,,the    ,,history ,,of ,,painting      
,,in    ,,italy4    ,,vol4 ,,iii4       
,,the    ,,history ,,of ,,painting      
,,in    ,,italy1    ,,from ,,the        
,,period ,,of ,,the ,,revival ,,of      
,,the ,,fine ,,arts1    ,,to ,,the ,,end
 ,,of ,,the ,,eighteenth ,,century3     
,,translated    ,from the ,original     
,italian    ,,of ,,the    ,,abate       
,,luigi ,,lanzi4    ,,by ,,thomas       
,,roscoe4    ,,in ,,six ,,volumes4      
,,vol4 ,,iii4    ,,containing ,,the     
,,school ,,of ,,venice4    ,,london3    
,,printed ,,for    ,w4 ,,simpkin ,,and  
,r4 ,,marshall1    ,,stationers'-,,hall 
,,court1 ,,ludgate ,,street4    #ahbh4  
,j4 ,m',creery1 ,tooks ,court1          
,chancery-lane1 ,london4                
,,contents    ,,of    ,,the ,,third     
,,volume4     ,,history ,,of ,,painting 
,,in ,,upper ,,italy4    ,,book ,,the   
,,first4    ,,venetian ,,school4        
,page    ,,epoch ,i4 ,the old masters   
#a    ,,epoch ,,ii4 ,giorgione1 ,titian1
 ,tintoretto1 ,jacopo da     ,bassano1  

,paolo ,veronese                        
#ia    ,,epoch ,,iii4 ,innovations of   
the mannerists of the seventeenth       
century4 ,corruption of ,venetian       
painting                                
#bed    ,,epoch ,,iv4 ,of exotic and new
 styles in ,venice                  #cdg
       ,,history ,,of ,,painting    ,,in
    ,,upper ,,italy4       ,,book ,i4   
,,venetian ,,school4   ,this ,school    
would have required no farther          
illustration from any other pen1 had    
,signor ,antonio ,zanetti1 in his highly
 esteemed work upon ,venetian ,painting1
 included a more ample consideration of 
the artists of the state1 instead of    
confining his attention wholly to those1
 whose productions1 ornamenting the     
churches and other public places1 had   
all been completed in the city of       
,venice alone4 ,he has1 nevertheless1   
rendered distinguished service to any   
one ambitious of succeeding him1 and of 
extending the same subject beyond these 
narrower limits2 since he has observed  

the most lucid order in the arrangement 
of epochs1 in the description of styles1
 in estimating the merits of various    
painters1 and thus ascertaining the     
particular rank as well as the age      
belonging to each4 ,those artists then1 
whom he has omitted to commemorate1 may 
be easily reduced under one or other of 
the divisions pointed out by him1 and   
the whole history enlarged upon the plan
 which he first laid down4  ,in         
cultivating an acquaintance with these  
additional names1 the memorials         
collected by ,vasari2 afterwards1 on a  
more extensive scale1 by the ,cavaliere 
,ridolfi1 in his ,lives of the ,venetian
 ,painters2 and by ,boschini1 in the    
,miniere della ,pittura1 in the ,carta  
del ,navegar ,pittoresco1 and in other  
works3 materials drawn from all parts of
 the ,venetian state--will be of signal 
advantage to us4 ,no one1 it is hoped1  
will feel displeased at the introduction
 of the name of ,vasari1 against whom   
the historians of the ,venetian ,school 

were louder in their complaints than    
even those of the ,roman1 the ,siennese1
 and the ,neapolitan ,schools2 all whose
 causes of difference ,i have elsewhere 
recounted1 adding to them1 whenever ,i  
found them admissible1 my own           
refutations4 ,these it would be needless
 now to repeat1 in reply to the         
,venetian writers4 ,i shall merely      
observe that ,vasari bestowed very ample
 commendations upon the ,venetian       
professors1 in different parts of his   
history1 and more particularly in the   
lives of ,carpaccio1 of ,liberale1 and  
of ,pordenone4 ,let me add that if he   
was occasionally betrayed into errors1  
either from want of more correct        
information1 or from a degree of        
jealousy or spirit of patriotic rivalry1
 which probably may have secretly       
influenced him in his opinions1 it will 
be no difficult task in the present     
enlightened period1#a to substitute the 
real names1 more exact accounts1 and    
more impartial examinations of the      

earlier professors of the school4#b  ,in
 respect to the more modern1 up to whose
 period he did not reach1 ,i possess    
historical matter1 which1 if not very   
copious1 is certainly less scanty than  
such as relates to many of the other    
,schools of ,italy4 ,besides ,ridolfi1  
,boschini1 and ,zanetti1 it includes the
 historians of the particular cities1   
the same from whom ,orlandi selected his
 various notices of artists2 and among  
whom none is to be preferred to ,signor 
,zamboni for the fulness and            
authenticity of his materials1 in his   
work1 entitled ,fabbriche di ,brescia4  
,i am1 moreover1 in possession of       
several authors who have distinctly     
treated of the lives1 or published other
 accounts of those who flourished in    
their own cities2--such as the          
,commendatore del ,pozzo1 in his notice 
of the ,veronese1#c ,count ,tassi of    
those of ,bergamo1 and ,signor ,verci of
 the ,bassanese artists4 ,and no slight 
assistance may also be drawn from the   

different ,guides1 or descriptions of   
paintings1 exhibited in many cities of  
the state1 although they are far from   
being all of equal merit4 ,there is the 
,guida ,trevigiana1 of ,rigamonti1 that 
of ,vicenza printed by ,vendramini      
,mosca1 that of ,brescia by ,carboni1   
and that of ,verona1 expressly drawn    
from the ,verona ,illustrata of the     
,marquis ,maffei1 with the still more   
valuable one of ,venice1 dated #agcc1   
from the able pen of ,antonio ,m4       
,zanetti4 ,to these we may likewise add 
that first published by ,rossetti1 now  
revised and improved by ,brandolese1    
abounding with historical memoirs of the
 painters of ,padua2 and the ,guide of  
,rovigo by ,bartoli1 communicating much 
new and interesting information1 which  
serves to point out more accurately     
certain eras among the professors of the
 art1 while the same may1 in part1 be   
observed of that of ,bergamo1 by the    
,dottore ,pasta4 ,nor are these all2 for
 ,i am not a little indebted to several 

notices published in the ,elogj of      
,signor ,longhi1 and in some of the     
catalogues of private collections2      
besides other anecdotes1 in part        
collected by myself1 in part#d          
communicated by my friends1 and in      
particular by the very accomplished     
,sig4 ,gio4 ,maria ,sasso1#e who has    
already promised to gratify us with his 
,venezia ,pittrice1 accompanied with    
designs of the most esteemed paintings  
of this school1 accurately engraved4    
,footnote #a3 ,it is observed by ,signor
 ,bottari1 that ,giorgio1 in his life of
 ,franco1 was too sparing of his praises
 of ,tintoret and ,paul ,veronese2 and  
the same might be said also of ,gambera1
 and many others1 who flourished at the 
same period1 or were already deceased   
when he wrote4 ,to his opinions have    
succeeded those of the ,caracci1 and of 
many other distinguished professors of  
the art1 which may be safely relied     
upon4  ,footnote #b3 ,there very        
opportunely appeared1 in the year #ahjj1

 at ,bassano1 a ,notizia d',opere di    
,disegno--,upon works of ,design1 the   
anonymous production1 apparently1 of    
some inhabitant of ,padua1 about #aeej4 
,it was published and illustrated by the
 learned ,abbate ,morelli1 and contains 
several anecdotes1 relating more        
particularly to the ,venetian ,school4  
,footnote #c3 ,the celebrated painter1  
,cignaroli1 besides drawing up a        
complete ,catalogue raisonne1 of the    
painters of ,verona1 already published  
in the ,chronicle of ,zagata1 vol4 iii41
 left behind him ,,ms4 notes upon the   
entire work of ,pozzo1 in the margin4   
,footnote #d3 ,i have been enabled in   
this edition1 by means of ,count ,cav4  
de ,lazzara1 to avail myself of a ,,ms4 
from the pen of ,natal ,melchiori1      
entitled1 ,lives of the ,venetian       
,painters1 drawn up in #agbh4 ,the      
author is deserving of credit1 no less  
on account of having been himself a     
painter1 than from his personal         
acquaintance with the chief part of     

those whose lives he commemorated4      
,footnote #e3 ,this excellent man is now
 no more1 and his work has not hitherto 
appeared4 ,that1 however1 by the ,sig4  
,co4 ,canonico de ,rinaldis1 on the     
painters of ,friuli1 we have received4  
,it embraces a much more correct and    
enlarged view of that noble school1 than
 we before possessed in the scantier    
notices from the pen of ,altan4 ,still  
he is not always exact1 and he would    
undoubtedly have written better1 had he 
seen more4 ,at length1 however1 we are  
in possession of the work of ,padre ,m4 
,federici1 in two volumes1 relating to  
the artists of the ,marca ,trevigiana1  
accompanied by documents2 a work better 
calculated than the former to satisfy   
the expectations of a reader of taste4  
,but1 as is generally the case1 when an 
author hazards new opinions1 we are     
sometimes compelled to suspend our      
assent to his conclusions4              
,,venetian ,,school4    ,,epoch ,i4     
,the ,ancients4   ,if in the outset of  

each school of painting ,i were to      
pursue the example held up in the       
,etruria ,pittrice1 of introducing the  
account of its pictures by that of some 
work in mosaic1 ,i ought here to mention
 those of ,grado1 wrought in the sixth  
century1 distinguished by the name of   
the ,patriarch ,elia1 those of          
,torcello1 and a few other specimens    
that appeared at ,venice1 in the        
islands1 and in ,terra ,firma1 produced 
at periods subsequent to the increase of
 the edifices1 together with the        
grandeur of the ,venetian state4 ,but   
admitting that these mosaics1 like many 
at ,rome1 may really be the production  
of the ,greeks2 the title of my work1   
confined as it is to painting1 and to   
the period of its revival in ,italy1    
leads me to be little solicitous        
respecting those more ancient monuments 
of the fine arts1 remnants of which are 
to be found scattered here and there1   
without any series of a school4 ,i shall
 still1 however1 occasionally allude to 

them1 according as ,i find needful1 were
 it only for the sake of illustration   
and comparison1 as ,i proceed4 ,but such
 information ought to be sought for in  
other works2 mine professes only to give
 the history of painting from the period
 of its revival4  ,the most ancient     
pictorial remains in the ,venetian      
territories ,i believe to be at ,verona1
 in a subterraneous part of the nunnery 
of ,santi ,nazario and ,celso1 which1   
however inaccessible to the generality  
of virtuosi1 have1 nevertheless1 been   
engraved on a variety of plates by order
 of the indefatigable ,signor ,dionisi4 
,in this1 which was formerly the ,chapel
 of the ,faithful1 are represented      
several mysteries of our redemption2    
some apostles1 some holy martyrs1 and in
 particular the transit of one of the   
righteous from this life1 on whom the   
archangel1 ,st4 ,michael1 is seen       
bestowing his assistance4 ,here the     
symbols1 the workmanship1 the design1   
the attitudes1 the drapery of the       

figures1 and the characters united1     
permit us not to doubt that the painting
 must be much anterior to the revival of
 the arts in ,italy4 ,but most writers  
seem to trace the rudiments of ,venetian
 painting from the eleventh century1    
about the year #ajgj1 at the period when
 the ,doge ,selvo invited the mosaic    
workers from ,greece to adorn the       
magnificent temple1 consecrated to ,st4 
,mark the ,evangelist4 ,such artificers1
 however rude1 must have been           
acquainted1 in some degree1 with the art
 of painting2 none being enabled to work
 in mosaic who had not previously       
designed and coloured1 upon pasteboard  
or cartoon1 the composition they        
intended to execute4  ,and these1       
observe the same writers1 were the first
 essays of the art of painting in       
,venice4 ,however this may be1 it       
speedily took root1 and began to        
flourish after the year #abjd1 when     
,constantinople being taken1 ,venice was
 in a short time filled1 not indeed with

 ,grecian artists1 but with their       
pictures1 statues1 and bassi relievi4#f 
,had ,i not here restricted my          
observations to existing specimens of   
the art1 bestowing only a rapid glance  
upon the rest1 along with their authors1
 ,i might prove1 that from the above    
period1 the city was no longer destitute
 of artists2 and was enabled1 in the    
thirteenth century1 to form a company of
 them with their appropriate laws and   
institutions4  ,but of these elder      
masters of the art1 there remains either
 only the name1 as of a ,giovanni da    
,venezia and a ,martinello da ,bassano1 
or some solitary relic of their labours 
without a name1 as in the sarcophagus1  
in wood1 of the ,beata ,giuliana1       
painted about the year #abfb1 the same  
in which she died4 ,this monument       
remains in her own monastery of ,san    
,biagio alla ,guidecca1 long held in    
veneration1 even after the body of the  
blessed saint had been removed1 in the  
year #abig1 into an urn of stone4 ,there

 are there represented ,san ,biagio1 the
 titular saint of the church1 ,san      
,cataldo1 the bishop1 and the blessed   
,giuliana1 the two former in an upright1
 the latter in a kneeling posture2 their
 names are written in ,latin1 and the   
style1 although coarse1 is nevertheless 
not ,greek4 ,probably that of the       
painter is also in the same corner1 a   
picture of whom1 a ,pieta1 has recently 
been discovered by the ,ab4 ,boni1 who  
considers him a new ,cimabue of the     
,venetian art4 ,as it has already been  
described by him in his ,florentine     
collection of ,opuscoli ,scientifici1#g 
,i shall not extend my account of it2   
for the reader will there find other    
names1 as will afterwards be shewn1     
recently discovered by the indefatigable
 author of some early ,venetian writers1
 until this period unknown to history4  
,among these are ,stefano ,pievano1 of  
,s4 ,agnese1 a picture by whom1 dated   
#acha1 is described2 ,alberegno1        
belonging to the fifteenth century1 and 

one ,esegrenio1 who flourished somewhat 
later1 to which time we may refer two   
fine and highly valued figures of holy  
virgins1 not long since discovered1 of  
,tommaso da ,modena1 and which1 from the
 disputes they have elicited1 have been 
subjected to experiments at ,florence1  
to ascertain whether they are painted in
 oil or distemper--experiments that tend
 only to prove that this ,tommaso was   
unacquainted with the art of colouring  
in oil4  ,it was only subsequent to the 
year #acjj1 that the names1 united to   
the productions of the ,venetians1 began
 to make themselves manifest2 when1     
partly by the examples held out by      
,giotto1 partly by their own assiduity  
and talent1 the painters of the city and
 of the state visibly improved1 and     
softened the harshness of their manner4 
,giotto1 according to a ,,ms4 cited by  
,rossetti1#h was at ,padua in #acjf2    
according to ,vasari1 he returned from  
,avignon in #acaf2 and a little while   
afterwards he was painting at ,verona1  

in the palace of ,can della ,scala1 and 
at ,padua1 employed on a chapel in the  
church of the titular saint4 ,he adds1  
that towards the close of his days he   
was again invited there1 and embellished
 other places with his pieces4 ,nothing1
 however1 remains of him in ,verona2 but
 in ,padua there still exists the chapel
 of the ,nunziata all',arena1 divided   
all round into compartments1 in each of 
which is represented some scriptural    
event4 ,it is truly surprising to       
behold1 not less on account of its high 
state of preservation1 beyond any other 
of his frescos1 than for its full       
expression of native grace1 together    
with that air of grandeur which ,giotto 
so well knew how to unite4 ,with respect
 to the chapel1 it is believed that     
,vasari was less accurately informed1   
inasmuch as ,savonarola1 who has been   
cited by ,sig4 ,morelli1#i relates that 
,giotto ornamented the little church of 
the ,arena1 capitulumque ,antonii       
nostri1 and the chapter of our ,st4     

