received from the school of Bologna. I speak only of those who
established themselves there. Domenico Muratori had been the scholar of
Pasinelli, and painted the great picture in the church of the Apostles,
which is probably the largest altarpiece in Rome, and represents the
martyrdom of S. Philip and S. James. The grandeur of this composition,
its judicious disposition and felicity of chiaroscuro, though its
colouring was not entirely perfect, gave him considerable celebrity. He
was also employed in many smaller works, in which he always evinced an
equally correct design, and perhaps better colouring. He was chosen to
paint one of the prophets in the Basilica Lateranense, and was employed
also in other cities. In the cathedral of Pisa, he painted a large
picture of S. Ranieri, in the act of exorcising a demon, which is
esteemed one of his most finished works. Francesco Mancini di S. Angiolo
in Vado, and Bonaventura Lamberti di Carpi, had better fortune in
Bologna, in having for their master Carlo Cignani. Mancini, when he came
to Rome, did not adhere exclusively to his master's manner, as he was
rather more attached to the facility and freedom of Franceschini, his
fellow scholar, whom he somewhat resembles in style. He seems, however,
to have had less despatch, and certainly painted less. He was chaste in
his invention, and followed the example of Lazzarini; he designed well,
coloured in a charming manner, and was numbered among the first artists
of his age in Rome. He painted the Miracle of S. Peter at the beautiful
gate of the temple, a picture which is preserved in the palace of Monte
Cavallo, and is copied in mosaic in S. Peter's. This picture, which is a
spirited composition, and well arranged in the perspective, is his
principal work, and does not suffer from a comparison with those
mentioned in the Guida di Roma, and others scattered through the
dominions of the church. Such are pictures with various saints in the
church of the Conventuals of Urbino, and in that of the Camaldolesi of
Fabriano; the appearing of Christ to S. Peter in that of the Filippini,
in Citta di Castello, and the various works executed in oil and in
fresco at Forli and at Macerata. He painted many pictures for foreign
collections, and was commended for his large compositions. From his
studio issued the Canonico Lazzarini before named, whom, as he lived
amongst other followers of Cignani, I shall reserve with them to the
close of the Bolognese school. Niccola Lapiccola, of Crotone, in
Calabria Ultra, remained in Rome; and a cupola of a chapel in the
Vatican painted by him, was copied in mosaic. There are some pictures by
him in other churches; the best are, perhaps, in the state, particularly
in Velletri. I have heard that he was a disciple of Mancini, though in
his colouring he somewhat adhered to his native school.
Bonaventura Lamberti is numbered by Mengs among the latest of the
successful followers of the school of Cignani, whose style he preserved
more carefully than Mancini himself. He did not give many works to the
world. He had, however, the honour of having his designs copied in
mosaic by Giuseppe Ottaviani, in S. Peter's, and one of his pictures
engraved by Frey. It is in the church of the Spirito Santo de'
Napolitani, and represents a miracle of S. Francesco di Paola. The
Gabrieli family, which patronised him in an extraordinary manner,
possesses a great number of historical pictures by him, which are in
themselves sufficient to engage the attention of an amateur for several
hours. Lamberti had the honour of giving to the Roman School the Cav.
Marco Benefial, born and resident in Rome, a painter of great genius,
though not always equal to himself, rather perhaps from negligence, than
deficiency of powers.
The Marchese Venuti[87] extols this master above all others of his time
for his accurate design, and his Caracciesque colouring. His monument is
placed in the Pantheon, among those of the most celebrated painters, and
to his bust is attached the eulogy bestowed on him by the Abate
Giovenazzo, where he is particularly commended for his power of
expression. The factions to which he gave rise still subsist, as if he
were yet living. His admirers not being able to defend all his works,
have fixed on the Flagellation at the Stimmate, painted in competition
with Muratori,[88] and S. Secondino at the Passionisti, as the subjects
of their unqualified approbation; pictures indeed, of such science, that
they may challenge any comparison. To these may be added his S. Lorenzo
and S. Stefano, in the Duomo of Viterbo, and a few others of similar
merit, in which he evidently imitated Domenichino and his school. His
enemies have designated him as an inferior artist, and adduce several
works feeble in expression and effect. The impartial consider him an
eminent artist, but his productions vary, being occasionally in a grand
style, and at other times not passing the bounds of mediocrity. This is
a character which has been ascribed to many poets also, and even to
Petrarch himself.
