that of his fellow pupils, educated in the same maxims, and instructed
by his examples. The chapel before mentioned exhibits specimens of
three, the first of whom, Niccolo Pizzolo is pointed out by Vasari. A
picture of the Assumption of the Virgin in an altarpiece, with other
figures on the wall, are by his hand. There is also a fresco in one of
the facades with the motto _Opus Nicoletti_: and in both places he not
only strongly resembles, but approaches near the composition of
Mantegna. Two other artists also painted there certain histories of S.
Cristoforo, under one of which is inserted _Opus Boni_; under the other,
_Opus Ansuini_, an artist of Forli. Both of these might elsewhere have
been admired; but there they appear only as scholars by the side of
their master. An artist more nearly approaching Mantegna, and who, in
the chief part of his figures might be mistaken for him, is Bernardo
Parentino, who painted for a cloister of Santa Giustina, ten acts in the
life of San Benedetto, and little histories in chiaroscuro, representing
upon each the portrait of a Pontiff of the name of Benedict. I have seen
no painting adapted to a religious cloister so well conceived in every
part; and it is known that it was superintended by a distinguished
scholar of that learned order, the Abate Gaspero da Pavia. Attached to
it is the name of Parentino and the dates of 1489 and 1494. The work was
continued by a Girolamo da Padua, or Girolamo dal Santo, celebrated for
his miniatures, as it is recorded by Vasari and Ridolfi. Here, however,
he exhibits himself a poor artist, in point of design, and still more so
in expression, though praiseworthy in many accessaries of his art, more
particularly in his study of ancient costume, an acquisition as general
in this, as rare in the Venetian School. Those histories, indeed, are
frequently found ornamented with ancient bassi relievi, with sarcophagi,
and with inscriptions copied, for the most part, from Paduan marbles; a
practice followed, also, by Mantegna, but with more moderation, in the
chapel of the Eremitani.
The rest of his contemporaries, in Padua, were Lorenzo da Lendinara,
esteemed an excellent artist, but of whom no traces remain; Marco Zoppo,
of Bologna, who more nearly resembled, perhaps, his master than his
fellow pupil, but of honourable account, as the head of the Bolognese
School; and Dario da Trevigi, whose productions are to be seen in S.
Bernardino, at Bassano, opposite to those of Mantegna, as if to exhibit
their inferiority. Girolamo, or rather Gregorio[35] Schiavone, whose
style is between that of Mantegna and the Bellini, is a pleasing artist,
whose pictures are frequently to be met with, ornamented with
architectural views, with fruits, and above all with joyous little
cherubs. One of the most delightful I have seen, was in Fossombrone, in
possession of a private individual, and it bears inscribed, _Opus
Sclavonii Dalmatici Squarzoni S. (Scholaris)_. Hieronymus Tarvisio is
another, but doubtful pupil of Squarcione, whose name I found subscribed
in some pictures at Trevigi, an artist poor in colours, but not
unacquainted with design. We find mention in Sansovino, an author not
always to be relied upon in his account of Venetian paintings, of Lauro
Padovano, who produced several histories of S. Giovanni for the Carita
in Venice; but I so far agree with the above author, in pronouncing
these altogether in the style of Mantegna. Nearly approaching also to
the composition of this school, is the style of Maestro Angelo, who
painted in the ancient refectory of Santa Giustina, a Crucifixion of the
Saviour, with figures, both in proportions and in spirit truly great. I
have nothing to add to the name of Mattio dal Pozzo, enumerated in this
class by Scardeone, (p. 371) inasmuch as there are none of his works now
surviving.
At the period, when the School of Padua was opposed to the Venetian, the
other cities of the state, as far as we can learn, had adopted a taste
rather for the ornamental style of the latter, than the more erudite
maxims of the former; it might, perhaps, be added, on account of its
greater facility; because the beauty of nature is everywhere more
obvious than the monuments of antiquity. Bassano then boasted a
Francesco da Ponte, Vicenza the two Montagna and Bonconsigli, all of
whom, though born in the immediate vicinity of Padua, became disciples
of the Bellini. Da Ponte, a native of Vicenza, was pretty well embued
with a taste for polite literature and philosophy, extremely desirable
in the head of a school, such as he became in the instruction of Jacopo,
and through him of the Bassanese; a school highly distinguished during,
and even beyond the sixteenth century. The style of his altarpieces,
when compared with each other, acquaints us with the earliest and latest
specimens of his pencil. He is diligent, but dry in that of his S.