,antony4 ,and in fact1 in the apartment 
of the chapter house1 there yet remain  
several traces of ancient painting1     
though turned white with age4 ,in a very
 ancient ,,ms41 of the year #acab1aj    
there is made mention of his also having
 been employed in ,palatio ,comitis1    
which others suppose ought to be read   
,communis1 intended to apply to the     
,saloon1 of which ,i shall shortly have 
to give some account4  ,to ,giotto      
succeeded ,giusto ,padovano1 so called  
from the place of his naturalization and
 usual residence2 being1 in truth1 a    
,florentine1 sprung from the family of  
the ,menabuoi4 ,as a disciple of        
,giotto1 ,vasari attributes to him the  
very extensive work which adorns the    
church of ,st4 ,john the ,baptist4 ,in  
the picture over the altar1 if it be    
his1 ,giusto has exhibited various      
histories of ,st4 ,john the ,baptist2 on
 the walls are represented both         
scriptural events and mysteries of the  
,apocalypse2 and on the cupola he has   

drawn a ,choir of ,angels1 where we     
behold1 as if in a grand consistory1 the
 blessed arrayed in various garments1   
seated upon the ground2 simple1 indeed1 
in its conception1 but executed with an 
incredible degree of diligence and      
felicity4 ,it is mentioned in the       
,notizia ,morelli1 that formerly there  
was to be read there an inscription over
 one of the gates--,opus ,johannis et   
,antonii de ,padua1--probably companions
 of ,giusto1 and1 probably1 as is       
conjectured by the author of the ,,ms4  
above alluded to1 the painters of the   
whole temple4 ,this would seem to       
augment the number of the ,paduan       
artists1 no less than the imitators of  
,giotto2 since the works1 already       
described1 are equally as much in his   
manner as those by ,taddeo ,gaddi1 or   
any other of his fellow pupils in       
,florence4 ,the same commendation is    
bestowed upon ,jacopo ,davanzo1 of whom 
,i treat more at length in the school of
 ,bologna4 ,a less faithful follower of 

,giotto was ,guariento1 a ,paduan1 held 
in high esteem about the year #acfj1 as 
appears from the honourable commissions 
he obtained from the ,venetian senate4  
,one of his frescos and a crucifixion   
yet remain at ,bassano2#aa and in the   
choir of the ,eremitani1 at ,padua1     
there are many of his figures now       
retouched1 from which ,zanetti took     
occasion to commend him for his rich    
invention1 the spirit of his attitudes1 
and the felicity with which1 at so early
 a period1 he disposed his draperies4   
,at ,padua there is an ancient church1  
dedicated to ,st4 ,george1 erected about
 #acgg1 which boasts some history pieces
 of ,st4 ,james1 executed by the hand of
 ,alticherio1 or ,aldigieri1 da ,zevio  
in the ,veronese2 and others of ,st4    
,john1 the work of one ,sebeto1#ab says 
the historian1 a native of ,verona4     
,these1 likewise1 approach pretty nearly
 the style of ,giotto1 and more         
especially the first1 who painted also a
 good deal in his native place4  ,to    

these two ,i may add ,jacopo da ,verona1
 known only by his numerous paintings in
 fresco at ,san ,michele of ,padua1     
which remain in part entire2 and ,taddeo
 ,bartoli1 of ,siena1 who has shewn     
himself ambitious at the ,arena1 of     
emulating the contiguous labours of     
,giotto1 without attaining the object in
 view4 ,another production of the same  
period is seen in the great hall at     
,padua1 reported to be one of the       
largest in the world1 consisting1 as it 
does1 of a mixture of sacred historic   
pieces1 of celestial signs borrowed from
 ,igino1 and of the various operations  
carried on during the respective months 
of the year1 besides several other ideas
 certainly furnished by some learned man
 of that age4 ,it is partly the work1   
says ,morelli in his ,notizia1 upon the 
authority of ,campagnuola1 of an artist 
of ,ferrara1 and partly that of ,gio4   
,miretto1 a ,paduan4 ,this recent       
discovery justifies my own previous     
opinions1 having been unable to prevail 

upon myself to ascribe such a production
 to ,giotto1 although it partakes       
strongly of his style1 which appears to 
have spread pretty rapidly throughout   
the territories of ,padua1 of ,verona1  
of ,bergamo1 and great part of the      
,terra ,ferma4  ,besides this manner1   
which may be1 in some measure1          
pronounced foreign1 there are others    
equally observable in ,venice1 no less  
than in ,treviso1 in the ,chapter of the
 ,padri ,predicatori1 and in other of   
the subject cities1 and these might more
 accurately be termed national1 so      
remote are they from the style of       
,giotto1 and that of his disciples      
before mentioned4 ,i have elsewhere     
pointed out how far the miniature       
painters contributed to this degree of  
originality1 a class of artists1 with   
whom ,italy1 at no time destitute1 more 
fully abounded about that period1 while 
they still continued to improve by      
employing their talents in drawing      
objects from the life1 and not from any 

,greek or ,italian model4 ,indeed they  
had already made no slight advances in  
every branch of painting1 when ,giotto  
first arrived in those parts4 ,i have   
myself seen1 in the grand collection of 
,,mss41 made in ,venice1 by the ,abbate 
,canonici1 a book of the ,evangelists1  
obtained in ,udine1 illustrated with    
miniatures in pretty good taste for the 
thirteenth century1 in which they were  
produced2 and similar relics are by no  
means rare throughout the libraries of  
the state4 ,i suspect1 therefore1 that  
many of those new painters1 either      
having been pupils of the miniaturists1 
or induced to imitate them from the near
 connexion between the arts1 attempted  
to vie with them in design1 in the      
distribution of their colours1 and in   
their compositions4 ,hence1 it is       
clearly accounted for1 why they did not 
become the disciples1 though acquainted 
with the works of ,giotto1 but produced 
several respectable pieces of their own4
  ,to this class belongs ,m4 ,paolo1    

whom ,zanetti found recorded in an      
ancient parchment1 bearing the date of  
#acdf4 ,he is the earliest in the       
national manner1 of whom there exists a 
work with the indisputable name of its  
author4 ,it is to be seen in the great  
church of ,st4 ,mark1 consisting of a   
tablet1 or1 as it is otherwise called1  
,ancona1 divided into several           
compartments1 representing the figure of
 a dead ,christ1 with some of the       
,apostles1 and historic incidents from  
the holy ,evangelist4 ,there is         
inscribed underneath--,magister ,paulus 
cum ,jacobo1 et ,johanne filiis fecit   
hoc opus2 and ,signor ,zanetti1 page    
#ehi1 observes in regard to it as       
follows3--,among the specimens of simple
 painting1 in ,st4 ,mark's1 the ball    
centre of the great altar is remarkable 
for several small tablets of gold and   
silver1 on which are painted several    
figures in the ancient ,greek manner4   
,san ,pietro ,urseolo had it constructed
 about the year #ihj1 at                

,constantinople1 and it was removed to  
this place in the time of the ,doge     
,ordelafo ,faliero1 in #aajb1 though it 
was afterwards renovated by command of  
the ,doge ,pietro ,ziani1 in #abji4     
,this historian did not discover the    
inscription which ,i found upon it in   
the year #aghb4 ,the artist is          
sufficiently distinguished for the      
period in which he flourished1 although 
the stiffness in the design1 false      
action1 and expression1 beyond those of 
the best followers of ,giotto1 are      
perceptible1 so much as to remind us of 
the ,greek specimens of art4#ac  ,there 
can1 likewise1 be no doubt1 that a      
painter of the name of ,lorenzo1 was one
 of these ,venetians1 whose altarpiece  
in ,st4 ,antony of ,castello1 to which  
is attached his name1 with the date of  
#aceh1 paid him three hundred gold      
ducats1 has been commended by ,zanetti4 
,besides1 we read inscribed on a picture
 belonging to the noble house of        
,ercolani1 at ,bologna1 the words ,,manu

 ,,laurentii ,,de ,,venetiis1 #acfh2 and
 there is every appearance of his being 
the author of the fresco in the church  
of ,mezzaratta1 not far from ,bologna1  
representing ,daniel in the lions' den2 
and bearing the signature of            
,laurentius1 ,p4 ,it is a work that     
bears no resemblance to the style of    
,giotto1 and appears to have been       
completed about the year #acgj4 ,it is  
equally certain that ,niccolo           
,semitecolo was a ,venetian1 he having  
also inscribed his name as we find it   
written upon a ,,trinity1 which         
represents the ,virgin1 along with some 
histories of ,st4 ,sebastian1 still     
preserved in the chapter library of     
,padua3--,nicoleto ,semitecolo da       
,veniexia impense1 #acfg4 ,the work is  
an excellent specimen of this school2   
the naked parts are tolerably well      
drawn1 and the proportions of the       
figures1 though sometimes extravagantly 
so1 are bold and free2 and what is more 
important to our present purpose1 it    

discovers no resemblance to the style of
 ,giotto1 being inferior in point of    
design1 though equal to him in regard to
 the colouring4 ,two other painters1    
whose style betrays nothing of ,giotto1 
were discovered by ,signor ,sasso1 in   
,venice1 upon the strength of two       
altarpieces1 to which they had affixed  
their names4 ,upon one1 found in the    
convent of ,corpus ,domini1 he read     
,angelus pinxit2 and upon the other1    
also in the same place1 ,katarinus      
pinxit4 ,while on this subject1 ,i ought
 not to pass over the opinion of        
,baldinucci himself1 who always appears 
to have respected the freedom and       
independence of the ,venetian as opposed
 to the ,florentine school1 by refusing 
to insert the name of a single ,venetian
 in his tree of ,cimabue4 ,he merely    
maintained1 that the ,venetian painters 
had improved their style by the labours 
of ,angiol ,gaddi1 and of one ,antonio1 
a ,venetian1 whom1 in spite of the      
authority of ,vasari1 he has declared to

 be a ,florentine2 on which point we    
must refer to what has already been     
stated in the first volume 7p4 #fa7 of  
this work4 ,moreover1 he asserts of the 
same ,antonio1 that he took up his      
residence at ,venice1 and thence        
acquired the appellation of ,veneziano2 
but that he took his departure again1   
owing to the intrigues of the national  
professors1 as much as to say1 of a     
school formed anterior to his arrival4  
,and so long anterior was it1 indeed1   
that the whole state1 as well as the    
adjacent places1 abounded not less with 
pictures than with pupils1 although few 
of their names with their productions   
have survived4#ad  ,among these few is a
 ,simon da ,cusighe1 who painted an     
altarpiece and a fresco1 still remaining
 in his native parish1 situated near the
 city of ,belluno1 where there exist    
memorials of one ,pietro1 and other     
artists of the thirteenth century1 along
 with some very tolerably executed      
figures1 bearing the epigraph of ,simon 

pinxit4 ,to these ,i add a native of    
,friuli1 of whom there are no authentic 
remains beyond ,gemona1 where he painted
 the facade of the dome1 and under a    
picture of the martyrdom of ,i know not 
what saint1 appears his name written1   
,,mcccxxxii4 ,,magister ,,nicolaus      
,,pintor ,,me ,,fecit4 ,to this artist  
is ascribed1 by some writers1 that vast 
and meritorious production1 still in    
such a fine state of preservation1      
ornamenting the dome of ,venzone1 and   
which represents the solemn scene of the
 ,consecration2 but its author is a     
matter of mere conjecture1 founded in   
this instance upon the vicinity of the  
place and time1 and resemblance of      
manner4 ,there are also ,pecino and     
,pietro de ,nova1 who employed their    
talents1 during a period of many years  
subsequent to #acfc1 in the church of   
,santa ,maria ,maggiore1 at ,bergamo4   
,but these1 like the artist of ,padua   
before mentioned1 approach very nearly  
the composition of ,giotto1 and possibly

 might have imbibed such a taste at     
,milan4#ae  ,the splendor of ,venetian  
painting becomes more strikingly        
manifest in the fifteenth century2 a    
period that was gradually preparing the 
way for the grand manner of the ,titians
 and the ,giorgioni4 ,the new style took
 its rise in one of the islands called  
,murano2 but it was destined to attain  
its perfection in ,venice4 ,i first     
recognized the work of one of the oldest
 of these artists1 subscribing himself1 
,quiricius de ,muriano1 in the studio of
 ,signor ,sasso4 ,it represents our     
,saviour in a sitting posture1 at whose 
feet stands a veiled devotee2 but there 
is no mark by which to ascertain its    
age4 ,there is1 likewise1 of uncertain  
date1 yet still very ancient1 a         
,bernardino da ,murano1 of whose        
productions ,zanetti saw nothing more   
than a rude altarpiece4 ,an ,andrea da  
,murano flourished about the period     
#adjj1 whose style1 whatever it may     
retain of harsh and dry1 neither        

superior in composition1 nor in choice  
of features to that of his predecessors1
 discovers him to have been tolerably   
skilful in design1 even in regard to the
 extremities1 and in placing his figures
 well in the canvass4  ,there remains in
 his native place1 at ,san ,pier        
,martire1 an altarpiece painted by his  
hand1 in which a ,st4 ,sebastian forms  
so conspicuous a figure for the beauty  
of its torso1 that ,zanetti suspects it 
must have been copied from some ancient 
statue4 ,it is he who introduced the art
 into the house of the ,vivarini1 his   
compatriots1 who in a continued line of 
succession preserved the school of      
,murano for nearly a century2 and who   
produced as rich a harvest of their     
labours in ,venice1 as did the ,campi   
afterwards in the city of ,cremona1 or  
the ,procaccini in ,milan4 ,i shall     
treat of them with brevity1 but with    
such new sources of information1 as will
 at once serve to correct and amplify   
what has already been written4  ,the    

first among the ,vivarini mentioned by  
historians is ,luigi1 of whom a painting
 at ,santi ,giovanni e ,paolo1 has been 
cited by them1 which represents our     
,redeemer bearing the cross upon his    
shoulders4 ,the work has been a good    
deal retouched1 and there has been added
 to it another portion1 which gives the 
name of the author1 dated #adad4 ,not   
being an autograph1 we are led to       
suspect some kind of mistake attaching  
either to the name or the date2 there   
having been another ,luigi ,vivarini1 as
 we shall shew1 towards the close of the
 century4 ,the one in question1 then1   
might probably be an ancestor of the    
latter1 though it be difficult to       
persuade ourselves of it1 as there      
remains no other superscription1 or     
notice of any of that name so ancient4  
,next to this artist1 according to      
,ridolfo and ,zanetti1 are to be        
enumerated ,giovanni and ,antonio       
,vivarini1 who flourished about the year
 #addj4 ,the authority they adduce for  

this1 is an altarpiece in ,san          
,pantaleone1 which bears the inscription
 of ,zuane e ,antonio da ,muran pense   
#addd4 ,but this ,giovanni1#af if ,i    
mistake not1 is the same who signs his  
name on another picture in ,venice1     
,joannes de ,alemania et ,antonius de   
,muriano pinxit2 or as it is thus       
written in ,padua1 ,antonio de ,muran e 
,zohan ,alamanus pinxit4 ,giovanni1     
therefore1 was a companion of ,antonio1 
a ,german by birth2 and traces of a     
foreign style are clearly perceptible in
 his paintings4 ,the reason of his      
omitting to insert his birthplace in the
 picture at ,san ,pantaleone1 arose1 ,i 
suspect1 from the fact of his name and  
acquaintance with ,antonio being too    
well known to admit of doubt4 ,after the
 year #addg there is no more mention    
made of ,giovanni1 but only of ,antonio2
 sometimes alone1 sometimes together    
with some other of the ,vivarini4 ,thus1
 his name is subscribed alone in ,san   
,antonio ,abate di ,pesaro1 upon an     

altarpiece of the titular saint1        
surrounded by the figures of three young
 martyrs1 with some smaller paintings   
attached2 the production of a very      
animated colourist1 and displaying forms
 inferior to none in the school of      
,murano4 ,i have seen two other         
specimens1 in which he is mentioned     
together with a second ,vivarino4 ,the  
least excellent of these is to be found 
in ,san ,francesco ,grande1 at ,padua1  
consisting of a ,madonna1 with some     
saints1 in various compartments2 and1 at
 the foot of it1 is the following       
memorandum1 ,anno #adea1 ,antonius et   
,bartholomeus fratres de ,murano        
pinxerunt hoc opus4 ,similar to this1   
the two brothers had produced another   
the year preceding1 in the ,certosa of  
,bologna1 where it is still in a high   
state of preservation1 beyond any other 
specimen ,i have seen belonging to this 
family4 ,there is much worthy of        
commendation in each figure of the whole
 piece2 features dignified and devout2  

appropriate dresses2 care in the        
disposition of the hair and beards1     
united to a colouring warm and          
brilliant4  ,according to what appears1 
,bartolommeo must have been held of less
 account than ,antonio1 until the       
discovery of painting in oil being      
introduced into ,venice1 he became one  
among the first to profit by it1 and1   
towards the period in which the two     
,bellini appeared1 was held in pretty   
high repute4  ,the first specimen of his
 painting in oil exists at ,s4 ,giovanni
 e ,paolo1 not far from the gate1 and   
exhibits1 among other saints1 ,p4 ,san  
,agostino1 with an indication of the    
year #adgc4 ,from that period he        
continued to distinguish himself1       
producing a great number of pieces both 
in oil and in water colour1 sometimes   
with more1 and sometimes with less care1
 but always in the ancient taste for    
subdividing the altarpiece into several 
parts1 in each of which he represented  
separate heads or entire figures4 ,in   

these he often marked the name of       
,vivarino1 with the year of their       
production2 and occasionally he has     
added a finch or linnet by way of       
allusion to his family name4 ,his last  
work1 bearing the date of the year1 is a
 ,christ risen from the dead1 at ,san   
,giovanni1 in ,bragora1 where ,boschini 
read the date of #adih1 which is now no 
longer apparent2 but it is a piece      
which1 in every part1 may be said to vie
 with that of the best ,venetian artists
 who flourished during the same period4 
,contemporary with him was a ,luigi of  
the same name1 one of whose productions 
was seen by ,zanetti1 in a collection of
 paintings1 with the date of #adij1 and 
as appeared to him1 strongly            
approaching1 in point of taste1 to the  
best style of ,bartolommeo4 ,to ,luigi1 
also1 must undoubtedly be ascribed the  
altarpiece1 which1 in ,san ,francesco di
 ,trevigi1 bears his name4 ,there is    
another at the ,battuti1 in ,belluno1   
representing the saints ,piero1         

