligentissimus rerum suæ patriæ investigator. From these, and other sources,[248] P. della Valle has drawn what is contained in the Lettere Sanesi, and repeated in the notes on Vasari concerning the school of Siena. By the work of Della Valle it has acquired a celebrity to which it has long been entitled. I take him for my guide in the documents and anecdotes which he has given to the public;[249] in the older authorities I follow Vasari and Baldinucci in many circumstances, but dissent from them in others: and hostile to error, and anxious for the truth, I shall pursue the same plan with regard to the historians of the school of Siena. I shall omit many names of old masters, of whom no works now remain, and here and there shall add a few modern artists who have come to my knowledge, by the examination of pictures, or by the perusal of books.

The origin of the Sienese school is deduced either from the crusades in the east, whence some Grecian painter has been brought to Siena; or from Pisa, which, as we have seen, had its first artists from Greece. On such a question every one may judge for himself: to me the data necessary for resolving it appear to be wanting. I know that Italy was never destitute of painters, and artists who wrought in miniature; that from such, without any Grecian aid, or example, some Italian schools took their origin. Siena must have had them in the twelfth century. The Ordo officiorum Senensis Ecclesiæ which is preserved in the library of the academy