Our obligations are due to the Sig. Batista Ponfredi, his scholar, for
the memoirs of this eminent man. They were addressed to the Count
Niccola Soderini, a great benefactor of Benefial, and more rich in his
works than any other Roman collector. His letter is in the fifth volume
of the _Pittoriche_, and is one of the most instructive in the
collection, although altered by the editor in some points. I shall
transcribe a passage from it, as it may be satisfactory to see the
actual state of the art at that time, and the way in which Marco
contributed to its support. "He was so anxious to revive the art, and so
grieved to see it fall into decay, that he frequently consumed several
hours in the day in declaiming against the prevailing conception of
style, and urging the necessity of shunning mannerism, and adopting a
style founded in truth, which few did, or if they did, attempted not to
imitate its simplicity, but adapted it to their own manner. He directed
the particular attention of his pupils to the difference between the
production of a mannerist, and one which was studied and simple, and
founded in nature; that the first, if it were well designed, and had a
good chiaroscuro, had at first sight a striking effect from the
brilliancy of its colours, but gradually lost ground at every succeeding
view, while the other appeared the more excellent the longer it was
inspected."--These and other precepts of the same kind he delivered in
terms perhaps too cynical; not only in private, but in the school of
design at the Campidoglio, at the time that he presided there; the
consequence was that the inferior artists combined against him, deprived
him of his employment, and suspended him from the academy. Some further
information respecting Benefial was communicated to the public in the
_Risposta alle Lett. Perugine_, p. 48.
From a scholar also of Cignani, (Franceschini,) Francesco Caccianiga
received instructions in Bologna, whence he came to Rome, where he
perfected his style and established himself. He was a painter to whom
nothing was wanting, except that natural spirit and vigour which are not
to be supplied by industry. He was employed by several potentates, and
two of his works executed for the king of Sardinia were engraved by
himself. Ancona possesses four of his altarpieces, among which are the
Institution of the Eucharist, and the Espousals of the Virgin; pictures
coloured in a clear, animated, and engaging style, and easily
distinguished among a thousand. Rome has few public works by him. In the
Gavotti palace is a good fresco, and there are others in the palace and
villa of the Borghesi, who generously extended to him a permanent and
suitable provision, when overtaken by poverty and age.[89]
From the school of Guercino came Sebastiano Ghezzi of Comunanza, not far
from Ascoli. He was eminent both in design and colouring, and at the
church of the Agostiniani Scalzi di Monsammartino is a S. Francesco by
him, which is esteemed an exquisite picture, and wants only the
finishing hand of the artist. He was the father and teacher of Giuseppe
Ghezzi, who studied in Rome, and was also a tolerable writer,
considering the period at which he wrote. In his painting he seemed to
adopt the style of Cortona. His name is frequently mentioned in the
Guida di Roma, and more than once in the _Antichita Picene_, where it is
stated that he was held in great esteem by Clement XI., and that he died
secretary to the academy of S. Luke, (tom. xxv. p. 11). Pascoli, who has
written his life, extols him for his skill in restoring pictures, in
which capacity the queen of Sweden employed him exclusively on all
occasions.
Pierleone, his son and scholar, possessed a style similar to that of his
father, but less hurried, and became a more distinguished artist. He was
selected with Luti and Trevisani, and other eminent masters, to paint
the prophets of the Lateran, as well as other commissions. But for his
chief reputation he is indebted to the singular talent he possessed in
designing caricatures, which are to be found in the cabinets of Rome and
other places. In these he humourously introduced persons of quality, a
circumstance particularly gratifying in a country where the freedom of
the pencil was thought a desirable addition to the licence of the
tongue.
Other schools of Italy also contributed artists to the Roman School, who
however did not produce any new manner, except that in respect of the
two principal masters then in vogue, Cortona and Maratta, they have
afforded an occasional modification of those two styles.
Gio. Maria Morandi came whilst yet a youth from Florence, and forsaking
the manner of Bilivert, his first instructor, formed for himself a new
style. This was a mixture of Roman design and Venetian colouring (for in
travelling through Italy, he resided some time at Venice, and copied
much there), while some part of it partakes of the manner of Cortona,
and was esteemed in Rome. He established himself in this latter city, in
the Guida of which he is often mentioned, and his works are not
unfrequently found in collections. His Visitation at the Madonna del
Popolo is a fine composition; and still more highly finished, and full
of grand effect, is his picture of the death of the Virgin Mary, in the
church della Pace. This may indeed be considered his masterpiece, and it
has been engraved by Pietro Aquila. He was also celebrated for his
historical pictures, which he sometimes sent into foreign countries, and
more than in any other branch, he acquired a reputation in portraits, in
which he was constantly employed by persons of quality in Rome and
Florence, and was also called to Vienna by the emperor. There, besides
the imperial family, he painted also the portraits of many of the lesser
princes of Germany. Odoardo Vicinelli, a painter of considerable merit
in these latter times, in vol. vi. of the Lett. Pitt. is said to have
been a scholar of Morandi, and Pascoli does not hesitate to assert that
he conferred greater honour than any other of his scholars on his
master; I believe, in Rome, where Pietro Nelli alone could dispute
precedence with him.