,girolamo1 and some others1 a work which
 cost that school #ajj gold ducats1     
besides the expenses of the artist1 who 
has attached to it his name4 ,but       
superior to every other of his existing 
specimens1 is that fine picture in the  
school of ,san ,girolamo1 at ,venice1 in
 which he represented a history of the  
titular saint1 in emulation of ,giovanni
 ,bellino1 whom he here equalled1 and of
 ,carpaccio1 whom he surpassed4 ,he has 
drawn the saint in the act of caressing 
a lion1 while several monks are seen    
flying in terror at the sight4 ,the     
composition is very fine2 the passions  
are tolerably well pourtrayed1 the      
colours as soft and delicate as in any  
other of the ,vivarini2 the architecture
 solid1 and in the ancient taste1 while 
the epoch is more modern than that which
 could be ascribed to the supposed      
,luigi1 the elder4 ,such is our         
exposition of the whole series of the   
,school of ,murano1 up to the period of 
its greatest improvement1 so as to bring

 it under one point of view4 ,i shall   
now1 therefore1 resume the thread of my 
narrative1 relating to the elder artists
 of the fourteenth century1 who competed
 with the oldest of the school of       
,murano1 until the era of painting in   
oil2 and ,i shall afterwards proceed to 
treat apart of the more modern4  ,in the
 early part of the century1 an artist of
 the name of ,gentile da ,fabriano1 had 
been employed in the public palace at   
,venice1 highly distinguished in his    
time1 but of whom ,i must not here      
repeat what has been said in the first  
volume of this work4 ,he there depicted 
a naval battle scene1 a production      
greatly extolled in former times1 which 
has long since perished4 ,he produced1  
also1 some disciples1 as we find mention
 of a ,jacopo ,nerito1 from ,padua1 who1
 in a painting at ,san ,michele di      
,padova1 according to ,rossetti1        
subscribes himself one of his pupils4   
,nasocchio di ,bassano1 the elder1 is to
 be ranked also1 either as one of his   

scholars or his imitators1 if1 indeed1 a
 small picture pointed out to me by the 
late ,signor ,verci was by his hand4    
,among other ,venetians1 ,jacopo        
,bellini1 at once the father and the    
master of ,gentile and ,giovanni of the 
same name1 of whom more hereafter1 was  
certainly a pupil of ,gentile da        
,fabriano4 ,jacopo1 however1 is better  
known by the celebrity of his sons1 than
 by his own works1 at this time either  
destroyed or unknown4 ,he had painted in
 the school of ,s4 ,giovanni            
,evangelista at ,venice1 and in the     
chapel of the ,gatta ,melata1 at the    
,santo di ,padova1 about #adef2 but     
these labours survive only in history1  
nor have ,i met with any other specimen 
besides a ,madonna1 discovered by ,sig4 
,sasso1 bearing the signature of its    
author4 ,the style appears taken from   
that of ,squarcione1 to which he is     
supposed to have applied himself in his 
more advanced years4  ,there was also   
another ,jacopo in very high repute1#ag 

called ,jacobello del ,fiore1 who has   
been falsely accused by ,vasari1 of     
having drawn his figures all resting on 
the tip of their toes1 in the manner of 
the ,greeks4 ,his father1 ,francesco1   
was considered in the light of a        
,coryphaeus of the art1 and his tomb is 
still to be seen at ,santi ,giovanni e  
,paolo1 with a figure of him in his     
toga1 and a commendatory epitaph in     
,latin verse4 ,no works of his1 however1
 are to be seen in ,venice1#ah a        
dittico1 or small altar1 with his name  
having been conveyed to ,london1 bearing
 the date of #adab4 ,it was obtained by 
the ,chevalier ,strange1 together with  
some other productions of the old       
,venetian artists4 ,the son of          
,francesco rose to a still higher degree
 of celebrity4 ,he began to make himself
 known as early as #adja1 by producing  
an altarpiece at ,san ,cassiano di      
,pesaro1 in which city ,i discovered    
another1 with the date of #adji1 and    
both bear the signature of ,jacometto de

 ,flor4 ,a much nobler work is a        
coronation of the ,virgin1 in the       
cathedral of ,ceneda1 extremely rich in 
figures1 insomuch as to have deserved   
the name of the ,painting of ,paradise1 
in a ,,ms4 of the lives of the bishops  
of that place1 which is preserved in the
 episcopal residence1 and declares the  
work to have been executed1 ab eximio   
illius temporis pictore ,jacobello de   
,flore1 #adcb1 at the expense of the    
bishop1 ,ant4 ,correr4 ,there is a      
,madonna1 indisputably by his hand1 in  
possession of ,sig4 ,girolamo ,manfrini1
 painted in #adcf1 besides the          
,giustizia1 drawn between two           
archangels1 in the ,magistrato del      
,proprio1 bearing the date of #adba4 ,i 
may venture to say that few artists of  
that time equalled him2 both on account 
of his having few rivals who had so     
early ventured to attempt drawing       
figures as large as the life1 and       
because of his power of conferring upon 
them a certain grace and dignity1 and1  

where called for1 a vigour and ease     
rarely to be met with in other          
paintings4 ,the two lions which he      
represented as symbols of his ,giustizia
 7,justice71 are truly grand1 though the
 rest of the figures would have appeared
 to more advantage had they been less   
loaded with ornaments1 and in particular
 the draperies glowing with gold lace1  
according to the custom of his age4 ,he 
had a rival in ,giacomo ,morazone1 known
 by an altarpiece seen in the island of 
,st4 ,elena1 of which ,i shall have to  
speak elsewhere4  ,two pupils of        
,jacobello are recorded by ,ridolfi1 one
 of whom1 ,donato1 is superior to his   
master in point of style1 and the other1
 ,carlo ,crivelli1 of whom the capital  
can boast only one or two pieces1 and of
 whom little mention is made in         
,venetian history4 ,it would appear that
 he long resided out of his native      
place1 and in the ,marca ,trevigiana1   
from which circumstance we find him     
repeatedly named in the ,storia ,picena1

 in the ,guida di ,ascoli1 and in the   
catalogue of ,fabrianese paintings4 ,at 
,san ,francesco di ,matelica1 ,i saw an 
altarpiece and grado by his hand1 with  
his name in the following               
inscription--,carolus ,crivellus        
,venetus miles pinxit1 as well as       
another with his name at the            
,osservanti1 in ,macerata1 and a third  
which bears the year #adgf1 in          
possession of the ,cardinal ,zelada4 ,he
 is an artist more remarkable for his   
force of colouring than for his         
correctness of design3 and his principal
 merit consists in those little history 
pieces1 in which he has represented     
beautiful landscapes1 and given to his  
figures grace1 motion1 and expression1  
with some traces of the colouring of the
 ,school of ,perugia4 ,hence his        
productions have occasionally been taken
 for those of ,pietro1 as in the        
instance of that in ,macerata2 and if ,i
 mistake not1 such an opinion was       
entertained1 even by the learned ,father

 ,civalli1 7p4 #fj74 ,in ,piceno1       
likewise1 in ,monsanmartino1 or in      
,penna ,s4 ,giovanni1 there remain      
altarpieces by ,vittorio ,crivelli1 a   
,venetian1 most probably of the same    
family1 and produced in the years #adhi 
and #ij1 from which period ,i lose sight
 of him1 whether owing to his early     
decease1 or his having set out in       
pursuit of better fortune into foreign  
parts4  ,hitherto we have examined only 
the productions of the capital and of   
the annexed island4 ,but in each of the 
other cities1 now comprehended in the   
state1 there flourished painters during 
the same period1 guided by maxims       
differing both from those of ,venice and
 of ,murano4 ,the ,school of ,bergamo   
had even then made distinguished        
progress under the direction of the two 
,nova1 who died at the commencement of  
the century2 and mention is made of a   
,commenduno1 one of their pupils1       
besides some other contemporaries1 whose
 works1 however1 cannot1 with any degree

 of certainty1 be pointed out4 ,the same
 may be said of those in the adjacent   
city of ,brescia1 which could then1     
also1 boast of possessing some excellent
 artists4 ,of these1 there is nothing   
more than the name now remaining1 yet   
,brandolin ,testorino and ,ottaviano    
,brandino are names placed in           
competition with that of ,gentile di    
,fabriano1 and1 perhaps1 they are       
preferred to him4 ,the former was       
supposed to have been engaged along with
 ,altichiero1 in ornamenting the great  
hall in ,padua1 entitled ,sala de'      
,giganti4#ai  ,subsequent to both of    
these appeared ,vincenzio ,foppa1 of    
,brescia1 founder of an ancient school  
at ,milan1 of which ,i shall treat more 
at length in the following book4 ,vasari
 makes mention of a ,vincenzio da       
,brescia1 or ,vincenzio ,verchio1 who is
 the same ,vincenzo ,civerchio di       
,crema1 commended by ,ridolfo1 and so   
much admired by the ,french in the      
capture of ,crema1 that they fixed upon 

one of his pictures1 then ornamenting   
the public palace1 to be presented to   
their king1 and to this artist we shall 
also again allude4  ,about the          
commencement of the fifteenth century   
there flourished1 in ,verona1 an artist 
of the name of ,stefano1#bj declared1 as
 it appears to me1 by ,vasari1 sometimes
 a native of ,verona1 sometimes of      
,zevio1 a territory adjacent to the     
former4 ,the same author makes          
honourable mention of him in several    
places1 exalting him above the best     
disciples of ,angiolo ,gaddi1 to whose  
style1 judging from what ,i have myself 
observed at ,san ,fermo and elsewhere1  
he added a certain dignity and beauty of
 form1 while such was his excellence in 
frescos1 as to be extolled by ,donatello
 beyond any of the artists who were then
 known for similar compositions in those
 parts4#ba  ,the ,commendatore del      
,pozzo brings his labours down as far as
 the year #adfc1 an incredible          
assertion1 as applied to a scholar of   

,gaddi4 ,to this period might better be 
referred ,vincenzio di ,stefano1        
apparently one of his sons1 of whom     
nothing survives but his name1 and the  
tradition of having conferred the first 
lessons of the art upon ,liberale4      
,highly distinguished1 on the other     
hand1 both by the consent of the        
,veronese and of foreigners1 is the name
 of ,vittor ,pisanello2 although there  
exists great confusion of dates in his  
history4 ,vasari makes him a disciple of
 ,castagno1 who died about the year     
#adhj2 yet del ,pozzo informs us that he
 has in his house a holy figure1 with   
the annexed signature of ,vittore1 and  
dated #adjf1 most probably before the   
birth of ,castagno4 ,again we are told  
by ,oretti that he was in possession of 
one of his medals1 representing the     
,sultan ,mahomet1 struck in the year    
#adha1 a supposition which1 admitting   
the picture of ,pozzo1 we are unable to 
reconcile to facts1 so that the medal   
was1 perhaps1 taken from some painting  

of ,pisanello1 coloured at a former     
time4 ,to whatever master ,vittore may  
have been indebted1 certain it is that  
several of his too partial admirers have
 placed him above ,masaccio1 in regard  
to the services rendered by him towards 
the progress of the art1 though         
impartial judges will not refuse to give
 him a station near him4 ,the whole of  
his labours1 both in ,venice and in     
,rome1 have now perished4 ,at ,verona1  
also1 little remains2 even that noble   
piece of ,san ,eustachio1 so highly     
extolled by ,vasari himself1 having been
 destroyed2 and his ,nunziata1 at ,san  
,fermo1 being greatly defaced by time1  
in which1 however1 is still visible a   
country house1 thrown into such         
admirable perspective1 as to delight the
 beholder4 ,there remain several little 
altarpieces1 containing histories of    
,san ,bernardino1 finished in the style 
of the miniaturists1 in the sacristy of 
,san ,francesco2 but they are crude in  
their colouring1 and the figures more   

than usually long and dry4 ,the ,guide  
of the city announces them as the       
productions of ,pisanello2 but there is 
no authority for this1 and upon the     
strength of a date of #adgc1 which is   
seen upon one of them1 ,i do not scruple
 to pronounce them by another hand4 ,he 
is commended by ,facio1 7p4 #dg7 for his
 almost poetical style of expression2   
and there is a specimen of an effort at 
caricature1 with which ,vittore         
embellished his historic painting of    
,frederick ,barbarossa1 in the ducal    
palace at ,venice4 ,he is1 moreover1    
praised by the same author for his skill
 in drawing horses and other animals1 in
 which he surpassed every other artist4 
,his name is not unknown to the         
antiquaries2 many medals struck by him1 
of different princes1 being found in    
museums1 which acquired for him1 in an  
equal degree with his pictures1 the     
esteem and applauses of ,guarino1 of    
,vespasiano ,strozza1 of ,biondo1 and of
 several other distinguished scholars4  

