and animated colouring, almost in the Flemish style. At Capua they
mention with applause the altarpieces and other pictures of Gio. Pietro
Russo, who after studying in various schools returned to that city, and
there left many excellent works. Matteo da Lecce, whose education is
uncertain, displayed in Rome a Michelangiolo style, or as some say, the
style of Salviati. It is certain that he had a strong expression of the
limbs and muscles. He worked for the most part in fresco, and there is a
prophet painted by him for the company of the Gonfalone, of such relief,
that the figures, says Baglione, seem starting from the wall. Although
there were at that time many Florentines in Rome, he was the only one
who dared in the face of the Last Judgment of Michelangiolo, to paint
the Fall of the Rebel Angels, a subject which that great artist designed
to have painted, but never put his intentions into execution. He chose
too to accompany it with the combat between the Prince of the Angels and
Lucifer, for the body of Moses; a subject taken from the epistle of S.
James, and analogous to that of the other picture. Matteo entered upon
this very arduous task with a noble spirit; but, alas! with a very
different result. He painted afterwards in Malta, and passing to Spain
and to the Indies, he enriched himself by merchandise, until turning to
mining, he lost all his wealth, and died in great indigence. We may also
mention two Calabrians of doubtful parentage. Nicoluccio, a Calabrian,
who will be mentioned among the scholars of Lorenzo Costa, but only
cursorily, as I know nothing of this parricide, as he may be called,
except that he attempted to murder his master. Pietro Negroni, a
Calabrian also, is commemorated by Dominici as a diligent and
accomplished painter. In Sicily, it is probable that many painters
flourished belonging to this period, besides Gio. Borghese da Messina, a
scholar also of Costa, and Laureti, whom I notice in the schools of Rome
and Bologna, and others whose names I may have seen, but whose works
have not called for my notice. The succeeding epoch we shall find more
productive in Sicilian art.
[Footnote 107: _Plin. Hist. Nat._ lib. XXXV. cap. 11. _Nec ullius
velocior in pictura manus fuit._]
[Footnote 108: The style of Raffaello found imitators also in Sicily,
and the first to practise it was Salvo di Antonio, the nephew of
Antonello, by whom there is, we are told, in the sacristy of the
cathedral, the death of the Virgin, "_in the pure Raffaellesque style_,"
although Salvo is not the painter who has been called the Raffaello of
Messina: this was Girolamo Alibrandi. A distinguished celebrity has of
late been attached to this artist, whose name was before comparatively
unknown. Respectably born, and liberally educated, instead of pursuing
the study of the law, for which he was intended, he applied himself to
painting, and having acquired the principles of the art in the school of
the Antonj of Messina, he went to perfect himself in Venice. The scholar
of Antonello, and the friend of Giorgione, he improved himself by the
study of the works of the best masters. After many years residence in
Venice he passed to Milan, to the school of Vinci, where he corrected
some dryness of style which he had brought thither with him. Thus far
there is no doubt about his history; but we are further told, that being
recalled to his native country, he wished first to see Coreggio and
Raffaello, and that he repaired to Messina about the year 1514; a
statement which is on the face of it incorrect, since Lionardo left
Milan in 1499, when Raffaello was only a youth, and Coreggio in his
infancy. But I have before observed, that the history of art is full of
these contradictions; a painter resembling another, he was therefore
supposed his scholar, or at all events acquainted with him. On this
subject I may refer to the Milanese School in regard to Luini, (Epoch
II.) and observe that a follower of the style of Lionardo almost
necessarily runs into the manner of Raffaello. Thus it happened to
Alibrandi, whose style however bore a resemblance to others besides, so
that his pictures pass under various names. There remains in his native
place, in the church of Candelora, a Purification of the Virgin, in a
picture of twenty-four Sicilian palms, which is the chef d'oeuvre of the
pictures of Messina, from the grace, colouring, perspective, and every
other quality that can enchant the eye. Polidoro was so much captivated
with this work, that he painted in distemper a picture of the Deposition
from the Cross, as a precious covering to this picture, in order that it
might be transmitted uninjured to posterity. Girolamo died in the plague
of 1524, and at the same time other eminent artists of this school; a
school which was for some time neglected, but which has, through the
labours of Polidoro, risen to fresh celebrity.]
