different places. Marcantonio Bellavia, a Sicilian, who painted in Rome,
at S. Andrea delle Fratte, is conjectured, though not ascertained, to be
a scholar of Cortona. Calandrucci, of Palermo, is named among the
scholars of Maratta. Gaetano Sottino painted the vault of the oratory at
the Madonna di C. P., a respectable artist. Giovacchino Martorana, of
Palermo, was a machinist, and in his native city they boast of the
Chapel de' Crociferi, and at S. Rosalia, four large pictures from the
life of S. Benedict. Olivio Sozzi, of Catania, painted much in Palermo;
particularly at S. Giacomo, where all the altars have pictures by him,
and the tribune three large subjects from the infancy of Christ. Another
Sozzi, of the name of Francesco, I find praised for a picture of Five
Saints, Bishops of Agrigentum, in the Duomo of that city. Of Onofrio
Lipari, of Palermo, there are two pictures of the Martyrdom of S. Oliva
in the Church de' Paolotti. Of Filippo Randazzo, there are to be seen in
Palermo some vast works in fresco, as well as of Tommaso Sciacca, who
was an assistant of Cavalucci in Rome, and who left some large
compositions at the Duomo and at the Olivetani of Rovigo.]
[Footnote 125: Gio. Tuccari of Messina, the son of an Antonio, a feeble
scholar of Barbalunga, although he painted much in other branches of the
art, owes the celebrity of his name to his battle pieces, which, by the
despatch of his pencil, were multiplied beyond number. They were
frequently sent into Germany where they were engraved. He had a fruitful
and spirited genius, but was not a correct designer.]
[Footnote 126: Among the painters of Messina is mentioned Niccolo
Cartissani, who died in Rome with the name of a good landscape painter,
and Filippo Giannetti, a scholar of Casembrot, who in the vastness of
his landscapes and his views surpassed his master; but he will not bear
a comparison in the correctness of his figures and in finishing; though
he was, from his facility and rapidity of pencil, denominated the
Giordano of landscape painters. He was esteemed and protected by the
Viceroy Co. di S. Stefano, and painted in Palermo and Naples.]
Transcriber's notes:
Standardized spacing after apostrophes in Italian names and phrases.
Standardized inconsistent hyphenation.
Retained archaic spelling and punctuation, except as noted below.
Moved footnotes to the end of each chapter.
Other adjustments:
Changed 'Pistoia' to 'Pistoja' for consistency with remaining text.
...Pistoja, Rimino, and Bologna...
Changed 'Winckelman' to 'Winckelmann'
...as Winckelmann has observed...
Changed 'Niccolo Alunno' to 'Niccolo Alunno'
...different from Niccolo Alunno...
Added missing end quotation mark
..."connoisseurs are very commonly considered as his."...
Changed 'antient' to 'ancient'
...he retained the ancient custom...
Changed 'beautifully' to 'beautiful'
...some singularly beautiful grotesques...
Changed 'della' to 'dello'
...called dello Spasimo, which...
Eliminated duplicate 'as as'
...as in the martyrdom of S. Lucia..
Added accent to 'Niccolo' Circignani
...Niccolo Circignani, or delle Pomarance,...
Changed 'hat' to 'that'
...in the style of that master...
Retained two-dot ellipsis to represent missing partial date
...Castellana, 161.., on a large picture...
Eliminated duplicate 'was was'
...he was called Il Trevisani Romano...
Changed 'Vandyk' to 'Vandyke'
...together with one by Vandyke...