,in the adjacent city of ,vicenza1      
resided a ,jacopo ,tintorello1 strongly 
resembling ,vittore in his style of     
colouring1 however inferior to him in   
the perfection of his design1 as far as 
we are enabled to judge from a picture  
of the ,saviour1 with a crown of thorns1
 exhibited at ,santa ,corona2 a piece   
which reflects credit upon that school4 
,it is yet more highly honoured by an   
,epiphany1 painted in ,san ,bartolommeo1
 by ,marcello ,figolino1 an artist      
commemorated by ,ridolfi1 under the name
 of ,giovanni ,batista1 and who         
flourished1 according to his account1 at
 the period of the two ,montagna4 ,he   
must1 however1 at that time1 have been  
far advanced in years1 if it be true    
that the era of his birth preceded that 
of ,gian ,bellini4#bb ,his manner is    
undoubtedly original2 so much so1 that  
,i find nothing resembling it1 either in
 ,venice or elsewhere2 it embraces great
 diversity of countenance1 and of       
costume1 skilful gradation of light and 

shade1 with landscape and perspective2  
and is remarkable for ornament1 and the 
finish and smoothness of every part4 ,it
 was fully entitled to render its author
 the father of a new epoch in the       
history of art2 if1 indeed1 we are to   
believe him1 which does not sufficiently
 appear1 to be as ancient as has been   
affirmed4  ,up to this period ,i have   
described the merits of the artists of  
the city and of the state1 who appeared 
in the early part of the century2 but ,i
 have not yet recorded its greatest     
master2 ,i mean ,squarcione1 of ,padua1 
who from his ability in bringing up     
pupils1 was pronounced by his followers 
the first master of painters1 and       
continued to educate them until they    
amounted to #acg4 ,ambitious of seeing  
more of the world1 he not only traversed
 the whole of ,italy1 but passing into  
,greece1 he took designs of the best    
specimens1 both in painting and         
sculpture1 of every thing he met with1  
besides purchasing several4 ,on         

returning to his native place1 he began 
to form a studio1 which proved the      
richest of any known at that period1 not
 merely in designs1 but in statues1     
torsos1 bassi relievi1 and funereal     
urns4 ,thus devoting himself to the     
instruction of students1 with such      
copies1 aided by his precepts1 rather   
than by his own example1 he continued to
 live in comparative affluence1 and     
divided many of the commissions which he
 received among his different pupils4   
,in the church of the ,misericordia is  
preserved a book of anthems1 illustrated
 with very beautiful miniatures1        
commonly ascribed to ,mantegna1 the     
ornament of that school3 but so great is
 the variety of the different styles1   
that the most competent judges conclude 
it to be one of the works committed to  
,squarcione1 and by him distributed     
among his disciples4 ,of these we are   
not yet prepared to treat1 the chief    
part of whom are known to have          
flourished subsequent to the            

introduction of painting in oils1 while 
little can be said of the productions of
 ,squarcione himself1 though much in    
respect to his labours as a master4     
,and1 indeed1 he may be considered the  
stock1 as it were1 whose branches we    
trace1 through ,mantegna1 in the grand  
school of ,lombardy2 through ,marco     
,zoppo in the ,bolognese2 while it      
extended some degree of influence over  
that of ,venice itself4 ,for ,jacopo    
,bellini1 having come to exercise his   
talents in ,padua1 it would appear that 
he took ,squarcione for his model1 as   
before stated4  ,there is nothing       
remaining from the hand of ,squarcione1 
in ,padua1 that can be relied upon with 
certainty1 except an altarpiece1        
formerly to be seen at the ,carmelitani1
 but now in possession of the           
accomplished ,conte ,cav4 de' ,lazara4  
,it is drawn in different compartments2 
the chief place is occupied by the      
figure of ,san ,girolamo4 ,around him   
appear other saints2 but the work is in 

parts re-touched1 though there is       
sufficient of what is original to       
establish the character of the painter4 
,rich in colouring1 in expression1 and  
above all in perspective1 it may be     
declared one of the best specimens of   
the art produced in those parts4 ,the   
painting of the altarpiece1 here alluded
 to1 was assigned him by the noble      
family of the ,lazara1 of which the     
contract is still preserved by them1    
dated #addi1 the salary being paid in   
#adeb1 the period at which it was       
completed4 ,the artist subscribes       
himself ,francesco ,squarcione1 whence  
we are enabled to correct the mistake of
 ,vasari1 who1 invariably unfortunate in
 his nomenclature of the ,venetians1    
announces his name as ,jacopo1 an error 
repeated also in the dictionaries of    
artists4 ,besides this specimen1 there  
still exist1 in a cloister of ,san      
,francesco ,grande1 some histories of   
that saint in terra verde1 which are to 
be referred to the early part of his    

life1 there being good authority for    
believing them to be by the same hand1  
though with the assistance of his       
school1 as the more and less perfect    
parts render sufficiently apparent4     
,near them were placed some other pieces
 of ,squarcione also in terra verde1    
which were defaced in the time of       
,algarotti1 who regrets their loss in   
one of his elegant and pleasing letters4
 ,their style is altogether analogous to
 that of his school2 animated figures1  
neat in the folds1 foreshortenings not  
usual in works of that age1 and         
attempts1 though yet immature1 at       
approaching towards the style of the    
ancient ,greeks4  ,proceeding from      
,padua1 in the direction of ,germany1 we
 meet with some anonymous paintings1 in 
the districts of ,trevigi and ,friuli1  
which ought1 apparently1 to be referred 
to this epoch2 so far removed are they  
in style from the nobler method1 we     
shall shortly have to describe4 ,the    
name of ,antonio is well known in       

,treviso1 an artist who produced a ,s4  
,cristoforo1 of gigantic stature1       
tolerably well executed1 in ,san        
,niccolo1 and that of ,liberale da      
,campo1 author of a ,presepio1 which is 
placed in the cathedral4 ,superior to   
both of these must have been ,giorgio da
 ,trevigi1 if we are to believe         
,rossetti1 where he mentions his        
introduction into ,padua1 in #adcg1 in  
order to paint the celebrated tower of  
the ,horologe4 ,there exist other       
pictures of the fourteenth century1 more
 or less perfect1 interspersed          
throughout the ,marca ,trevigiana1 and  
more particularly in ,serravalle4 ,other
 places in ,italy1 indeed1 bear the same
 name1 derived from the inclosed form of
 the mountains2 this1 however1 is the   
largest of the whole1 being a rich and  
ornate city1 where ,titian was in the   
habit of spending some months in the    
year at the house of his son-in-law1 by 
way of amusement1 and has left there    
several memorials of his art4 ,but the  

whole of the church of the ,battuti     
appears ornamented in a more antique    
taste1 executed in such a manner1 that  
,i was assured1 by a person who         
witnessed it1 that it most of all       
resembled a sacred museum of art4 ,the  
whole must have been the work of the    
same artists that we have just been     
recording in other cities1 inasmuch as  
the names of no natives are known beyond
 the single one of ,valentina4 ,he1     
indeed1 verged upon the improved age2   
but in ,ceneda1 that boasts various     
altarpieces of his hand1 as well as in  
,serravalle itself1 where he painted    
another1 with some saints of the ,holy  
,family1 he still appears a disciple of 
the ancients1 and a copyist of          
,squarcione1 of ,padua4 ,we shall soon  
discover more celebrated artists rising 
up in this province1 after the          
introduction into the ,trevigiana1 of   
the method of the ,bellini4  ,the       
artists of ,friuli availed themselves of
 it less early1 not having sufficiently 

imbibed the principles of modern taste1 
even as late as the year #aejj1 either1 
in the opinion of ,rinaldis1 from the   
secluded situation of the place1 or from
 the disturbed and revolutionary        
character of the times4 ,hence it is    
that the provincial painters of that    
period are to be referred wholly to     
this1 not to the subsequent era of the  
art4 ,to such belongs ,andrea           
,bellunello1 of ,san ,vito1 whose       
masterpiece is a ,crucifixion1 among    
various saints1 with the date of #adge1 
exhibited in the great council chamber  
at ,udine4 ,it has some merit in regard 
to the size1 and the distribution of its
 figures2 but displays neither beauty of
 forms1 nor colour1 and we might almost 
pronounce it an ancient piece of        
tapestry1 when placed by the side of a  
beautiful picture4 ,nevertheless1 in his
 own district1 he was considered the    
,zeuxis and ,apelles of his age4#bc     
,contemporary with him1 was ,domenico di
 ,tolmezzo1 who painted an altarpiece in

 various compartments for the cathedral 
of ,udine2 a ,madonna1 in the taste of  
those times1 with some saints1 figures  
which all partake of the ancient        
,venetian style1 even to the colouring1 
insomuch that one might believe him to  
have been a disciple of that school4 ,he
 has attached his name and the year1    
#adgi1 and it would appear that there   
belonged to the same piece1 exhibiting a
 figure of the blessed ,bertrando1      
,patriarch of ,aquileja1 two oblong     
tablets1 one of which represents his    
offering of alms1 the other the         
circumstances of the death he suffered4 
,the whole of these paintings1 which ,i 
have noticed1 are tolerably executed1 in
 particular the two histories1 and are  
preserved in two chambers of the        
,canonica4 ,not far from the same place 
is seen a figure of the saint1 in       
fresco1 painted by ,francesco de        
,alessiis1 in #adid1 and placed over the
 door of a house1 formerly the college  
of ,s4 ,girolamo4  ,while the schools of

 the state thus continued to advance1 a 
knowledge of design became more general 
in ,venice2 and in the latter part of   
the century1 its artists1 for the most  
part1 had acquired a taste similar to   
what ,i have already described as       
influencing those of other places--a    
taste rather removed from the antique   
coarseness1 than adorned with the       
elegance of the moderns4 ,although the  
use of canvass had been already adopted 
in ,venice1 like that of boards         
elsewhere1 a circumstance for which     
,vasari accounts1 in treating of the    
,bellini1 there was no composition      
besides water colours1 or distemper2    
excellent1 indeed1 for the preservation 
of tints1 as we perceive from unfaded   
specimens in the present day1 but       
unfriendly to the production of union1  
smoothness1 and softness4 ,at length    
appeared the secret of colouring in oils
 from ,flanders1 a discovery conferring 
a happier era upon the ,italian         
,schools1 and in particular upon that of

 ,venice1 which availed itself of it    
above every other1 and apparently the   
very first of all4 ,in the ,florentine  
,school ,i have described the origin of 
this invention1 ascribing it1 along with
 ,vasari1 to ,giovanni ,van ,eych1 and  
both there and in the ,neapolitan1 ,i   
have also shewn that the first who      
communicated it to ,italy was ,antonello
 da ,messina1 having been instructed in 
it by ,giovanni himself in ,flanders4   
,the historical account of this         
,messinese1 as ,i have repeatedly before
 observed1 has never been sufficiently  
elucidated4 ,vasari and ,ridolfi state  
such facts respecting him as are not    
easily reconcilable to the period of    
life in general assigned to him1        
reaching only to forty-nine years2 and  
,i have proved1 in collecting memorials1
 to which they had no access1 alluded to
 in the ,neapolitan ,school1 that there 
were two distinct visits made by        
,antonello to ,venice4 ,the first1 it   
appears to me1 must have taken place    

soon after his return into ,italy2 at   
which time he concealed the discovery   
from every one1 except it were ,domenico
 ,veneziano1 who is known to have       
availed himself of it for many years1   
both in ,venice and elsewhere4 ,during  
that period ,antonello visited other    
places1 and more especially ,milan1     
whence he returned to ,venice for the   
second time1 and as it is said1 received
 a public salary1 and then he divulged  
the method of painting in oils to the   
,venetian professors2 a circumstance    
which1 according to the superscriptions 
attached to his pictures1 appears to    
have taken place about the year #adgd4  
,other signatures are to be met with as 
late as #adij1 insomuch that he must    
have run a longer career than that which
 has above been assigned him4 ,and we   
are here arrived at an era1 at once the 
happiest and most controverted of any4  
,but of the ,venetians we shall treat   
presently1 after alluding to the works  
of this foreign artist apart4 ,two      

altarpieces by his hand are recorded1   
which were painted for the two churches 
of the ,dominante1 besides several      
,madonnas1 and other holy pieces        
intended for private houses1 together   
with some few productions in fresco4    
,there is no doubt but he also produced 
many others1 both at the instance of    
natives and of foreigners1 relieving    
himself from the multiplicity of his    
commissions by the aid of ,pino di      
,messina1 the same who is commended in  
the memoirs of ,hackert1 as the pupil   
and companion of ,antonello's labours at
 ,venice4 ,it is not mentioned whether  
he produced any specimens of his art in 
,sicily1 nor am ,i certain whether he   
returned thither4 ,in many ,venetian    
collections1 however1 they are still    
preserved1 and display a very correct   
taste1 united to a most delicate command
 of the pencil2 and among others is a   
portrait in the possession of the family
 ,martinengo1 bearing the inscription   
,antonellus ,messaneus me fecit1 #adgd4 

,in the council hall of the ,ten is also
 to be seen one of his pictures of a    
,pieta1 half-length1 subscribed1        
,antonius ,messinensis4 ,the features of
 the countenances1 though animated1 are 
not at all select1 nor have much of the 
,italian expression2 and his colours in 
this and other of his productions that  
,i have seen1 are less vivid than in    
some ,venetian artists of that age1 who 
carried the perfection of colouring to  
its highest pitch4  ,there is good      
authority for believing that1 together  
with ,antonello1 or very near the same  
period1 there flourished in ,venice one 
of the best ,flemish disciples of       
,giovanni ,van ,eych2 called by ,vasari1
 ,ruggieri da ,bruggia4 ,there appears1 
in the ,palazzo ,nani1 adorned by its   
present owner in the hereditary taste of
 his noble family1 with the most        
splendid monuments of antiquity1 a ,san 
,girolamo between two holy virgins1 a   
picture1 as is shewn from the following 
inscription1 by his hand1--,sumus       

,rugerii manus4 ,it is drawn with more  
merit in point of colouring than of     
design1 upon ,venetian pine wood1 not   
upon ,flemish oak2 and for this reason  
it is considered by ,zanetti1 as the    
production of a native artist4 ,but if  
the ,venetians had really possessed a   
painter of so much merit1 towards the   
year #aejj1 how is it possible that he  
should be distinguished only by this    
solitary specimen of his powers4 ,even  
the very imposing formula he made use of
 in subscribing his name1 contrary to   
the usual practice of those times1      
without mention either of family or of  
place1 is it not altogether like that of
 an artist who feels and displays his   
own celebrity8#bd ,to me it does not    
appear at all improbable that ,ruggieri1
 on arriving in ,italy1#be sought to    
employ his talents upon some subject1 in
 the same way as ,ausse1#bf his         
disciple1 ,ugo d',anversa1 and other    
,flemish painters of that period1 whose 
names are commemorated along with his by

 ,vasari1 in the twenty-first chapter of
 his introduction4  ,reverting to       
,antonello1 we are told by ,borghini and
 ,ridolfi1 that ,gian ,bellini1 having  
assumed the dress and character of a    
,venetian gentleman1 for the pretended  
purpose of having his portrait taken1   
penetrated by this disguise into the    
studio of the ,messinese2 and watching  
him while he painted1 discovered the    
whole secret of the new method1 which he
 speedily applied4 ,but ,zanetti        
conjectures that ,antonello was not very
 jealous of his secret1 by which means  
it was quickly diffused among the       
different professors of the art4 ,and   
this is clearly shewn by a picture of   
,vivarini1 coloured in oil1 as early as 
#adgc1 no less than by others from      
different hands in the years following4 
,argenville even goes farther2 for he   
asserts that such was the generosity    
with which ,antonello taught in ,venice1
 that he drew a crowd of pupils1 who    
assisted in spreading a knowledge of the

 discovery through all parts4 ,and among
 these we find several foreigners1 such 
as ,theodore ,harlem1 ,quintinus        
,messis1 along with several others      
mentioned in the preface to the third   
volume1 p4 iii4 ,this we are likewise   
inclined to admit during the period of  
his public instructions in the city4    
,all that now remains before we reach   
the times of ,titian and ,giorgione1 is 
comprised in that last stage of the art 
which1 in every school1 has opened a    
path to the golden period which ensued4 
,the masters who were to distinguish the
 stage alluded to1 in ,venice1 as in    
almost all other parts1 are found to    
retain traces of the ancient stiffness  
of manner1 and sometimes exhibit1 like  
the naturalists1 imperfect forms copied 
from the life2 as1 for instance1 in     
those extravagantly long and spare      
figures which we noticed in ,pisanello4 
,in ,venice such forms were in high     
repute with ,mansueti1 ,sebastiani1 and 
other of their contemporaries1 nor were 

they disliked by the ,bellini           
themselves4 ,and1 indeed1 where they    
selected good proportions1 they are apt 
to arrest the attention by that         
simplicity1 purity1 care1 and1 as it    
were timidity of design1 which attempts 
to avoid every approach to exaggeration4
 ,such artists we might suppose to have 
been educated by the more ancient ,greek
 sculptors1 in whose works the          
exhibition of truth attracts the        
spectator1 like that of grandeur in     
others4 ,their heads1 more particularly1
 are correct and fine2 consisting of    
portraits taken from the life1 both     
among the populace1 and among persons of
 superior birth1 whether distinguished  
for learning1 or for their military     
exploits4 ,and to this practice1        
familiar also to artists of the         
thirteenth century1 we are indebted for 
many likenesses which were copied at the
 instance of ,giovio1 for his museum4   
,thence they were again multiplied both 
by painting and engraving1 in different 

parts of the world4 ,often also the     
artist of those times inserted his own  
portrait in his composition2 a          
circumstance so favourable to ,vasari's 
history2 but this species of ostentation
 was gradually abandoned as real        
cultivation in ,italy advanced4 ,but    
then1 as in the heroic and still more   
uncivilized times1 such species of      
boasting was not esteemed offensive3 and
 surely1 if the literati of the         
fourteenth century were in the habit of 
extolling themselves in their own works2
 if the typographers were so fond of    
exalting themselves and their editions  
by superb titles1 and more vaunting     
epigrams1 even to a ridiculous degree2  
the more modest ambition of sometimes   
handing down their own features to      
posterity1 may be excused in our        
painters4  ,the colours of these artists
 are likewise simple and natural1 though
 not always in union1 more especially   
with the ground1 nor sufficiently broken
 by the chiaroscuro4 ,but above all1    