Bartolommeo, in the cathedral at Bassano; more soft in another at the
church of S. Giovanni, but far better in one of the Pentecost, which he
painted for the village of Oliero, almost in the style of the moderns,
displaying studied composition, and a colouring various, beautiful, and
harmonious; and what is still more, a fine expression of the passions,
best adapted to the mystery. We are led to believe, from the account of
Lomazzo, that he likewise painted, at another period, in Lombardy;
observing that a certain Francesco, of Vicenza, produced a work at the
_Grazie_ of Milan, well executed in point of design, but not so pleasing
in the effect of its lights and shades.
The two Montagna flourished about the period 1500, in Vicenza, and were
employed together, however unequal in genius, being equally followers of
the Bellini, at least if we are to give credit to Ridolfi, who must have
seen many of their productions, now no longer in existence. In those
which I have seen, there appeared strong traces of the style of
Mantegna. Benedetto is not mentioned by Vasari, who is apt to omit the
names of all artists whom he accounted of inferior worth. He mentions
Bartolommeo, as a pupil of Mantegna,[36] and he would certainly have
done him more justice had he seen the works he produced in his native
place, which, so far from having done, he asserts that the artist
constantly resided in Venice. Vicenza boasts many of his pieces, which
display the gradual progress of his style. If we wish to estimate the
extent of his powers, we ought to consult his altarpiece at S. Michele,
and another at S. Rocco, to which may be added a third, in that of the
Seminary at Padua. In none of these are we able to discover any
composition beyond what was in most general use at that period, already
so frequently mentioned by us; and they retain more of the practice of
gilding, which, in other places, was then becoming obsolete. In fine,
this artist will be found to rank equal with the chief part of his
contemporaries; exact in design, skilful in the naked parts, while his
colours are fresh and warm. His cherubs are peculiarly graceful and
pleasing, and in his altarpiece, at S. Michele, he has introduced an
architecture which recedes from, and deceives the eye with a power of
illusion, sufficient of itself to have rendered him conspicuous. Of
Giovanni Speranza, there remain a few pieces which are much esteemed,
though not remarkable for strength of colouring. But we can meet with no
public specimens of Veruzio, and most probably his name is a mere
equivoque of Vasari.[37] Giovanni Bonconsigli, called Marescalco, or the
steward, was esteemed beyond any other of the artists of Vicenza, who
flourished at this period, and he certainly approaches nearest to the
modern style, and that of the Bellini. The practice, however, of
ornamenting friezes with tritons and similar figures, taken from the
antique, he most likely derived from the adjacent cities of Padua or
Verona, one of which then professed the study of antiquity, the other
that of monuments. Neither Vasari nor Ridolfi gives any account of his
productions, except such as he painted in Venice, at this time either
wholly perished or defaced. Those which he executed in Vicenza are still
in good condition, nor ought a stranger of good taste to leave the place
without visiting the chapel de' Turchini, to admire his Madonna in the
style of Raffaello, seated upon a throne, between four saints, among
which the figure of S. Sebastian is a masterpiece of ideal beauty.
Indeed an able professor of the city considered it one of the finest
specimens of the art the place could boast, though in possession of many
of the first merit. In common with Montagna, Figolino, and Speranza,
Bonconsigli abounds in perspective views, and discovers a natural genius
for architecture; like them he appears to give promise of the approach
of a divine Palladio, the glory of his country and of his art; along
with the Scamozzi, and many other citizens, who have rendered Vicenza at
once the boast and wonder, as well as the school of architects. There
are two altarpieces of his hand remaining in Montagnana. This artist
must not be confounded with Pietro Marescalco, surnamed lo Spada, (the
sword,) whom the MS. history of Feltre mentions as a native of this
city, and complains of Vasari's silence upon it. One of his altarpieces
is to be seen at the Nunnery of the Angeli, at Feltre, where Signor Cav.
de Lazara informs me that he read the name of _Petrus Marescalcus P_.