Francesco Trevisani, a native of Trevigi, was educated by Zanchi in
Venice, where, in order to distinguish him from Angiolo Trevisani, he
was called Il Trevisani Romano. In Rome, he abandoned his first
principles, and regulated his taste by the best manner then in vogue. He
possessed a happy talent of imitating every manner, and at one time
appears a follower of Cignani, at another of Guido; alike successful
whichever style he adopted. The Albiccini family, in Forli, possess many
of his pictures in various styles, and amongst them a small Crucifixion,
most spirited and highly finished, which the master esteemed his best
work, and offered a large sum to obtain back again. His pictures abound
in Rome, and in general exhibit an elegance of design, a fine pencil,
and a vigorous tone of colour. His S. Joseph dying, in the church of the
Collegio R., is a remarkably noble production. A subject painted by him
to accompany one by Guido in the Spada palace is also highly esteemed.
He enjoyed the patronage of Clement XI. by whom he was not only
commissioned to paint one of the prophets of the Lateran, but was also
employed in the cupola of the Duomo in Urbino, in which he painted the
four quarters of the world; a work truly estimable for design, fancy,
and colouring. In other cities of the state we find pictures by him
painted with more or less care, in Foligno, at Camerino, in Perugia, at
Forli, and one of S. Antonio at S. Rocco in Venice, of a form more
elegant than robust.
Pasquale Rossi, better known by the name of Pasqualino, was born in
Vicenza, and from long copying the best Venetian and Roman pictures,
attained without the instruction of a master, a natural mode of colour,
and a good style of design. Few of his public works remain in Rome;
Christ praying in the garden in the church of S. Carlo al Corso, the
Baptism also of our Saviour at the Madonna del Popolo. The Silvestrini
of Fabriano have several pictures by him, and among them a Madonna truly
beautiful. His S. Gregory, in the Duomo of Matelica, in the act of
liberating souls from purgatory, is in the style of Guercino, and is one
of his best works. In private collections we find his cabinet pictures
representing gaming parties, conversations, concerts, and similar
subjects, carefully finished on a small scale, and little inferior to
Flemish pictures. I have met with numerous specimens of them in various
places; but in no place have I admired this artist so much as in the
royal gallery at Turin, in which are some ornaments over doors, and
pictures of considerable size by him, chiefly scriptural subjects,
executed in an animated and vigorous style, and with so much imitation
of the Roman School, that we should think them to be by some other
master.
Giambatista Gaulli, commonly called Baciccio, studied first in Genoa.
Whilst still young he went to Rome, where under the direction of a
Frenchman, and by the more valuable aid of Bernino, he formed himself on
the style of the great machinists. As he was endowed by nature with a
ready genius and a dexterity of hand, he could not have chosen any
branch of the art more adapted to his talent. The vault of the Gesu is
his most conspicuous work. The knowledge of the _sotto in su_, the
unity, harmony, and correct perspective of its objects, the brilliancy
and skilful gradation of the light, rank it among the best, if indeed it
be not his best picture in Rome. It must, however, be confessed, that we
must inspect it with an eye to the general effect, rather than to the
local tints, or the drawing of the figures, in which he is not always
correct. His faults in his easel pictures, which are very numerous in
Italy and in foreign countries, are less obtrusive, and are abundantly
atoned for by their spirit, freshness of tints, and engaging
countenances. He varies his manner with his subject, assigning to each a
peculiar style. There is a delightful picture in his best manner,
gracefully painted in the church of S. Francesco a Ripa, representing
the Madonna with the divine Infant in her arms, and at her feet S. Anna
kneeling, surrounded by Angels. In a grave and pathetic style on the
contrary, is the representation of S. Saverio dying in the desert island
of Sanciano, which is placed near the altar of S. Andrea at Monte
Cavallo. His figures of children are very engaging and highly finished,
though after the manner of Fiammingo, more fleshy and less elegant than
those of Titian or the Greeks. He painted seven pontiffs, and many
persons of rank of his day, and was considered the first portrait
painter in Rome. In this branch of his art he followed a custom of
Bernino, that of engaging the person he painted in an animated
conversation, in order to obtain the most striking expression of which
the subject was susceptible.