they are most remarkable for the extreme
 simplicity of the composition of their 
pieces4 ,it was very seldom they        
inserted histories1 it being sufficient 
for the ambition of those times to give 
a representation of our ,lady upon a    
throne1 surrounded with a number of     
saints1 such as the devotion of each was
 supposed to require4 ,nor were those   
drawn in the manner they had before     
been1 all erect at equal distances1 and 
in the least studied motions2 but their 
authors attempted to give them some     
degree of contrast1 so that while one   
was drawn gazing upon the ,virgin1      
another appeared reading a book2 if this
 were in a kneeling attitude1 that is   
seen standing erect4 ,the national      
genius1 always lively and joyous1 even  
then sought to develop itself in more   
brilliant colours than those of any     
other school4 ,and1 perhaps1 in order   
that the figures1 of such glowing tints1
 might stand in bolder relief1 they kept
 the colour of the airs most generally  

pale and languid4 ,they aimed1 indeed1  
as much as lay in their power1 at       
enlivening their compositions with the  
most pleasing images2 freely introducing
 into their sacred pieces1 sportive     
cherubs1 drawn as if vieing with each   
other in airy grace and agility2 some in
 the act of singing1 some of playing3   
and not unfrequently bearing little     
baskets of fruit and flowers so         
exquisitely drawn as to appear moist    
with recent dew4 ,in the drapery of     
their figures they were simple and      
natural2 the most exempt perhaps from   
that trite and exact folding1 as well as
 from that manner of bandaging the      
bodies so common in ,mantegna1 and which
 infected some other schools4  ,nor did 
they lay small stress upon certain      
accessaries of their art1 such as the   
thrones1 which they composed in the     
richest and most ostentatious manner2   
and the landscapes1 which they drew with
 an astonishing degree of truth from    
nature1 besides the architecture        

frequently constructed in the forms of  
porticos or tribunes4 ,it may sometimes 
be observed1 also1 that adapting        
themselves to the workmanship and to the
 design of the altar1 they feigned a    
continuation of it within the painting1 
so that by the resemblance of colour and
 of taste1 the eye is deceived1 the     
illusion produced rendering it doubtful 
where the exterior ornament#bg          
terminates1 and where the picture       
begins4 ,we ought not1 therefore1 easily
 to give credit to certain writers who  
have undervalued the merits of such     
masters1 pronouncing their labours      
mechanical1 as those of mere practical  
artificers1 inasmuch as ,serlio is known
 to have supplied several of them with  
architectural designs4#bh ,we ought     
rather to subscribe to the opinion of   
,daniel ,barbaro1 whose extensive       
learning did not prevent him1 in his    
work entitled ,pratica di ,prospettiva1 
from expressing his admiration of them1 
even from the commencement1 as follows3 

,in this art they left many fine        
remnants of excellent works1 in which we
 behold not only landscapes1 mountains1 
woods1 and edifices1 all admirably      
designed2 but even the human form1 and  
other animals1 with lines drawn to the  
eye1 as if to a centre placed in the    
most exact perspective4 ,but in what    
manner1 and by what rules they          
proceeded1 no author of whom ,i am      
aware1 has left any account to instruct 
us4  ,as this progress of style was more
 greatly promoted by ,gian ,bellini than
 by any other master1 with him ,i shall 
commence my account1 afterwards         
proceeding to treat of his              
contemporaries1 and such of his scholars
 as more or less resembled him4 ,nor1 ,i
 flatter myself1 will it be unpleasing  
to the reader1 to find mention of the   
imitation of ,giorgione and of ,titian1 
as it were anticipated1 inasmuch as it  
happens with the professors of the art  
of painting1 as occasionally with those 
writers who have flourished on the      

confines of two ages2 that their style  
to a certain degree seems to partake of 
the colour of both4 ,thus ,giovanni     
,bellini himself will afford us1 in his 
numerous productions1 which commence    
before #adfd1 and continue down to the  
year #aeaf1 a sort of regular gradation 
of his progress1 that may be considered1
 at the same time1 the progress of his  
school4 ,even in his earliest pictures1 
we trace the ambition of the artist to  
ennoble and to enlarge the national     
manner4 ,the noble house of their       
,excellencies ,corner1 which at the time
 of the ,queen of ,cyprus1 gave frequent
 commissions to his hand1 possesses     
several specimens of his first style1   
proceeding gradually to others appearing
 always to grow more beautiful4 ,among  
these last is a ,san ,francesco drawn   
amidst a thick wood2 a piece that might 
well excite the envy of the best        
landscape masters themselves4 ,having   
reached the period of #adhh1 in which he
 produced an altarpiece still preserved 

in the sacristy of the ,conventuali1 we 
find he extorts the praises of ,vasari1 
no less as a good mannerist than a fine 
designer4 ,with still greater success he
 executed other works from the examples 
afforded by ,giorgione4 ,it was then he 
conceived his subjects more boldly1 gave
 rotundity to his forms1 and warmth to  
his colours2 he passed more naturally   
from contrasted tints1 his naked figures
 became more select1 his drapery more   
imposing2 and if he had succeeded in    
acquiring a more perfect degree of      
softness and delicacy in his contours1  
he might have been held up as one of the
 most finished examples of the modern   
style4 ,neither ,pietro ,perugino1      
,ghirlandajo1 nor ,mantegna attained to 
it in an equal degree4 ,the lover of art
 will find various specimens of him1    
both in ,venice and elsewhere4 ,his     
altarpiece1 painted for ,san ,zaccaria1 
in #aeje1 is well worthy his attention1 
as well as that of ,s4 ,giobbe1 of the  
date of #aeaj4 ,to these we may add a   

,bacchanal1 in the villa ,aldobrandini1 
at ,rome1 dated #aead1 which1 on account
 of the artist's advanced age1 was left 
imperfect4 ,i have seen other pictures  
by his hand1 without date1 but of       
striking merit2 more especially a       
,virgin in the cathedral of ,bergamo2 a 
,baptism of our ,lord at ,santa ,corona1
 of ,vicenza1 a ,holy ,child slumbering 
on the lap of the ,virgin1 between two  
angels1 a production that lies treasured
 up in a chest at the ,capuchins1 in    
,venice1 and which truly fascinates the 
eye of the beholder4 ,it displays a     
striking union of that beauty1 grace1   
and expression1 of which1 in this       
school1 he may be said to have set the  
example4 ,it would appear that he       
continued to employ his talents to an   
extreme old age1 there remaining1 in the
 select gallery of ,santa ,giustina1 at 
,padua1 one of his ,madonnas1 painted in
 #aeaf4bi ,such figures1 together with  
those of the ,dead ,christ1 are the most
 frequent paintings of his hand that we 

meet with4 ,should any one1 not content 
with the commendations ,i have bestowed1
 feel inclined to prefer a ,bellini to a
 ,raffaello1 because he was his superior
 in architectural design1 let him       
consult the opinion of ,boschini1 p4    
#bh1 of his ,carta da ,navigare1 but let
 him recollect that the same writer     
possesses nothing of the poet beyond the
 measure of the verse1 and the          
exaggeration of his praises4  ,the name 
of ,giovanni ought not to go down       
unaccompanied by that of his brother    
,gentile1 who preceded him1 alike in the
 period of his birth and of his death4  
,though living apart1 in regard to      
family1 they were of congenial mind and 
disposition1 esteeming one another as   
friends and brethren1 mutually          
encouraging and respecting each other1  
as superior in merit4 ,but in ,giovanni 
this was modesty1 in ,gentile only      
truth4 ,for the latter had a more       
confined genius2 but by diligence1 that 
sometimes compensates the neglect of    

nature1 he was enabled to attain an     
honourable station among his            
contemporaries4 ,he was employed by the 
republic upon an equal footing with his 
brother1 to adorn the hall of the great 
council2 and when the ,grand ,turk sent 
to ,venice in search of an eminent      
portrait painter1 he was commissioned by
 the senate to go to ,constantinople1   
where in the exercise of his profession 
he added glory to the ,venetian name4   
,besides his works in painting1 he there
 struck a fine medallion for ,mahomet   
,,ii41 bearing the head of the emperor1 
with three crowns on the reverse2 a rare
 work1 of which1 however1 ,i learn there
 is a specimen in possession of his     
,excellency1 ,theodore ,corer4 ,however 
inferior we are to consider him to his  
brother1 and tenacious of that ancient  
harshness in many of his works1 there   
are still several of a more beautiful   
description1 such as his histories of   
the ,holy ,cross at ,san ,giovanni1 and 
the ,preaching of ,s4 ,mark1 at the     

college of that saint2 a piece1 which1  
placed near that of a ,paris ,bordone1  
does no discredit to its author4 ,he    
shews himself a faithful copyist1       
inasmuch as every thing he remarked in a
 concourse of people1 is faithfully     
pourtrayed4 ,the features of the        
audience1 and the peculiar conformations
 of the body are as diversified as we   
see them in nature1 including even      
instances of deformity1 into which      
through her own general laws1 nature is 
known to fall2 and we are thus presented
 with caricatures1 with bald1 and lean1 
and pursy1 and1 what is more remarkable1
 the auditors of ,s4 ,mark are drawn    
without regard to times1 in the costume 
of ,venetians or of ,turks4 ,yet from   
its exact imitation of the truth1 its   
arrangement1 and its animated style1 the
 work does not fail to please and strike
 the beholder4 ,i shall even go further2
 for there are pictures on a smaller    
scale1 by the same hand1 executed with  
so much taste1 that they may be esteemed

 not unworthy of the name of his        
brother4 ,such is a ,presentation of the
 infant ,jesus at the ,temple1 in half  
length1 which adorns the ,palazzo       
,barbarigo1 at ,san ,polo1 a duplicate  
of which was painted for that of the    
,grimani1 with still more delicacy and  
care4 ,opposite to this of ,gentile is a
 fine picture of ,gian ,bellini1 which1 
however1 superior in the softness of its
 tints1 is considered scarcely equal in 
point of beauty and other qualities of  
the art4  ,the two ,bellini and the last
 of the ,vivarini had a competitor in   
,vittore ,carpaccio1 either a ,venetian 
or a native of ,capo d',istria1#cj and  
along with these he was selected to     
ornament the ducal palace4 ,it was      
destroyed by fire in #aegf1 when that   
noble collection of ancient historic    
pieces perished1 though subsequently    
restored by the most celebrated artists 
of later times4 ,yet there still remains
 a specimen of ,vittore's style in the  
,oratory of ,santa ,ursula1 sufficient  

to entitle him to rank among the best   
artists of the age4 ,it consists of     
eight histories drawn from the acts of  
that saint1 and of her eleven thousand  
companions1 which were all about that   
time very generally admitted to be true4
 ,the production is not wanting in power
 of conception1 developing numerous and 
novel combinations1 nor in the order of 
their distribution2 in richness of      
ideas1 both in varying the features and 
costume1 nor in architectural skill and 
landscape1 serving to adorn them4 ,still
 more remarkable is its expression of   
nature and simplicity2 an expression    
which so frequently invited ,zanetti    
himself to a renewed contemplation of   
it4 ,he there remarked the various      
passions of the people1 who appeared to 
understand every thing passing2 and1 in 
their earnest attention1 expressed      
sentiments in unison with the           
representation2 whence he concludes his 
description by saying that ,carpaccio   
felt the truth in his very heart4  ,he  

produced still nobler specimens of his  
genius in the college of ,san ,girolamo1
 which rivalled those of ,giovanni      
,bellini1 without1 in this instance1    
yielding to them4 ,his character1 which 
might frequently be confounded with that
 of ,gentile1 shines most conspicuous1  
perhaps1 in his altarpieces1 where he is
 original in almost every composition4  
,the most celebrated in ,venice is one  
of the ,purification at ,san ,giobbe1 in
 which1 however1 the ,s4 ,vecchio       
,simeone is represented in a pontifical 
dress1 between two servants arrayed like
 cardinals4 ,if we except this error1 in
 point of costume1 and add a little more
 warmth of colours to the flesh1 more   
delicacy of contour1 the piece would not
 discredit the first artist of any      
times4 ,owing to the fault of his early 
education1 however1 these qualities he  
never attained4 ,this1 also1 happened to
 ,lazzaro ,sebastiani1 his disciple and 
follower2 to ,giovanni ,mansueti1 to    
,marco1 and to ,pietro ,veglia1 as well 

as to ,francesco ,rizzo1 of ,san ,croce1
 a territory in the district of         
,bergamo2#ca artists who1 however nearly
 they touched upon the golden period1   
did not succeed in freeing themselves   
from the influence of the old and       
uniform taste1 and for this reason are  
often confounded with each other4 ,i do 
not here treat of the paintings left by 
them at ,venice1 as they have so        
frequently been described elsewhere4 ,it
 will be enough to inform the reader    
that in these1 also1 we discover several
 noble traces of the style of ,gentile  
and ,carpaccio1 more especially in the  
architecture1 and that their colouring1 
which1 in this school1 is considered    
cold and languid1 would be termed1 in   
several of the others1 both soft and    
animated enough for that period4 ,the   
one who1 if ,i mistake not1 approaches  
nearer to the modern1 and in some degree
 towards the style of ,giorgione1 is    
,benedetto ,diana1 as well in his       
altarpiece of ,santa ,lucia1 at the     

,,ss4 ,apostoli1 as in the ,limosina de'
 ,confratelli di ,san ,giovanni1 painted
 at their college in competition with   
the ,bellini4  ,we next come to ,marco  
,basaiti1 sprung from a ,greek family in
 the ,friuli1 and a rival also of       
,giovanni2 but more successful than     
,carpaccio4 ,the church of ,san ,giobbe1
 here mentioned for the third time1     
possesses his picture of ,christ praying
 in the ,garden1 painted in #aeaj4 ,it  
is now a little defaced1 but has been   
highly extolled by ,ridolfi and others1 
who beheld it in a more perfect         
condition4 ,above all his productions1  
however1 the ,vocation of ,san ,pietro  
to the ,apostleship1 in the church of   
the ,certosa1 is the most celebrated2 a 
piece1 of which there is seen a         
duplicate in the imperial gallery at    
,vienna4 ,it is certainly one of the    
most beautiful pictures of that age2 and
 most generally there is no kind of     
merit in ,gian ,bellini1 in which       
,basaiti does not either equal1 or very 

closely approach him4 ,indeed he appears
 to exhibit even a freer genius1 a more 
happy composition1 and a more skilful   
art in uniting the grounds of his       
pictures with the figures4 ,these are   
beautiful1 and for the most part incline
 to the free style2 their look is full  
of fire2 the tints of the fleshy parts  
of a rosy glow2 the middle tints        
inclining sometimes to paleness1 but not
 without grace4 ,though not a native1 he
 resided a long period at ,venice1 which
 contains a good number of his works1 a 
few of which are in the ancient taste1  
but the most part bordering upon the    
modern4 ,his native place of ,friuli    
possesses no other specimen besides a   
,christ taken from the ,cross1 in the   
monastery of ,sesto1 consisting of large
 figures1 with a fine group in the      
background of the picture1 and with a   
landscape full of nature4 ,in several   
parts it is defaced by age2 but a true  
connoisseur will still1 perhaps1 prefer 
it to the others1 for being free from   

the retouches of modern art4  ,among the
 pupils of ,gian ,bellini1 who were very
 numerous1 are some who ought to be     
referred to another epoch1 like         
,giorgione1 and to different schools1   
like ,rondinello of ,ravenna2 several1  
however1 take their place here1 who1 in 
the opinion of their national           
contemporaries1 did not fully attain to 
the possession of the new style4 ,the   
family of the heads of the school1      
produced also a ,bellin ,bellini1 who   
being educated in that academy1 very    
happily imitated its manner4 ,he painted
 ,madonnas for private individuals1     
which1 their author being little known1 
are for the most part attributed to     
,gentile1 or to ,giovanni4 ,the artist  
who is mentioned by ,vasari as the pupil
 of ,giovanni1 named ,girolamo ,mocetto1
 was one of the earliest and least      
polished among his disciples4 ,he did   
not reach the sixteenth century2 and    
left behind him some engravings upon    
copper1 now become extremely rare2      