Among other figures is a Madonna, between two angels, upon a large
scale, and in good design, sufficient to entitle Pietro to an honourable
rank in the history of art. If we compare him with Giovanni, he will be
found less vivid in point of colouring, and, apparently, of a somewhat
later age.
In the order of our narrative, we ought now to pass on to Verona, where
Liberale, a disciple of Vincenzio di Stefano, at that time held sway. He
had also been a scholar or rather imitator of Jacopo Bellini, to whose
style, says Vasari, he invariably adhered. Moreover, in his picture of
the Epiphany, to be seen in the cathedral, there is a choir of angels
with a graceful folding of drapery, and a taste so peculiarly that of
Mantegna, that I was easily led to believe him an artist belonging to
that class. Certain it is that the vicinity of Mantua might also have
facilitated his imitation of Mantegna, traces of which are visible in
some other of his works, as well as in those of the more and less known
Veronese artists of the time. He did not attain the excellence of
Giovanni Bellini, nor did he give the same grandeur to his proportions,
and the same enlargement of the ancient style, although he continued to
flourish until the year 1535. The colour of his tints is strong; his
expression studied and graceful; a very general merit in the painters of
Verona; and his care is exquisite, especially in his diminutive figures,
an art in which he became extremely expert, owing to his habit of
illustrating books in miniature, which are still to be seen in Verona
and in Siena.
He had a competitor, at his native place, in Domenico Morone, or rather
the latter, educated also by a disciple of Stefano, is to be held second
to him. This artist was succeeded in the course of time, by his son,
Francesco Morone, superior to his father, and by Girolamo da' Libri.
These two, bound by the strictest habits of friendship from their youth,
were frequently employed in the same labours together, and may be said
to have adopted the same maxims. The first has been commended by Vasari,
for the grace, the design, the harmony, and the warm and beautiful
colouring he contrived to bestow upon his pictures, in a degree inferior
to none. From the same source we learn that the year of his decease is
supposed to have been 1529. But Girolamo da' Libri was his superior,
both in point of taste and general celebrity. The son of a miniature
painter of choral books and of anthems, who had hence acquired the name
of Francesco da' Libri, from his father he received both a knowledge of
the art and his surname, both of which he also transmitted to his son,
Francesco, as we again learn from Vasari.
It is not, however, within my province to enter into a consideration of
their books; but in regard to the altarpieces of Girolamo, I cannot
remain silent. That of S. Lionardo, near Verona, I have never seen; a
picture in which the artist having drawn a laurel, the birds are said to
have frequently entered at the church windows, fluttering around as if
wishing to repose in its branches. Another which I beheld at S. Giorgio,
with the date 1529, scarcely retains a trace of the ancient character.
It represents the Virgin between two holy bishops, portraits select and
full of meaning; together with three exquisitely graceful figures of
cherubs, both in face and gesture. In this little picture may be traced,
to a certain degree, the character of a miniaturist who paints, or a
painter drawing miniature; while the charms of the several professions
are seen there exhibited in one point of view. The church, indeed, is a
rich gallery, containing numerous masterpieces of the art; among which
the S. Giorgio of Paolo (Veronese) too far transcends the rest; but the
painting of Girolamo shines almost like a precious jewel, surprising the
spectator by an indescribable union of what is graceful, bright, and
lucid, which it presents to the eye. He survived many years after the
production of this piece, highly esteemed, and in particular for his
miniatures, in which he was accounted the first artist in Italy; and as
if to crown his reputation, he became the instructor, in such art, of
Don Giulio Clovio, a sort of Roscius, if we may so say, of miniature
painting.