[Footnote 109: I here subjoin a list of them. Deodato Guinaccia may be
called the Giulio of this new Raffaello, on whose death he inherited the
materials of his art, and supported the fame of his school: and like
Giulio, completed some works left unfinished by his master; as the
Nativity in the church of Alto Basso, which passes for the best
production of Polidoro. In this exercise of his talents he became a
perfect imitator of his master's style, as in the church of the Trinita
a' Pellegrini, and in the Transfiguration at S. Salvatore de' Greci. He
imparted his taste to his scholars, the most distinguished of whom for
works yet remaining, are Cesare di Napoli, and Francesco Comande, pure
copyists of Polidoro. With regard to the latter, some errors have
prevailed; for having very often worked in conjunction with Gio. Simone
Comande, his brother, who had an unequivocal Venetian taste, from having
studied in Venice, it not unfrequently happens, that when the pictures
of Comande are spoken of, they are immediately attributed to Simone, as
the more celebrated artist; but an experienced eye cannot be deceived,
not even in works conjointly painted, as in the Martyrdom of S.
Bartholomew, in the church of that saint, or the Magi in the monastery
of Basico. There, and in every other picture, whoever can distinguish
Polidoro from the Venetians, easily discovers the style of the two
brothers, and assigns to each his own.
Polidoro had in his academy Mariano and Antonello Riccio, father and
son. The first came in order to change the manner of Franco, his former
master, for that of Polidoro; the second to acquire his master's style.
Both succeeded to their wishes; but the father was so successful a rival
of his new master, that his works are said to pass under his name. This
is the common report, but I think it can only apply to inexperienced
purchasers, since if there be a painter, whose style it is almost
impossible to imitate to deception, it is Polidoro da Caravaggio. In
proof, the comparison may be made in Messina itself, where the Pieta of
Polidoro, and the Madonna della Carita of Mariano, are placed near each
other.
Stefano Giordano was also a respectable scholar of Caldara, and we may
mention, as an excellent production, his picture of the Supper of our
Lord in the monastery of S. Gregory, painted in 1541. With him we may
join Jacopo Vignerio, by whom we find described, as an excellent work,
the picture of Christ bearing his Cross, at S. Maria della Scala,
bearing the date of 1552.
We may close this list of the scholars of Polidoro with the infamous
name of Tonno, a Calabrian, who murdered his master in order to possess
himself of his money, and suffered for the atrocious crime. He evinced a
more than common talent in the art, if we may judge from the Epiphany
which he painted for the church of S. Andrea, in which piece he
introduced the portrait of his unfortunate master.
Some writers have also included among the followers of Polidoro, Antonio
Catalano, because he was a scholar of Deodato. We are informed he went
to Rome and entered the school of Barocci; but as Barocci never taught
in Rome, we may rather imagine that it was from the works of that artist
he acquired a florid colouring, and a _sfumatezza_, with which he united
a portion of the taste of Raffaello, whom he greatly admired. His
pictures are highly valued from this happy union of excellences; and his
great picture of the Nativity at the Capuccini del Gesso is particularly
extolled. We must not mistake this accomplished painter for Antonio
Catalano _il Giovane_, the scholar of Gio. Simone Comande, from whose
style and that of others he formed a manner sufficiently spirited, but
incorrect, and practised with such celerity, that his works are as
numerous as they are little prized.]
[Footnote 110: These traditions are frequently nothing more than common
rumour, to which, without corroborating circumstances, we ought not to
give credit. It has happened more than once, that such portraits have
been found to belong to the patrons of the church.]
NEAPOLITAN SCHOOL.
THIRD EPOCH.
_Corenzio, Ribera, Caracciolo, flourish in Naples. Strangers
who compete with them._
About the middle of the sixteenth century, Tintoretto was considered one
of the first artists in Venice; and towards the close of the same
century Caravaggio in Rome, and the Caracci in Bologna, rose to the
highest degree of celebrity. The several styles of these masters soon
extended themselves into other parts of Italy, and became the prevailing
taste in Naples, where they were adopted by three painters of
reputation, Corenzio, Ribera, and Caracciolo. These artists rose one
after the other into reputation, but afterwards united together in
painting, and assisting each other interchangeably. At the time they
flourished, Guido, Domenichino, Lanfranco, and Artemisia Gentileschi,
were in Naples; and there and elsewhere contributed some scholars to the
Neapolitan School. Thus the time which elapsed between Bellisario and
Giordano, is the brightest period of this academy, both in respect to
the number of excellent artists, and the works of taste. It is however
the darkest era, not only of the Neapolitan School, but of the art
itself, as far as regards the scandalous artifices, and the crimes which
occurred in it. I would gladly pass over those topics in silence, if
they were foreign to my subject, but they are so intimately connected
with it, that they must, at all events, be alluded to. I shall notice
them at the proper time, adhering to the relation of Malvasia, Passeri,
Bellori, and more particularly of Dominici.