besides small pictures1 one of which1   
subscribed with the author's name1 in   
#adhd1 is in the possession of the      
before mentioned house of ,corer4 ,the  
,veronese1 who are in possession of his 
portrait1 amongst those of the painters 
of their town1 in the ,scuola del ,nudo1
 can also boast one of his altarpieces1 
bearing the name and date of #adic1 in  
their church of ,s4 ,nazario e ,celso4  
,such information ,i obtained from      
,signor ,saverio dalla ,rosa1 a         
,veronese painter of merit4 ,another    
less distinguished1 and somewhat stiff  
scholar or imitator of ,bellini1 has    
affixed his name in several places1 at  
the foot of sacred figures1 as follows3 
,marcus ,martialis ,venetus2 and in a   
,purificazione1 existing in the         
,conservatory of the ,penitents1 we meet
 with the year #adhh4 ,and from a       
,supper of ,emmaus1 belonging to the    
family of the ,contarini1 with the      
painter's name1 we learn that in the    
year #aejf he was still alive4  ,an     

artist of a better taste appeared in    
,vincenzio ,catena1 a wealthy citizen1  
who obtained a good deal of celebrity by
 his portraits and pictures for private 
rooms4 ,his masterpiece consists of a   
,holy family1 in the style of           
,giorgione1 ornamenting the noble       
,pesaro gallery2 and if he had produced 
nothing more than this1 he would no     
longer be included in the present epoch2
 but his other pieces1 exhibiting more  
traces of the old style1 which remain at
 ,san ,maurizio1 at ,san ,simeone       
,grande1 at the ,carita1 and elsewhere1 
authorise our enumeration of them here4 
,they are beautiful2 but not            
sufficiently in the modern taste4 ,his  
reputation1 however1 while living1 was  
so great1 that in a letter written by   
,marc ,antonio ,michiel from ,rome1 to  
,antonio di ,marsilio in ,venice1 dated 
#aath of ,april1 #aebj1 when ,raffaello 
was just deceased and ,buonarotti       
infirm1 it is recommended to ,catena to 
be upon his guard1 since danger seems to

 be impending over all very excellent   
painters4#cb ,one ,giannetto            
,cordegliaghi enjoyed also a high       
reputation1 if he be rightly named by   
,vasari1 who commends him for his soft  
and delicate manner1 superior to many of
 his contemporaries2 adding1 that he had
 produced an infinite number of pictures
 for private persons4 ,in ,venice he is 
termed1 ,i suppose for the sake of      
brevity1 ,cordella2 and to him is       
attributed the beautiful portrait of the
 ,cardinal ,bessarione in the college of
 ,la ,carita1 with a few other          
specimens1 the rest having dropt into   
oblivion4 ,probably his real name was   
double1 ,cordella ,aghi4 ,it is certain 
that ,zanetti read1 upon a beautiful    
,madonna1 belonging to the learned      
,zeno1 ,andreas ,cordelle ,agi1 ,f4     
,this last is of the same family as     
,giannetto2 or perhaps also in place of 
,giannetto1 ,vasari ought to have       
written ,andrea2 as instead of ,jacopo  
he ought to have said ,francesco        

,squarcione4 ,nor can it be denied1 that
 if we except the artists of ,verona and
 ,friuli1 this historian was deficient  
in information1 as he himself declares1 
relating to the ,venetian ,school4 ,it  
is sufficient to turn to his proemium of
 the life of ,carpaccio1 in order to    
observe how many times1 in a very few   
lines1 he is guilty of making mistakes4 
,of ,lazzaro ,sebastiani1 he made two   
painters2 two others out of ,marco      
,basaiti1 dividing him into ,marco      
,basarini and ,marco ,bassiti1 and      
assigning to each his several works4    
,moreover1 he wrote ,vittore            
,scarpaccia1 ,vittor ,bellini1          
,giambatista da ,cornigliano1 and       
confounded the labours of all the three 
together4 ,elsewhere we meet with       
,mansuchi for ,mansueti2 ,guerriero and 
,guarriero1 instead of ,guariento2      
,foppa is made into ,zoppa1 ,giolfino   
into ,ursino1 ,morazone into ,mazzone1  
,bozzato into ,bazzacco1 ,zuccati into  
,zuccheri and ,zuccherini2 and thus he  

continued to blunder through other      
,lombard and ,venetian names1 insomuch  
as almost to vie with ,harms1 with      
,cochin1 and with similar inaccurate    
foreigners4  ,the following names were  
slightly esteemed or slightly known by  
,vasari1 and therefore omitted in his   
history3 ,piermaria ,pennacchi of       
,trevisi1 and ,pier ,francesco ,bissolo1
 a ,venetian4 ,of the former there      
remain two entablatures1 painted for    
churches1 more excellent in point of    
colouring than design4 ,one is in       
,venice1 the other at ,murano4 ,of these
 artists1 ,pier ,francesco painted on   
the least extensive scale1 but was more 
finished and beautiful4 ,his altarpieces
 in ,murano1 and in the cathedral of    
,trevigi1 may be put in competition with
 those of the elder ,palma2 and one in  
possession of the family of ,renier1    
representing ,the ,meeting of ,simeon1  
still nearer approaches to the fulness  
and softness of the moderns4  ,girolamo 
di ,san ,croce was still more deserving 

of commemoration than these4 ,yet       
,vasari omitted him2 ,boschini is silent
 on the subject2 and ,ridolfi has found 
in him more to blame than to praise1    
asserting that he had never freed       
himself from the ancient style1 though  
flourishing at a period when the less   
celebrated geniuses attempted to        
modernise their taste4 ,happily1        
however1 for this distinguished man1 not
 a few of his best labours have been    
preserved1 of which ,zanetti has        
pronounced his opinion that1 he         
approaches nearer to the manner of      
,giorgione and ,titian1 than any of the 
others4 ,and such commendation is       
justified by his altarpiece of ,s4      
,parisio1 so highly mentioned in the    
,guide of ,treviso1 and which is to be  
seen at the church of that saint4 ,in   
,venice itself there are some of his    
pictures which display uncommon merit1  
such as the ,supper of our ,saviour1    
with the name of ,santa ,croce1 which is
 in ,s4 ,martino2 and a ,salvatore1 at  

,s4 ,francesco della ,vigna1 which      
though in a precise taste1 shows extreme
 richness of colouring4 ,there also     
appears1 at the same place1 his picture 
of the ,martyrdom of ,s4 ,lorenzo2 a    
repetition of which is found in the     
noble house of ,collalto1 nearly        
resembling the original1 and in other   
places4 ,it abounds in figures of about 
a palm's length1 imitated1 in some part1
 from the celebrated composition of     
,bandinelli1 engraved by ,marc ,antonio1
 whose impressions to ,girolamo proved a
 rich mine of art1 affording originals  
for those small but valuable paintings1 
meant to adorn private rooms4 ,in none  
of them1 however1 was he a mere copyist2
 he varied the figures1 and more        
especially the landscapes1 in which he  
was a very skilful hand4 ,in this manner
 he produced many of those ,bacchanals1 
which are to be met with in different   
collections4 ,in that of the ,casa      
,albani1 at ,bergamo1 is a ,s4 ,gio4    
,elemosinario 7almsgiver7 in grand      

architecture1 seen among a crowd of     
paupers2 and in the collection of ,count
 ,carrara1 also at ,bergamo1 there is a 
,saviour taken from the ,cross1 highly  
valued for the portrait of the artist1  
which points to a holy cross1 the symbol
 of his name4 ,not any of these         
productions are embued with traces of   
the ancient style4 ,they display a grace
 of composition1 study of               
foreshortening1 and of the naked parts1 
a harmony of colours1 forming a mixture 
of different schools1 in which the      
,roman predominates1 and least of all   
the ,venetian4 ,further we would refer  
the reader to what has already been     
stated at page #eg4  ,to these ,venetian
 professors1 or at least1 established in
 ,venice1 it will be proper to add      
several educated by ,giovanni1 in the   
provinces1 and in this way resume the   
thread of our pictoric history of the   
state4 ,there was no place in the whole 
dominion which did not boast either of  
his disciples or imitators4 ,we shall   

proceed to treat severally of these1    
beginning with the name of ,conegliano1 
which he derived from a city in the     
,marca ,trevigiana1 his native place1   
whose mountainous views he has          
introduced into his paintings1 as if to 
serve for his device4  ,the artist's    
name1 however1 is ,giambatista ,cima1   
and his style most resembles the better 
part of that of ,gian ,bellini4 ,the    
professors indeed may often be          
confounded together1 to such a degree do
 we find ,conegliano diligent1 graceful1
 lively in his motions and his          
colouring1 although less smooth than    
,bellini4 ,perhaps one of his best      
pieces that ,i have seen1 is in the     
cathedral at ,parma1 though it is       
omitted in the catalogue of his works4  
,that at the church of ,santa ,maria    
dell' ,orto1 one of the most rich in    
paintings1 in all ,venice1 possesses    
less softness2 but in point of          
architecture1 in the air of its heads1  
and in the distribution of its colours1 

there is something so extremely         
attractive1 that we are never weary of  
contemplating it4 ,the different        
collections in ,italy1 no less than     
those in other parts1 are many of them  
in possession1 or said to be in         
possession1 of specimens from this      
artist's hand2 and if we add to these   
his altarpieces1 sufficiently numerous1 
they will be found to amount to a very  
considerable class4 ,we are informed1   
however1 by ,padre ,federici1 that one  
of ,cima's sons1 of the name of ,carlo1 
imitated so closely the style of his    
father1 that there are pictures which   
ought often to be attributed to the     
former instead of to the latter4  ,this 
artist resided but a short time in his  
own province2 and the altarpiece placed 
by him in the cathedral of his native   
place1 in #adic1 is considered a        
youthful performance4 ,he continued to  
exercise his art until the year #aeag1  
according to ,ridolfi1 and died in the  
maturity of his powers4 ,the date of    

#aedb1 which we find at ,san ,francesco 
di ,rovigo placed upon an altarpiece of 
,conegliano1 7if it be not a copy17     
marks only the era of the erecting of   
the altar1 which was painted afterwards4
 ,he is said by ,boschini to have been  
the tutor of ,vittor ,belliniano1 by    
,vasari called ,bellini2 the same who   
represented in the college of ,st4      
,mark's1 the martyrdom of the saint4    
,the best portion of this history is the
 architecture it displays4  ,the        
artists1 educated in the school of      
,giovanni1 who flourished at ,friuli1   
were two natives of ,udine3 ,giovanni di
 ,m4 ,martino1 as he is entitled in some
 family documents1 and ,gio4 ,martini1  
by ,vasari2 and ,martino d',udine1 who  
in the ,storia ,pittorica1 is called    
,pellegrino di ,s4 ,daniello4 ,the style
 of the former was harsh and crude1     
though not destitute of grace in the    
countenances and in the colouring4 ,the 
name of ,pellegrino was bestowed upon   
the latter by ,bellini1 in honour of his

 rare genius1 while the name of the     
country was attached to him from his    
long residence in ,s4 ,daniello1 a      
territory not far from ,udine4 ,this    
city is1 nevertheless1 the place where  
he appears to most advantage1 in        
competition with ,giovanni2 as the same 
emulation they had felt while fellow    
pupils1 continued1 as sometimes happens1
 when they became masters4 ,in that city
 appear the labours of each1 and more   
particularly in the two chapels         
contiguous to the dome1 where the first 
of them was employed in the year #aeja1 
the second in #aejb4 ,giovanni1 in his  
altarpiece of ,st4 ,mark1 there produced
 the richest specimen which appeared    
from his hand2 and ,pellegrino left that
 of his ,st4 ,joseph1 preferred by      
,vasari1 in some degree1 to the work of 
,martini4 ,i have seen the last         
mentioned picture in oil1 faded indeed  
in colour1 and in other respects        
defaced2 yet still worthy of admiration 
for its architecture1 which gives a     

graceful fulness to the whole canvass1  
and a striking relief to the three      
figures1 consisting of ,s4 ,joseph with 
the holy child in his arms1 and ,s4     
,john the ,baptist1 each of which       
displays the finest contours and the    
best forms4 ,other specimens of the same
 pencil are to be seen in ,udine1 among 
which are the ,,ss4 ,agostino and       
,girolamo1 in the public council hall1 a
 picture remarkable also for its power  
of colouring4  ,as this artist advanced 
in age1 he improved in the softness of  
his tints1 as well as in every other    
quality4 ,the altarpiece at ,santa      
,maria de' ,battuti1 which is in        
,cividale1 and represents the ,virgin   
seated between the four virgins of      
,aquileja1 besides the ,saints ,batista 
and ,donato1 and a cherub1 partakes of  
,giorgione2 it is enumerated among the  
rarest paintings of ,friuli1 and was    
executed in the year #aebi4 ,yet above  
any of his productions1 are esteemed    
those various histories of the life of  

our ,saviour1 painted in fresco at ,s4  
,daniele1 in the church of ,s4 ,antonio1
 together with the titular saint1 and   
several other portraits of the brethren 
of that chapel1 so richly adorned by his
 hand1 all breathing and glowing proofs 
of his art4 ,by his means1 also1 one of 
the pictoric schools of ,friuli rose    
into high repute1 and will be elsewhere 
described4  ,at ,rovigo1 in possession  
of the noble family of ,casalini1 is a  
picture of the ,circumcision of our     
,saviour1 bearing this memorandum3 ,opus
 ,marci ,belli discipuli ,johannis      
,bellini4 ,he is a good disciple of the 
school1 and would appear to be a        
different artist from that ,marco1 son  
of ,gio4 ,tedesco1 who was employed in  
#adfc at ,rovigo4  ,in the adjacent city
 of ,padua1 the style of the ,bellini   
was less followed1 a very natural       
circumstance in a place where           
,squarcione1 the avowed rival of        
,giovanni1 held supreme sway4 ,still    
there are several pictures belonging to 

this age remaining there1 which partake 
of the ,venetian style2 and ,vasari1 in 
his life of ,carpaccio1 records1 that in
 fact ,niccolo ,moreto executed many    
works in ,padua1#cc besides many other  
artists connected with the ,bellini4 ,a 
picture of ,christ risen from the dead1 
merits particular mention2 it adorns the
 episcopal palace at ,padua1 along with 
the portraits of all the ,paduan        
bishops1 and the busts of the apostles1 
including several of their acts1        
executed with much elegance in          
chiaroscuro4 ,the work is dated #adie1  
in which the painter subscribes his name
 ,jacobus ,montagnana2 not ,montagna1 as
 it is written in ,vasari and ,ridolfi4 
,there remains of his a very extensive  
altarpiece1 at the ,santo1 the style    
inclining as much as in any others1 to  
the modern2 and to whatever degree it   
may partake of the ,venetian in taste of
 colours1 in its design it partakes of a
 more precise and spare expression upon 
the principle of the ,paduan ,school4   