Giovanni Odazzi, his first scholar, was ambitious of emulating him in
celerity, but not possessing equal talent, he did not attain the same
distinction. He is the most feeble, or at all events, the least eminent
of the painters of the prophets of the Lateran, where his Hosea is to be
seen; and indeed, in every corner of Rome, his pictures are to be met
with, as he never refused any commission. Pascoli has preserved the
memory of another of his scholars, a native of Perugia, in the lives of
the painters of his native country. This was Francesco Civalli,
initiated in the art by Andrea Carlone; he was a youth of talent, but
impatient of instruction. He painted in Rome and other places, but did
not pass the bounds of mediocrity. The Cav. Lodovico Mazzanti, was the
scholar of Gaulli, and emulated his manner to the best of his ability;
but his talents were not commanding, nor were his powers equal to his
ambition. Gio. Batista Brughi, a worker in mosaic, rather than a
painter, left notwithstanding some public pictures in Rome. He is called
in the Guida sometimes Brughi, and sometimes Gio. Batista, the disciple
of Baciccio, which makes it there appear as if they had been distinct
individuals. I do not recollect any other artist contributed by Gaulli
to the Roman School.
The Neapolitan School, which was in the beginning of this age supported
by Solimene, sent some scholars to Rome, who adopted a Roman style.
Sebastiano Conca was the first that arrived there with an intention of
seeing it, but he established himself there, together with Giovanni, his
brother, to meliorate his style of design. Resigning the brush, he
returned at forty years of age to the pencil, and spent five years in
drawing after the antique, and after the best modern productions. His
hand, however, had become the slave of habit in Naples, and would not
answer to his own wishes; and he was kept in constant vexation, as he
could appreciate excellence, but found himself incapable of attaining
it. The celebrated sculptor, Le Gros, advised him to return to his
original style, and he then became in Rome an eminent painter, in the
manner of Pietro da Cortona, with considerable improvements on his early
manner. He possessed a fertile invention, great facility of execution,
and a colour which enchanted by its lucidness, its contrast, and the
delicacy of the flesh tints. It is true, that on examination we find
that he was not in reality a profound colourist, and that to obtain a
grandeur of tone, he adopted in the shadows a green tint, which produced
a mannerism. He distinguished himself in frescos, and also in pictures
in the churches, decorating them with choirs of angels, happily disposed
in a style of composition that may be called his own, and which served
as an example to many of the machinists. He was indefatigable too in
painting for private individuals, and in the states of the church there
is scarcely a collection without its Conca. His most studied, finished,
and beautiful work is the Probatica at the hospital of Siena. Of great
merit in Rome is the Assumption at S. Martina, and the Jonah among the
prophets in the S. Giovanni Laterano. His works were in high esteem in
the ecclesiastical state; his best appear to be the S. Niccolo at
Loreto, S. Saverio in Ancona, S. Agostino at Foligno, S. Filippo in
Fabriano, and S. Girolamo Emiliano at Velletri. Giovanni, his brother,
assisted Sebastiano in his commissions, had an equal facility, a similar
taste, though less beautiful in his heads, and of not so fine a pencil.
He shewed great talent in copying the pictures of the best masters. In
the church of the Domenicans of Urbino are the copies which he made of
four pictures to be executed in mosaic; they were by Muziani, Guercino,
Lanfranco, and Romanelli. Conca is eulogized by Rossi with his usual
intelligence and discrimination (v. tom. ii. of his _Memorie_, p. 81.)
Mengs perhaps censures him too severely, where he says, that by his
precepts he contributed to the decay of the art. He had his followers,
but they were not so numerous as to corrupt all the other schools of
Italy. Every school, as we have seen, had within itself the seeds of its
own destruction, without seeking for it elsewhere. It is true, indeed,
that some of his scholars inherited his facility and his colouring, and
left many injurious examples in Italy. Nor shall I give myself much
trouble to enumerate his disciples, but shall content myself with the
names of the most celebrated. Gaetano Lapis di Cagli was one of these,
and brought with him good principles of design when he came to study
under Conca. He was a painter of an original taste, as Rossi describes,
not very spirited, but correct. Many of his works are found in the
churches of his native place, and in the Duomo are two highly prized
pieces on each side the altar, a Supper of our Lord, and a Nativity. In
the various pictures I have seen of him at S. Pietro, S. Niccolo, and S.