Bellisario Corenzio, a Greek by birth, after having passed five years in
the school of Tintoretto, settled in Naples about the year 1590. He
inherited from nature a fertile imagination and a rapidity of hand,
which enabled him to rival his master in the prodigious number of his
pictures, and those too of a large class. Four common painters could
scarcely have equalled his individual labour. He cannot be compared to
Tintoretto, who, when he restrained his too exuberant fancy, was
inferior to few in design; and excelled in invention, gestures, and the
airs of his heads, which, though the Venetians have always had before
their eyes, they have never equalled. Corenzio successfully imitated his
master when he painted with care, as in the great picture, in the
refectory of the Benedictines, representing the multitude miraculously
fed; a work he finished in forty days. But the greater part of the vault
resembles in many respects the style of the Cav. d'Arpino,[111] other
parts partake of the Venetian School, not without some character
peculiar to himself, particularly in the glories, which are bordered
with shadowy clouds. In the opinion of the Cav. Massimo, he was of a
fruitful invention, but not select. He painted very little in oil,
although he had great merit in the strength and harmony of his colours.
The desire of gain led him to attempt large works in fresco, which he
composed with much felicity, as he was copious, varied, and energetic.
He had a good general effect, and was finished in detail and correct,
when the proximity of some eminent rival compelled him to it. This was
the case at the Certosa, in the chapel of S. Gennaro. He there exerted
all his talents, as he was excited to it by emulation of Caracciolo, who
had painted in that place a picture, which was long admired as one of
his finest works, and was afterwards transferred into the monastery. In
other churches we find some sacred subjects painted by him in smaller
size, which Dominici commends, and adds too, that he assisted M.
Desiderio, a celebrated perspective painter, whose views he accompanied
with small figures beautifully coloured and admirably appropriate.
The birthplace of Giuseppe Ribera has been the subject of controversy.
Palomino, following Sandrart and Orlandi, represents him as a native of
Spain, in proof of which they refer to a picture of S. Matteo, with the
following inscription. _Jusepe de Ribera espanol de la ciutad de Xativa,
reyno de Valencia, Academico romano ano 1630._ The Neapolitans, on the
contrary, contend that he was born in the neighbourhood of Lecce, but
that his father was from Spain; and that in order to recommend himself
to the governor, who was a Spaniard, he always boasted of his origin,
and expressed it in his signature, and was on that account called
Spagnoletto. Such is the opinion of Dominici, Signorelli, and Galanti.
This question is however now set at rest, as it appears from the
_Antologia di Roma_ of 1795, that the register of his baptism was found
in Sativa (now San Filippo) and that he was born in that place. It is
further said, that he learnt the principles of the art from Francesco
Ribalta of Valencia, a reputed scholar of Annibale Caracci. But the
History of Neapolitan Artists, which is suspicious in my eyes as relates
to this artist, affirms also, that whilst yet a youth, or a mere boy, he
studied in Naples under Michelangiolo da Caravaggio, when that master
fled from Rome for homicide, and fixing himself there about 1606,
executed many works both public and private.[112] But wherever he might
have received instruction in his early youth, it is certain that the
object of his more matured admiration was Caravaggio. On leaving him,
Ribera visited Rome, Modena, and Parma, and saw the works of Raffaello
and Annibale in the former place, and the works of Coreggio in the two
latter cities, and adopted in consequence a more graceful style, in
which he persevered only for a short time, and with little success; as
in Naples there were others who pursued, with superior skill, the same
path. He returned therefore to the style of Caravaggio, which for its
truth, force, and strong contrast of light and shade, was much more
calculated to attract the general eye. In a short time he was appointed
painter to the court, and subsequently became the arbiter of its taste.