,to this1 also1 he very manifestly      
conformed himself1 in that celebrated   
picture left in ,belluno1 at the hall of
 council1 in which he represented#cd    
,roman histories4 ,it is an immense     
production1 and at the first view would 
incline us to attribute it to the pencil
 of ,mantegna1 such is the design1 the  
drapery1 and the composition of the     
figures2 while even several of them are 
known to have been accurately copied1   
with the same forms and motions1 from   
those ,mantegna had already introduced  
into his grand chapel at the ,eremitani4
 ,here we have a clear proof that both  
received the same education1 or at      
least1 that ,montagnana had profited    
much by the ,paduan ,school4 ,i say only
 much1 for in point of costume he does  
not shew any traces of the erudite      
instructions of ,squarcione2 but commits
 faults resembling those of the         
,bellini1 to whom by popular opinion1   
recorded by the very diligent author of 
the new ,guide of ,padua1 he has been   

given as a pupil4  ,i have before       
treated of ,squarcione1 and of his      
method1 reserving for a fitter place the
 consideration of his disciples1 more   
especially ,andrea ,mantegna4 ,he will1 
however1 be included in the present list
 as a scholar2 although1 as a master of 
the school of ,lombardy1 we are bound to
 speak of him with more commendation1 in
 another chapter4 ,but even the first   
essays of great characters are valuable2
 and ,vasari does not scruple to commend
 ,andrea's first altarpiece as a work   
worthy of his old age4 ,it was placed in
 ,santa ,sofia1 where the artist has    
signed himself ,andreas ,mantinea       
,patavinus annos ,,vii4 et ,x4 natus sua
 manu pinxit1 #addh4 ,squarcione was so 
much delighted with his early genius1   
that he adopted him for his son4 ,but he
 afterwards regretted his own           
generosity1 when the young artist took  
to wife the daughter of his rival1      
,jacopo ,bellini2 so that he then began 
to blame him1 yet at the same time to   

instruct him better4 ,andrea having been
 educated in an academy which adopted   
the study of marbles1 indulged great    
admiration of several ,greek bassi      
relievi1 in the ancient style1 such as  
is that of the ,primarii ,dei1 in an    
altar of the capitol4 ,he was therefore 
extremely bent upon acquiring the       
chasteness of the contours1 the beauty  
of the ideas and of the bodies2 but not 
content with adopting that straitness of
 the garment1 those parallel folds1 and 
that study of parts which so easily     
degenerates into stiffness1 he neglected
 that portion of his art which animates 
the otherwise uninformed                
images--expression4 ,in this respect he 
greatly failed in his picture of the    
,martyrdom of ,s4 ,jacopo1 placed in the
 church of the ,eremitani1 and from     
which ,squarcione took occasion to      
reprehend him severely4 ,these          
complaints led him to adopt a better    
method1 and in his representation of the
 history of ,s4 ,cristoforo1 placed     

opposite his ,s4 ,jacopo1 he threw more 
expression into his figures2 and in     
particular1 his production about the    
same period of ,san ,marco1 in the act  
of writing the gospel1 painted for      
,santa ,giustina1 displays in the       
features the absorbed mind of the       
philosopher and the enthusiasm of a     
saint4 ,if ,squarcione thus contributed 
by his reproaches to render this artist 
great1 the ,bellini1 perhaps1           
co-operated with him by friendship and  
relationship1 in producing the same     
result4 ,he resided little in ,venice1  
but during that time he did not fail to 
avail himself of the best portion of    
that school2 and we thus perceive in    
some of his pictures1 landscapes and    
gardens quite in the ,venetian          
character1 besides a knowledge of       
colours not inferior to the best        
,venetian artists of the age4 ,i am     
uncertain whether he or some other      
communicated to the ,bellini that       
species of perspective so much commended

 by ,barbaro2 but ,i know that ,lomazzo1
 in his ,tempio della ,pittura1 page    
#ec1 has put on record that ,mantegna   
was the first who gave us true notions  
relating to this art3 and ,i know that  
the most distinguished characters of    
those times were equally eager1 either  
to become scholars in such points as    
they were themselves deficient in1 or   
masters in such as were wanting in      
others4  ,the style of ,mantegna being  
known1 it will not be difficult to      
divine that of his fellow pupils1       
educated in the same maxims1 and        
instructed by his examples4 ,the chapel 
before mentioned exhibits specimens of  
three1 the first of whom1 ,niccolo      
,pizzolo is pointed out by ,vasari4 ,a  
picture of the ,assumption of the       
,virgin in an altarpiece1 with other    
figures on the wall1 are by his hand4   
,there is also a fresco in one of the   
facades with the motto ,opus ,nicoletti3
 and in both places he not only strongly
 resembles1 but approaches near the     

composition of ,mantegna4 ,two other    
artists also painted there certain      
histories of ,s4 ,cristoforo1 under one 
of which is inserted ,opus ,boni2 under 
the other1 ,opus ,ansuini1 an artist of 
,forli4 ,both of these might elsewhere  
have been admired2 but there they appear
 only as scholars by the side of their  
master4 ,an artist more nearly          
approaching ,mantegna1 and who1 in the  
chief part of his figures might be      
mistaken for him1 is ,bernardo          
,parentino1 who painted for a cloister  
of ,santa ,giustina1 ten acts in the    
life of ,san ,benedetto1 and little     
histories in chiaroscuro1 representing  
upon each the portrait of a ,pontiff of 
the name of ,benedict4 ,i have seen no  
painting adapted to a religious cloister
 so well conceived in every part2 and it
 is known that it was superintended by a
 distinguished scholar of that learned  
order1 the ,abate ,gaspero da ,pavia4   
,attached to it is the name of          
,parentino and the dates of #adhi and   

#adid4 ,the work was continued by a     
,girolamo da ,padua1 or ,girolamo dal   
,santo1 celebrated for his miniatures1  
as it is recorded by ,vasari and        
,ridolfi4 ,here1 however1 he exhibits   
himself a poor artist1 in point of      
design1 and still more so in expression1
 though praiseworthy in many accessaries
 of his art1 more particularly in his   
study of ancient costume1 an acquisition
 as general in this1 as rare in the     
,venetian ,school4 ,those histories1    
indeed1 are frequently found ornamented 
with ancient bassi relievi1 with        
sarcophagi1 and with inscriptions       
copied1 for the most part1 from ,paduan 
marbles2 a practice followed1 also1 by  
,mantegna1 but with more moderation1 in 
the chapel of the ,eremitani4  ,the rest
 of his contemporaries1 in ,padua1 were 
,lorenzo da ,lendinara1 esteemed an     
excellent artist1 but of whom no traces 
remain2 ,marco ,zoppo1 of ,bologna1 who 
more nearly resembled1 perhaps1 his     
master than his fellow pupil1 but of    

honourable account1 as the head of the  
,bolognese ,school2 and ,dario da       
,trevigi1 whose productions are to be   
seen in ,s4 ,bernardino1 at ,bassano1   
opposite to those of ,mantegna1 as if to
 exhibit their inferiority4 ,girolamo1  
or rather ,gregorio#ce ,schiavone1 whose
 style is between that of ,mantegna and 
the ,bellini1 is a pleasing artist1     
whose pictures are frequently to be met 
with1 ornamented with architectural     
views1 with fruits1 and above all with  
joyous little cherubs4 ,one of the most 
delightful ,i have seen1 was in         
,fossombrone1 in possession of a private
 individual1 and it bears inscribed1    
,opus ,sclavonii ,dalmatici ,squarzoni  
,s4 7,scholaris74 ,hieronymus ,tarvisio 
is another1 but doubtful pupil of       
,squarcione1 whose name ,i found        
subscribed in some pictures at ,trevigi1
 an artist poor in colours1 but not     
unacquainted with design4 ,we find      
mention in ,sansovino1 an author not    
always to be relied upon in his account 

of ,venetian paintings1 of ,lauro       
,padovano1 who produced several         
histories of ,s4 ,giovanni for the      
,carita in ,venice2 but ,i so far agree 
with the above author1 in pronouncing   
these altogether in the style of        
,mantegna4 ,nearly approaching also to  
the composition of this school1 is the  
style of ,maestro ,angelo1 who painted  
in the ancient refectory of ,santa      
,giustina1 a ,crucifixion of the        
,saviour1 with figures1 both in         
proportions and in spirit truly great4  
,i have nothing to add to the name of   
,mattio dal ,pozzo1 enumerated in this  
class by ,scardeone1 7p4 #cga7 inasmuch 
as there are none of his works now      
surviving4  ,at the period1 when the    
,school of ,padua was opposed to the    
,venetian1 the other cities of the      
state1 as far as we can learn1 had      
adopted a taste rather for the          
ornamental style of the latter1 than the
 more erudite maxims of the former2 it  
might1 perhaps1 be added1 on account of 

its greater facility2 because the beauty
 of nature is everywhere more obvious   
than the monuments of antiquity4        
,bassano then boasted a ,francesco da   
,ponte1 ,vicenza the two ,montagna and  
,bonconsigli1 all of whom1 though born  
in the immediate vicinity of ,padua1    
became disciples of the ,bellini4 ,da   
,ponte1 a native of ,vicenza1 was pretty
 well embued with a taste for polite    
literature and philosophy1 extremely    
desirable in the head of a school1 such 
as he became in the instruction of      
,jacopo1 and through him of the         
,bassanese2 a school highly             
distinguished during1 and even beyond   
the sixteenth century4 ,the style of his
 altarpieces1 when compared with each   
other1 acquaints us with the earliest   
and latest specimens of his pencil4 ,he 
is diligent1 but dry in that of his ,s4 
,bartolommeo1 in the cathedral at       
,bassano2 more soft in another at the   
church of ,s4 ,giovanni1 but far better 
in one of the ,pentecost1 which he      

painted for the village of ,oliero1     
almost in the style of the moderns1     
displaying studied composition1 and a   
colouring various1 beautiful1 and       
harmonious2 and what is still more1 a   
fine expression of the passions1 best   
adapted to the mystery4 ,we are led to  
believe1 from the account of ,lomazzo1  
that he likewise painted1 at another    
period1 in ,lombardy2 observing that a  
certain ,francesco1 of ,vicenza1        
produced a work at the ,grazie of       
,milan1 well executed in point of       
design1 but not so pleasing in the      
effect of its lights and shades4  ,the  
two ,montagna flourished about the      
period #aejj1 in ,vicenza1 and were     
employed together1 however unequal in   
genius1 being equally followers of the  
,bellini1 at least if we are to give    
credit to ,ridolfi1 who must have seen  
many of their productions1 now no longer
 in existence4 ,in those which ,i have  
seen1 there appeared strong traces of   
the style of ,mantegna4 ,benedetto is   

not mentioned by ,vasari1 who is apt to 
omit the names of all artists whom he   
accounted of inferior worth4 ,he        
mentions ,bartolommeo1 as a pupil of    
,mantegna1#cf and he would certainly    
have done him more justice had he seen  
the works he produced in his native     
place1 which1 so far from having done1  
he asserts that the artist constantly   
resided in ,venice4 ,vicenza boasts many
 of his pieces1 which display the       
gradual progress of his style4 ,if we   
wish to estimate the extent of his      
powers1 we ought to consult his         
altarpiece at ,s4 ,michele1 and another 
at ,s4 ,rocco1 to which may be added a  
third1 in that of the ,seminary at      
,padua4 ,in none of these are we able to
 discover any composition beyond what   
was in most general use at that period1 
already so frequently mentioned by us2  
and they retain more of the practice of 
gilding1 which1 in other places1 was    
then becoming obsolete4 ,in fine1 this  
artist will be found to rank equal with 

the chief part of his contemporaries2   
exact in design1 skilful in the naked   
parts1 while his colours are fresh and  
warm4 ,his cherubs are peculiarly       
graceful and pleasing1 and in his       
altarpiece1 at ,s4 ,michele1 he has     
introduced an architecture which recedes
 from1 and deceives the eye with a power
 of illusion1 sufficient of itself to   
have rendered him conspicuous4 ,of      
,giovanni ,speranza1 there remain a few 
pieces which are much esteemed1 though  
not remarkable for strength of          
colouring4 ,but we can meet with no     
public specimens of ,veruzio1 and most  
probably his name is a mere equivoque of
 ,vasari4#cg ,giovanni ,bonconsigli1    
called ,marescalco1 or the steward1 was 
esteemed beyond any other of the artists
 of ,vicenza1 who flourished at this    
period1 and he certainly approaches     
nearest to the modern style1 and that of
 the ,bellini4 ,the practice1 however1  
of ornamenting friezes with tritons and 
similar figures1 taken from the antique1

 he most likely derived from the        
adjacent cities of ,padua or ,verona1   
one of which then professed the study of
 antiquity1 the other that of monuments4
 ,neither ,vasari nor ,ridolfi gives any
 account of his productions1 except such
 as he painted in ,venice1 at this time 
either wholly perished or defaced4      
,those which he executed in ,vicenza are
 still in good condition1 nor ought a   
stranger of good taste to leave the     
place without visiting the chapel de'   
,turchini1 to admire his ,madonna in the
 style of ,raffaello1 seated upon a     
throne1 between four saints1 among which
 the figure of ,s4 ,sebastian is a      
masterpiece of ideal beauty4 ,indeed an 
able professor of the city considered it
 one of the finest specimens of the art 
the place could boast1 though in        
possession of many of the first merit4  
,in common with ,montagna1 ,figolino1   
and ,speranza1 ,bonconsigli abounds in  
perspective views1 and discovers a      
natural genius for architecture2 like   

them he appears to give promise of the  
approach of a divine ,palladio1 the     
glory of his country and of his art2    
along with the ,scamozzi1 and many other
 citizens1 who have rendered ,vicenza at
 once the boast and wonder1 as well as  
the school of architects4 ,there are two
 altarpieces of his hand remaining in   
,montagnana4 ,this artist must not be   
confounded with ,pietro ,marescalco1    
surnamed lo ,spada1 7the sword17 whom   
the ,,ms4 history of ,feltre mentions as
 a native of this city1 and complains of
 ,vasari's silence upon it4 ,one of his 
altarpieces is to be seen at the        
,nunnery of the ,angeli1 at ,feltre1    
where ,signor ,cav4 de ,lazara informs  
me that he read the name of ,petrus     
,marescalcus ,p4 ,among other figures is
 a ,madonna1 between two angels1 upon a 
large scale1 and in good design1        
sufficient to entitle ,pietro to an     
honourable rank in the history of art4  
,if we compare him with ,giovanni1 he   
will be found less vivid in point of    

colouring1 and1 apparently1 of a        
somewhat later age4  ,in the order of   
our narrative1 we ought now to pass on  
to ,verona1 where ,liberale1 a disciple 
of ,vincenzio di ,stefano1 at that time 
held sway4 ,he had also been a scholar  
or rather imitator of ,jacopo ,bellini1 
to whose style1 says ,vasari1 he        
invariably adhered4 ,moreover1 in his   
picture of the ,epiphany1 to be seen in 
the cathedral1 there is a choir of      
angels with a graceful folding of       
drapery1 and a taste so peculiarly that 
of ,mantegna1 that ,i was easily led to 
believe him an artist belonging to that 
class4 ,certain it is that the vicinity 
of ,mantua might also have facilitated  
his imitation of ,mantegna1 traces of   
which are visible in some other of his  
works1 as well as in those of the more  
and less known ,veronese artists of the 
time4 ,he did not attain the excellence 
of ,giovanni ,bellini1 nor did he give  
the same grandeur to his proportions1   
and the same enlargement of the ancient 

style1 although he continued to flourish
 until the year #aece4 ,the colour of   
his tints is strong2 his expression     
studied and graceful2 a very general    
merit in the painters of ,verona2 and   
his care is exquisite1 especially in his
 diminutive figures1 an art in which he 
became extremely expert1 owing to his   
habit of illustrating books in          
miniature1 which are still to be seen in
 ,verona and in ,siena4  ,he had a      
competitor1 at his native place1 in     
,domenico ,morone1 or rather the latter1
 educated also by a disciple of         
,stefano1 is to be held second to him4  
,this artist was succeeded in the course
 of time1 by his son1 ,francesco        
,morone1 superior to his father1 and by 
,girolamo da' ,libri4 ,these two1 bound 
by the strictest habits of friendship   
from their youth1 were frequently       
employed in the same labours together1  
and may be said to have adopted the same
 maxims4 ,the first has been commended  
by ,vasari1 for the grace1 the design1  

the harmony1 and the warm and beautiful 
colouring he contrived to bestow upon   
his pictures1 in a degree inferior to   
none4 ,from the same source we learn    
that the year of his decease is supposed
 to have been #aebi4 ,but ,girolamo da' 
,libri was his superior1 both in point  
of taste and general celebrity4 ,the son
 of a miniature painter of choral books 
and of anthems1 who had hence acquired  
the name of ,francesco da' ,libri1 from 
his father he received both a knowledge 
of the art and his surname1 both of     
which he also transmitted to his son1   
,francesco1 as we again learn from      
,vasari4  ,it is not1 however1 within my
 province to enter into a consideration 
of their books2 but in regard to the    
altarpieces of ,girolamo1 ,i cannot     
remain silent4 ,that of ,s4 ,lionardo1  
near ,verona1 ,i have never seen2 a     
picture in which the artist having drawn
 a laurel1 the birds are said to have   
frequently entered at the church        
windows1 fluttering around as if wishing

 to repose in its branches4 ,another    
which ,i beheld at ,s4 ,giorgio1 with   
the date #aebi1 scarcely retains a trace
 of the ancient character4 ,it          
represents the ,virgin between two holy 
bishops1 portraits select and full of   
meaning2 together with three exquisitely
 graceful figures of cherubs1 both in   
face and gesture4 ,in this little       
picture may be traced1 to a certain     
degree1 the character of a miniaturist  
who paints1 or a painter drawing        
miniature2 while the charms of the      
several professions are seen there      
exhibited in one point of view4 ,the    
church1 indeed1 is a rich gallery1      
containing numerous masterpieces of the 
art2 among which the ,s4 ,giorgio of    
,paolo 7,veronese7 too far transcends   
the rest2 but the painting of ,girolamo 
shines almost like a precious jewel1    
surprising the spectator by an          
indescribable union of what is graceful1
 bright1 and lucid1 which it presents to
 the eye4 ,he survived many years after 