However flourishing in valuable masters we may consider the city of
Venice during this era, the fame of Mantegna, with the vicinity of
Mantua, where he taught, attracted thither two artists from Verona, whom
I reserve for that school, of which they were faithful followers. These
were Monsignori, and Gio. Francesco Carotto, formerly a pupil of
Liberale. His brother Giovanni, a noble architect, and designer of
ancient edifices, was but a feeble imitator of his style. He richly
deserves a place in history as the instructor of Paolo, an artist
excellent in many branches of painting, and in architecture almost
divine. It is supposed that Paolo must have acquired this degree of
excellence by studying at first under Carotto, and afterwards perfecting
himself, as we shall shew, by means of Badile. To such as are most known
we might here add names less celebrated, which the Marchese Maffei,
however, has already inserted in his history; as, for instance, a Matteo
Pasti, commended by us in the first volume; but I have, perhaps, already
treated sufficiently of the merits of the old Veronese artists.
About this period there flourished two distinguished artists in Brescia,
who were present at the terrific saccage of that opulent city, in the
year 1512, by Gaston de Foix. One of these is Fioravante Ferramola, who
was honoured and remunerated upon that occasion by the French victor for
his striking merit, and became sufficiently conspicuous in various
churches of the country. His painting of S. Girolamo is seen at Le
Grazie, extremely well conceived, with fine landscape, and in a taste so
like that of Muziano, that we might almost suppose it prognosticated his
appearance. And it might be said that he afforded the latter a
prototype, if he does not aspire to the name of his master. The other is
Paolo Zoppo, who depicted the above desolation of the city in miniature,
upon a large crystal bason; a work of immense labour, intended to be
presented to the doge Gritti: but in transporting it to Venice, the
crystal was unfortunately broken, and the unhappy artist died of
disappointment and despair. The specimens of his style remaining at
Brescia, among which is one of Christ going up to Mount Calvary, at S.
Pietro in Oliveto--a piece falsely attributed by others to Foppa--serve
to shew that he approached near to the modern manner, and was not
unacquainted with the Bellini.
Finally, Bergamo boasted in Andrea Previtali one of the most excellent
disciples of Gian Bellini. He appears, indeed, less animated than his
master, and less correct in the extremities of his figures; neither have
I discovered any of his compositions which are free from the ancient
taste, whether in the grouping of his forms, or in the minute
ornamenting of the accessaries of his art. Nevertheless, in a few
pictures produced, perhaps, later in life, such as his S. Giovanni
Batista, at S. Spirito; his S. Benedetto, in the dome of Bergamo, and
several more in the Carrara Gallery, he very nearly attained to the
modern manner; and was indisputably one of the most distinguished
artists, in point of colours and perspective, belonging to the school of
the Bellini. His Madonnas are held in the highest esteem; in whose
features he appears less a disciple of Gian Bellini, than of Raffaello,
and of Vinci. Two of them at Milan I have seen, both bearing his name:
one is in possession of the Cavalier Melzi; the other in that of Monsig.
Arciprete Rosales, painted in 1522; and both are surrounded with figures
of other saints, portraits executed with discrimination and truth. There
is also a picture of Our Lord announced by the Angel, at Ceneda, a work
so uncommonly beautiful in regard to the two heads, that Titian, in
passing occasionally through the place, is said, according to Ridolfi,
to have repeatedly contemplated it with rapture; charmed by the spirit
of devotion it expressed. Upon the same boundaries, between the ancient
and modern taste, we find various other painters, natives of the valleys
of Bergamo, a fruitful source both of wealth and intellect to the city.
Such is Antonio Boselli,[38] from the Valle Brembana, of whom there has
recently been discovered a fine altarpiece at the Santo of Padua;
besides two other artists of the same vale, who approach even nearer to
the softness, if not to the elegance of Previtali. These are Gian
Giacomo, and Agostino Gavasii di Pascante. We may add to these Jacopo
degli Scipioni, of Averara, and Caversegno, of Bergamo, besides others
handed down to us by Tassi. These, having flourished at a period so
distinguished for the art of colouring, may be compared to certain
writers of the fourteenth century, who throw little light upon learning;
but who, observes Salvini, in respect to language, appear to me as if
every separate page were embued with gold.