His studies rendered him superior to Caravaggio in invention, selection,
and design. In emulation of him, he painted at the Certosini that great
Deposition from the Cross, which alone, in the opinion of Giordano, is
sufficient to form a great painter, and may compete with the works of
the brightest luminaries of the art. Beautiful beyond his usual style,
and almost Titianesque, is his Martyrdom of S. Januarius, painted in the
Royal Chapel, and the S. Jerome at the Trinita. He was much attached to
the representation of the latter saint, and whole lengths and half
figures of him are found in many collections. In the Panfili Palace in
Rome we find about five, and all differing. Nor are his other pictures
of similar character rare, as anchorets, prophets, apostles, which
exhibit a strong expression of bone and muscle, and a gravity of
character, in general copied from nature. In the same taste are commonly
his profane pictures, where he is fond of representing old men and
philosophers, as the Democritus and the Heraclitus, which Sig. March.
Girolamo Durazzo had in his collection, and which are quite in the
manner of Caravaggio. In his selection of subjects the most revolting
were to him the most inviting, as sanguinary executions, horrid
punishments, and lingering torments; among which is celebrated his Ixion
on the wheel, in the palace of Buon Ritiro at Madrid. His works are very
numerous, particularly in Italy and Spain. His scholars flourished
chiefly at a lower period of art, where they will be noticed towards the
conclusion of this epoch. With them we shall name those few who rivalled
him successfully in figures and half figures; and we must not, at the
same time, neglect to impress on the mind of the reader, that among so
many reputed pictures of Spagnoletto found in collections, we may rest
assured that they are in great part not justly entitled to his name, and
ought to be ascribed to his scholars.
Giambatista Caracciolo, an imitator, first of Francesco Imparato, and
afterwards of Caravaggio, attained a mature age without having
signalised himself by any work of peculiar merit. But being roused by
the fame of Annibale, and the general admiration which a picture of that
master had excited, he repaired to Rome; where by persevering study in
the Farnese Gallery, which he carefully copied, he became a correct
designer in the Caracci style.[113] Of this talent he availed himself to
establish his reputation on his return to Naples, and distinguished
himself on some occasions of competition, as in the Madonna at S. Anna
de' Lombardi, in a S. Carlo in the church of S. Agnello, and Christ
bearing his Cross at the Incurabili, paintings praised by connoisseurs
as the happiest imitations of Annibale. But his other works, in the
breadth and strength of their lights and shades, rather remind us of the
school of Caravaggio. He was a finished and careful painter. There are
however some feeble works by him, which Dominici considers to have been
negligently painted, through disgust, for individuals who had not given
him his own price, or they were perhaps executed by Mercurio d'Aversa
his scholar, and an inferior artist.
The three masters whom I have just noticed in successive order, were the
authors of the unceasing persecutions which many of the artists who had
come to, or were invited to Naples, were for several years subjected to.
Bellisario had established a supreme dominion, or rather a tyranny, over
the Neapolitan painters, by calumny and insolence, as well as by his
station. He monopolized all lucrative commissions to himself and
recommended, for the fulfilment of others, one or other of the numerous
and inferior artists that were dependant on him. The Cav. Massimo,
Santafede, and other artists of talent, if they did not defer to him,
were careful not to offend him, as they knew him to be a man of a
vindictive temper, treacherous, and capable of every violence, and who
was known through jealousy to have administered poison to Luigi
Roderigo, the most promising and the most amiable of his scholars.
Bellisario, in order to maintain himself in his assumed authority,
endeavoured to exclude all strangers who painted rather in fresco than
in oil. Annibale arrived there in 1609, and was engaged to ornament the
churches of Spirito Santo and Gesu Nuovo, for which, as a specimen of
his style, he painted a small picture. The Greek and his adherents being
required to give their opinion on this exquisite production, declared it
to be tasteless, and decided that the painter of it did not possess a
talent for large compositions. This divine artist in consequence took
his departure under a burning sun for Rome, where he soon afterwards
died. But the work in which strangers were the most opposed was the
chapel of S. Gennaro, which a committee had assigned to the Cav.
d'Arpino, as soon as he should finish painting the choir of the Certosa.