Francesco, I generally found the same composition of a Madonna of a
graceful form, attended by Saints in the act of adoring her and the Holy
Infant. We find some of his works also in Perugia and elsewhere. The
Prince Borghese, in Rome, has a Birth of Venus by him, painted on a
ceiling, with a correctness of design, and a grace superior to any thing
that remains of him, and no one can justly appreciate his talents, who
has not seen this work. It should seem, that a timidity and diffidence
of his own powers, prevented his attaining that high station which his
genius seemed to have intended for him. Salvator Monosilio, who resided
much in Rome, was of Messina, and trod closely in the footsteps of his
master. In a chapel of S. Paolino della Regola, where Calandrucci
furnished the altarpiece, he painted the vault in fresco; and others of
his works are to be seen at the S. S. Quaranta, and at the church of the
Polacchi. In Piceno, where Conca was in great reputation, Monosilio was
held in high esteem, and was employed both in public and in private. At
S. Ginesio is a S. Barnabas by him, in the church of that saint, which
in the _Memorie_ so often quoted by us, is designated as an excellent
work. Conca educated another Sicilian student, the Abbate Gaspero
Serenari, of Palermo, who was considered a young man of talents in Rome,
and painted in the church of S. Teresa, in competition with the Abate
Peroni of Parma. On his return to Palermo he became a celebrated master,
and besides his oil pictures he executed some vast works in fresco,
particularly the cupola of the Gesu, and the chapel of the monastery of
Carita.
Gregorio Guglielmi, a Roman, is not much known in his native place,
although his fresco pictures in the hospital of the S. Spirito in
Sassia, intitle him to be numbered amongst the most eminent young
artists who painted in Rome in the pontificate of Benedict XIV. He left
Rome early and went to Turin, where, in the church of S. S. Solutore e
Comp. is a small picture of the Tutelar Saints. He was afterwards in
Dresden, Vienna, and St. Petersburgh, where he painted in fresco with
much applause, for the respective sovereigns of those cities. He was
facile in composition, pleasing in his colour, and attached to the Roman
style of design, which, like Lapis, he seemed to have carried from some
other school into that of Conca. Among his most esteemed works is a
ceiling, painted in the university of Vienna, and another in the
imperial palace at Schoenbrunn. He did not succeed so well in oils, in
which his efforts are mostly feeble; a proof that he belongs more to the
school of Conca than that of Trevisani, to which some have assigned him.
Corrado Giaquinto was another scholar of Solimene. He came from Naples
to Rome, where he attached himself to Conca to learn colouring, in which
he chiefly followed his master's principles, though he was less correct
and more of a mannerist, and was accustomed to repeat himself in the
countenances of his children, which resemble the natives of his own
country. He was not, however, without merit, as he possessed facility as
well as vigour, and was known in the ecclesiastical state for various
works executed in Rome, Macerata, and other places. He went afterwards
to Piedmont, as we shall mention at the proper time; then to Spain,
where he was engaged in the service of the court, and gave satisfaction
to the greater part of the native artists. The public taste in Spain,
which had for a long time retained the principles of the school founded
by Titian, had been changed within a few years. Luca Giordano was become
the favorite, and they admired his spirit, his freedom, and his
despatch; qualities which were combined in Corrado. This partiality
lasted even after Mengs had introduced his style, which in consequence
appeared at first meagre and cold to many of the masters and
connoisseurs of the day, when compared with that of Luca Giordano; until
prejudice there, as in Italy, ultimately yielded to truth.
Some other artists flourished in Rome at the commencement, and as far as
the middle of the century, and somewhat beyond, who may perhaps have a
claim to be remembered. Of Francesco Fernandi, called L'Imperiali, the
Martyrdom of S. Eustachio in the church of the saint of that name, is
well conceived and scientifically coloured. Antonio Bicchierai, a fresco
painter, is more particularly known at S. Lorenzo in Panisperna, in
which church he painted a sfondo which did him honour. Michelangiolo
Cerruti, and Biagio Puccini, a Roman, about the time of Clement XI. and
Benedict XIII., were esteemed artists of good execution. Of others who
acquired some reputation in the following pontificate, I shall write in
other schools, or if I should not mention them, they may be found in the
Guida of the city.