I have already pointed out to the reader, the best masters of the
Venetian School, contemporary with, and followers of Gian Bellini; a
number which, though we subtract from it several names of inferior note,
will leave a larger proportion than is generally supposed. The state,
indeed, is full of specimens founded upon his models, the authors of
which remain doubtful; yet it is certain they composed in Bellini's
style, while their designs partake more or less both of the modern and
ancient taste.[39] Undoubtedly, no other school affords a proof of so
great a number of disciples from one master, and following so closely in
his footsteps. Granting this, I cannot easily give credit to the
numerous specimens of Madonnas attributed to his single hand, besides
other pictures in different collections. A cautious judge will not be
apt to pronounce any work his, which displays much of ideal beauty;
Bellini having, for the most part, repeated in his feminine figures an
expression of countenance, partaking in some degree of an apish
character. Nor will he be easily led to ascribe to him pictures which
display a minute care and finish, approaching to the miniature style,
inasmuch as he embodied and coloured his conceptions with a free and
fearless hand. In short, a certain vigour of colour, warm and lively; a
certain reddish tinge of the drapery, approaching a rosy hue; a certain
brightness of varnish, are not the usual characteristics of his hand,
however much his style of design may be mixed up with them; and such
pieces may reasonably be presumed the production of those artists of the
state bordering nearest upon Lombardy, whence, likewise, a few of the
Venetian state derived the mechanical part of their colouring.
Within the limits proposed to myself, I may here annex to my
consideration of the painters in water colours and in oil, other less
distinguished branches of the art. Among these is that species of inlaid
work with wood of different colours, which was intended more
particularly for the ornament of choirs where the divine service was
chaunted. I can trace nothing of its inventors, whether of German or
other origin;[40] though it is said to have taken its rise in an
imitation of mosaic work, and of works in stone. No other coloured woods
besides black and white were at first in use; nor any other objects
beyond large edifices, temples, colonnades, and in short ornaments with
architectural views, attempted to be represented. Brunelleschi at
Florence gave instructions in perspective to architects, that edifices
might be drawn according to good rules; and Massaccio in painting,
greatly availed himself of his precepts, as well as Benedetto da Majano
in his inlaid works. There remain at Florence, as well as other places
in Italy, several ancient choirs very highly prized in that age, but
afterwards despised, when the art of staining wood with boiled water
colours and penetrative oils, came into use. Thus, after the imitation
of buildings, easily drawn from the number of their right lines, that of
figures began to be practised in an able manner, though it had formerly
been tried with less success. The chief merit of such improvement, or
rather perfection of the art, was due to the Venetian School. Lorenzo
Canozio, from Lendinara, a fellow student of Mantegna, who died about
1477, inlaid the entire choir of the church of S. Antonio, even, as it
would appear, with figures. The whole, however, having been consumed by
fire, there is nothing remaining but the epitaph of the artificer, in
which he is highly applauded for his labours. There likewise exist other
works of the same kind, in the armadj, chests, or presses, of the
sacristy, and, as it is supposed, also in some of the confessionals.
Besides Lorenzo, his brother Cristofano, and his son-in-law Pierantonio,
who assisted him in these labours, are equally applauded by Matteo
Siculo, as worthy of vieing with Phidias and Apelles themselves.
Tiraboschi likewise enumerates the two brothers among the artists of
Modena, whose fellow citizens they were.
But the fame of these soon expired. For Giovanni da Verona, a layman of
Oliveto, not long after, surpassed them in the same art. He practised it
in various cities of Italy, and at Rome itself, in the service of Pope
Julius II; but still more successfully in the sacristy of his own order,
where his works are still to be seen in the best condition. F. Vincenzo
delle Vacche, also a native of Verona, and a layman of Oliveto,
mentioned by the learned Morelli in his _Notizia_ of works of design,
during the first half of the sixteenth century, deserves mention here
for the merit of his inlaid works; and in particular for those wrought
in Padua, at the church of S. Benedetto Novello. Unacquainted, however,
with the period in which he flourished, I shall not venture to announce
him either as a pupil or assistant to Fra Giovanni. Similar productions,
from the hand of Fra Raffaello da Brescia, also of Oliveto, adorning the
choir of S. Michele in Bosco at Bologna, might here be mentioned in
competition with those in the sacristy of Verona, by natives of Oliveto.