Bellisario leaguing with Spagnoletto, (like himself a fierce and
ungovernable man,) and with Caracciolo, who aspired to this commission,
persecuted Cesari in such a manner, that before he had finished the
choir he fled to Monte Cassino, and from thence returned to Rome. The
work was then given to Guido, but after a short time two unknown persons
assaulted the servant of that artist, and at the same time desired him
to inform his master that he must prepare himself for death, or
instantly quit Naples, with which latter mandate Guido immediately
complied. Gessi, the scholar of Guido, was not however intimidated by
this event, but applied for and obtained the honorable commission, and
came to Naples with two assistants, Gio. Batista Ruggieri and Lorenzo
Menini. But these artists were scarcely arrived, when they were
treacherously invited on board a galley, which immediately weighed
anchor and carried them off, to the great dismay of their master, who,
although he made the most diligent inquiries both at Rome and Naples,
could never procure any tidings of them.
Gessi also in consequence taking his departure, the committee lost all
hope of succeeding in their task, and were in the act of yielding to the
reigning cabal, assigning the fresco work to Corenzio and Caracciolo,
and promising the pictures to Spagnoletto, when suddenly repenting of
their resolution, they effaced all that was painted of the two frescos,
and entrusted the decoration of the chapel entirely to Domenichino. It
ought to be mentioned to the honor of these munificent persons, that
they engaged to pay for every entire figure 100 ducats, for each half
figure 50 ducats, and for each head 25 ducats. They took precautions
also against any interruption to the artist, threatening the viceroy's
high displeasure if he were in any way molested. But this was only
matter of derision to the junta. They began immediately to cry him down
as a cold and insipid painter, and to discredit him with those, the most
numerous class in every place, who see only with the eyes of others.
They harassed him by calumnies, by anonymous letters, by displacing his
pictures, by mixing injurious ingredients with his colours, and by the
most insidious malice they procured some of his pictures to be sent by
the viceroy to the court of Madrid; and these, when little more than
sketched, were taken from his studio and carried to the court, where
Spagnoletto ordered them to be retouched, and, without giving him time
to finish them, hurried them to their destination. This malicious fraud
of his rival, the complaints of the committee, who always met with some
fresh obstacle to the completion of the work, and the suspicion of some
evil design, at last determined Domenichino to depart secretly to Rome.
As soon however as the news of his flight transpired, he was recalled,
and fresh measures taken for his protection; when he resumed his
labours, and decorated the walls and base of the cupola, and made
considerable progress in the painting of his pictures.
But before he could finish his task he was interrupted by death,
hastened either by poison, or by the many severe vexations he had
experienced both from his relatives and his adversaries, and the weight
of which was augmented by the arrival of his former enemy Lanfranco.
This artist superseded Zampieri in the painting of the _catino_ of the
chapel; Spagnoletto, in one of his oil pictures; Stanzioni in another;
and each of these artists, excited by emulation, rivalled, if he did not
excel Domenichino. Caracciolo was dead. Bellisario, from his great age,
took no share in it, and was soon afterwards killed by a fall from a
stage, which he had erected for the purpose of retouching some of his
frescos. Nor did Spagnoletto experience a better fate; for, having
seduced a young girl, and become insupportable even to himself from the
general odium which he experienced, he embarked on board a ship; nor is
it known whither he fled, or how he ended his life, if we may credit the
Neapolitan writers. Palomino however states him to have died in Naples
in 1656, aged sixty-seven, though he does not contradict the first part
of our statement. Thus these ambitious men, who by violence or fraud had
influenced and abused the generosity and taste of so many noble patrons,
and to whose treachery and sanguinary vengeance so many professors of
the art had fallen victims, ultimately reaped the merited fruit of their
conduct in a violent death; and an impartial posterity, in assigning the
palm of merit to Domenichino, inculcates the maxim, that it is a
delusive hope to attempt to establish fame and fortune on the
destruction of another's reputation.
The many good examples in the Neapolitan School increased the number of
artists, either from the instructions of the above mentioned masters, or
from an inspection of their works; for there is much truth in the
observation of Passeri, "that a painter who has an ardent desire of
learning, receives as much instruction from the works of deceased
artists as from living masters." It was greatly to the honour of the
Neapolitan artists, amidst such a variety of new styles, to have
selected the best. Cesari had no followers in Naples, if we except Luigi
Roderigo,[114] who exchanged the school of Bellisario for his, but not
without a degree of mannerism, although he acquired a certain grace and
judgment, which his master did not possess. He initiated a nephew,
Gianbernardino, in the same style; who, from his being an excellent
imitator of Cesari, was employed by the Carthusian monks to finish a
work which that master had left imperfect.