the production of this piece1 highly    
esteemed1 and in particular for his     
miniatures1 in which he was accounted   
the first artist in ,italy2 and as if to
 crown his reputation1 he became the    
instructor1 in such art1 of ,don ,giulio
 ,clovio1 a sort of ,roscius1 if we may 
so say1 of miniature painting4  ,however
 flourishing in valuable masters we may 
consider the city of ,venice during this
 era1 the fame of ,mantegna1 with the   
vicinity of ,mantua1 where he taught1   
attracted thither two artists from      
,verona1 whom ,i reserve for that       
school1 of which they were faithful     
followers4 ,these were ,monsignori1 and 
,gio4 ,francesco ,carotto1 formerly a   
pupil of ,liberale4 ,his brother        
,giovanni1 a noble architect1 and       
designer of ancient edifices1 was but a 
feeble imitator of his style4 ,he richly
 deserves a place in history as the     
instructor of ,paolo1 an artist         
excellent in many branches of painting1 
and in architecture almost divine4 ,it  

is supposed that ,paolo must have       
acquired this degree of excellence by   
studying at first under ,carotto1 and   
afterwards perfecting himself1 as we    
shall shew1 by means of ,badile4 ,to    
such as are most known we might here add
 names less celebrated1 which the       
,marchese ,maffei1 however1 has already 
inserted in his history2 as1 for        
instance1 a ,matteo ,pasti1 commended by
 us in the first volume2 but ,i have1   
perhaps1 already treated sufficiently of
 the merits of the old ,veronese        
artists4  ,about this period there      
flourished two distinguished artists in 
,brescia1 who were present at the       
terrific saccage of that opulent city1  
in the year #aeab1 by ,gaston de ,foix4 
,one of these is ,fioravante ,ferramola1
 who was honoured and remunerated upon  
that occasion by the ,french victor for 
his striking merit1 and became          
sufficiently conspicuous in various     
churches of the country4 ,his painting  
of ,s4 ,girolamo is seen at ,le ,grazie1

 extremely well conceived1 with fine    
landscape1 and in a taste so like that  
of ,muziano1 that we might almost       
suppose it prognosticated his           
appearance4 ,and it might be said that  
he afforded the latter a prototype1 if  
he does not aspire to the name of his   
master4 ,the other is ,paolo ,zoppo1 who
 depicted the above desolation of the   
city in miniature1 upon a large crystal 
bason2 a work of immense labour1        
intended to be presented to the doge    
,gritti3 but in transporting it to      
,venice1 the crystal was unfortunately  
broken1 and the unhappy artist died of  
disappointment and despair4 ,the        
specimens of his style remaining at     
,brescia1 among which is one of ,christ 
going up to ,mount ,calvary1 at ,s4     
,pietro in ,oliveto--a piece falsely    
attributed by others to ,foppa--serve to
 shew that he approached near to the    
modern manner1 and was not unacquainted 
with the ,bellini4  ,finally1 ,bergamo  
boasted in ,andrea ,previtali one of the

 most excellent disciples of ,gian      
,bellini4 ,he appears1 indeed1 less     
animated than his master1 and less      
correct in the extremities of his       
figures2 neither have ,i discovered any 
of his compositions which are free from 
the ancient taste1 whether in the       
grouping of his forms1 or in the minute 
ornamenting of the accessaries of his   
art4 ,nevertheless1 in a few pictures   
produced1 perhaps1 later in life1 such  
as his ,s4 ,giovanni ,batista1 at ,s4   
,spirito2 his ,s4 ,benedetto1 in the    
dome of ,bergamo1 and several more in   
the ,carrara ,gallery1 he very nearly   
attained to the modern manner2 and was  
indisputably one of the most            
distinguished artists1 in point of      
colours and perspective1 belonging to   
the school of the ,bellini4 ,his        
,madonnas are held in the highest       
esteem2 in whose features he appears    
less a disciple of ,gian ,bellini1 than 
of ,raffaello1 and of ,vinci4 ,two of   
them at ,milan ,i have seen1 both       

bearing his name3 one is in possession  
of the ,cavalier ,melzi2 the other in   
that of ,monsig4 ,arciprete ,rosales1   
painted in #aebb2 and both are          
surrounded with figures of other saints1
 portraits executed with discrimination 
and truth4 ,there is also a picture of  
,our ,lord announced by the ,angel1 at  
,ceneda1 a work so uncommonly beautiful 
in regard to the two heads1 that        
,titian1 in passing occasionally through
 the place1 is said1 according to       
,ridolfi1 to have repeatedly            
contemplated it with rapture2 charmed by
 the spirit of devotion it expressed4   
,upon the same boundaries1 between the  
ancient and modern taste1 we find       
various other painters1 natives of the  
valleys of ,bergamo1 a fruitful source  
both of wealth and intellect to the     
city4 ,such is ,antonio ,boselli1#ch    
from the ,valle ,brembana1 of whom there
 has recently been discovered a fine    
altarpiece at the ,santo of ,padua2     
besides two other artists of the same   

vale1 who approach even nearer to the   
softness1 if not to the elegance of     
,previtali4 ,these are ,gian ,giacomo1  
and ,agostino ,gavasii di ,pascante4 ,we
 may add to these ,jacopo degli         
,scipioni1 of ,averara1 and ,caversegno1
 of ,bergamo1 besides others handed down
 to us by ,tassi4 ,these1 having        
flourished at a period so distinguished 
for the art of colouring1 may be        
compared to certain writers of the      
fourteenth century1 who throw little    
light upon learning2 but who1 observes  
,salvini1 in respect to language1 appear
 to me as if every separate page were   
embued with gold4  ,i have already      
pointed out to the reader1 the best     
masters of the ,venetian ,school1       
contemporary with1 and followers of     
,gian ,bellini2 a number which1 though  
we subtract from it several names of    
inferior note1 will leave a larger      
proportion than is generally supposed4  
,the state1 indeed1 is full of specimens
 founded upon his models1 the authors of

 which remain doubtful2 yet it is       
certain they composed in ,bellini's     
style1 while their designs partake more 
or less both of the modern and ancient  
taste4#ci ,undoubtedly1 no other school 
affords a proof of so great a number of 
disciples from one master1 and following
 so closely in his footsteps4 ,granting 
this1 ,i cannot easily give credit to   
the numerous specimens of ,madonnas     
attributed to his single hand1 besides  
other pictures in different collections4
 ,a cautious judge will not be apt to   
pronounce any work his1 which displays  
much of ideal beauty2 ,bellini having1  
for the most part1 repeated in his      
feminine figures an expression of       
countenance1 partaking in some degree of
 an apish character4 ,nor will he be    
easily led to ascribe to him pictures   
which display a minute care and finish1 
approaching to the miniature style1     
inasmuch as he embodied and coloured his
 conceptions with a free and fearless   
hand4 ,in short1 a certain vigour of    

colour1 warm and lively2 a certain      
reddish tinge of the drapery1           
approaching a rosy hue2 a certain       
brightness of varnish1 are not the usual
 characteristics of his hand1 however   
much his style of design may be mixed up
 with them2 and such pieces may         
reasonably be presumed the production of
 those artists of the state bordering   
nearest upon ,lombardy1 whence1         
likewise1 a few of the ,venetian state  
derived the mechanical part of their    
colouring4  ,within the limits proposed 
to myself1 ,i may here annex to my      
consideration of the painters in water  
colours and in oil1 other less          
distinguished branches of the art4      
,among these is that species of inlaid  
work with wood of different colours1    
which was intended more particularly for
 the ornament of choirs where the divine
 service was chaunted4 ,i can trace     
nothing of its inventors1 whether of    
,german or other origin2#dj though it is
 said to have taken its rise in an      

imitation of mosaic work1 and of works  
in stone4 ,no other coloured woods      
besides black and white were at first in
 use2 nor any other objects beyond large
 edifices1 temples1 colonnades1 and in  
short ornaments with architectural      
views1 attempted to be represented4     
,brunelleschi at ,florence gave         
instructions in perspective to          
architects1 that edifices might be drawn
 according to good rules2 and ,massaccio
 in painting1 greatly availed himself of
 his precepts1 as well as ,benedetto da 
,majano in his inlaid works4 ,there     
remain at ,florence1 as well as other   
places in ,italy1 several ancient choirs
 very highly prized in that age1 but    
afterwards despised1 when the art of    
staining wood with boiled water colours 
and penetrative oils1 came into use4    
,thus1 after the imitation of buildings1
 easily drawn from the number of their  
right lines1 that of figures began to be
 practised in an able manner1 though it 
had formerly been tried with less       

success4 ,the chief merit of such       
improvement1 or rather perfection of the
 art1 was due to the ,venetian ,school4 
,lorenzo ,canozio1 from ,lendinara1 a   
fellow student of ,mantegna1 who died   
about #adgg1 inlaid the entire choir of 
the church of ,s4 ,antonio1 even1 as it 
would appear1 with figures4 ,the whole1 
however1 having been consumed by fire1  
there is nothing remaining but the      
epitaph of the artificer1 in which he is
 highly applauded for his labours4      
,there likewise exist other works of the
 same kind1 in the armadj1 chests1 or   
presses1 of the sacristy1 and1 as it is 
supposed1 also in some of the           
confessionals4 ,besides ,lorenzo1 his   
brother ,cristofano1 and his son-in-law 
,pierantonio1 who assisted him in these 
labours1 are equally applauded by       
,matteo ,siculo1 as worthy of vieing    
with ,phidias and ,apelles themselves4  
,tiraboschi likewise enumerates the two 
brothers among the artists of ,modena1  
whose fellow citizens they were4  ,but  

the fame of these soon expired4 ,for    
,giovanni da ,verona1 a layman of       
,oliveto1 not long after1 surpassed them
 in the same art4 ,he practised it in   
various cities of ,italy1 and at ,rome  
itself1 in the service of ,pope ,julius 
,,ii2 but still more successfully in the
 sacristy of his own order1 where his   
works are still to be seen in the best  
condition4 ,f4 ,vincenzo delle ,vacche1 
also a native of ,verona1 and a layman  
of ,oliveto1 mentioned by the learned   
,morelli in his ,notizia of works of    
design1 during the first half of the    
sixteenth century1 deserves mention here
 for the merit of his inlaid works2 and 
in particular for those wrought in      
,padua1 at the church of ,s4 ,benedetto 
,novello4 ,unacquainted1 however1 with  
the period in which he flourished1 ,i   
shall not venture to announce him either
 as a pupil or assistant to ,fra        
,giovanni4 ,similar productions1 from   
the hand of ,fra ,raffaello da ,brescia1
 also of ,oliveto1 adorning the choir of

 ,s4 ,michele in ,bosco at ,bologna1    
might here be mentioned in competition  
with those in the sacristy of ,verona1  
by natives of ,oliveto4  ,moreover1     
there remains ,fra ,damiano da ,bergamo1
 a ,dominican monk1 who ornamented his  
own church at ,bergamo1 and that of     
,bologna in a still better style2 in    
which the choir is inlaid with the      
greatest art4 ,in ,s4 ,pietro1 at       
,perugia1 he also wrought the most      
beautiful histories4 ,the same artist1  
as we find recorded in ,vasari1         
succeeded also in refining the art of   
colours and of shades1 to such a degree 
as to be held the very first in this    
line4 ,he possessed either a rival1 or a
 pupil1 in ,gianfrancesco ,capodiferro1 
whose mansions at ,s4 ,maria ,maggiore1 
in ,bergamo1 are the finest specimens of
 the kind1 though occasionally betraying
 some traces of stiffness in their      
manner4 ,there too he worked after the  
designs of ,lotto1 and instructed in the
 art his brother ,pietro and his son    

,zinino1 so that the city continued to  
be supplied with excellent artificers   
during a number of years4 ,the largest  
and most artificially wrought figures ,i
 have seen in this line are in a choir  
of the ,certosa at ,pavia1 distributed  
one by one upon each side4 ,the         
artificer is said to have been one      
,bartolommeo da ,pola1 whose name ,i    
have not met with elsewhere4 ,in each of
 the squares is represented a bust of   
one of the ,apostles1 or some other     
saint1 designed in the taste of the ,da 
,vinci ,school4 ,a few of the pictures  
of these artists are to be found in     
galleries of art2 among which1 those    
from the hand of ,f4 ,damiano are the   
most esteemed4 ,finally1 this species of
 workmanship1 embracing materials too   
much exposed to the moth and to the     
fire1 by degrees began to grow out of   
date3 and if more lately it appears to  
have again revived1 it has failed       
hitherto in producing any works         
deserving of commemoration4   ,footnote 

#f3 ,rannusio ,guerra di                
,costantinopoli1 book iii4 p4 #id4      
,footnote #g3 ,vol4 vi4 p4 #hh1 anno    
#ahjh4  ,footnote #h3 ,see his          
,descrizione delle ,pitture1 c4 p4 #ai4 
,the learned ,morelli also1 in his      
,annotations to the ,notizia1 confirms1 
by fresh arguments1 the same epoch1 p4  
#adf4  ,footnote #i3 ,page #aja4        
,footnote #aj3 ,this was given to the   
public by ,muratori1 with the following 
title--,riccobaldi ,ferrariensis1 sive  
anonimi scriptoris compilatio           
chronologica usque ad annum #acab4      
7,rerum ,italicarum ,scriptores1 vol4   
ix4 p4 #bee47  ,footnote #aa3 ,sig4     
,sasso observed one extremely like it in
 ,venice1 with the subscription         
,guglielmus pinxit1 #acfh2 from which he
 inferred that he had belonged to the   
school of ,guariento4  ,footnote #ab3   
,this ,sebeto of ,vasari appeared so new
 to ,maffei1 that he would willingly    
have substituted ,stefano2 7see ,ver4   
,illust4 p4 iii4 col4 #aeb17 but        

,stefano da ,verona1 or da ,zevio1 is a 
name posterior to these times4 ,the     
,notizia of the anonymous writer1       
recently published1 says1 that the      
church of the before mentioned ,s4      
,george was ornamented by ,jacopo       
,davanzo1 a ,paduan1 or a ,veronese1 if 
not1 as some will have it1 a ,bolognese2
 by ,altichiero ,veronese1 according to 
,campagnuola1 p4 #f4 ,it must be        
observed that ,vasari also consulted the
 latter1 or probably one of his ,latin  
letters to ,niccolo ,leonico ,tomeo1    
quoting it several times4 7,see         
,morelli1 p4 #aja47 ,now in this it was 
probably written1 ab ,alticherio de     
,jebeto2 that is1 da ,zevio1 which was  
at one time called ,jebetum1 and ,vasari
 believed it to be the name of an       
unknown painter4 ,such is the conjecture
 communicated to me by ,sig4            
,brandolese1 and it appears extremely   
probable4  ,footnote #ac3 ,signor       
,abbate ,morelli1 since ,p4 della       
,valle1 has discovered another painting 

existing in the ,sacristy of the ,padri 
,conventuali1 at ,vicenza1 with this    
inscription1 #accc1 ,,paulus ,,de       
,,venetiis ,,pinxit ,,hoc ,,opus1       
7,notiz4 p4 #bbb74 ,he adds also1 two   
other ,venetian painters1 with whom ,i  
have enriched this new edition2 the name
 of one found in a small picture of the 
,conventuali1 at ,s4 ,arcangelo1 under  
an image of the ,virgin1 among various  
saints1 dated #ache4 ,jachobelus de     
,bonomo ,venetus pinxit hoc opus4 ,the  
other1 in the territory of ,verruchio1  
on a crucifixion1 with the symbols of   
the four ,evangelists1 is in the        
possession of the ,agostiniani1 and     
inscribed #adjd3 ,nicholaus ,paradixi   
miles de ,venetiis pinxit4  ,footnote   
#ad3 ,among these is counted ,stefano   
,pievano1 of ,st4 ,agnese1 an able      
artist1 who left his name along with the
 date1 #acha1 on an altarpiece of the   
,assumption3--a piece in which the      
,venetian colouring is displayed to     
advantage1 while the expression1 lively 

and full of meaning1 compensates for its
 inaccuracy of design4 ,another artist  
deserving of being known is ,jacopo di  
,alberegno1 whose family still remains  
in ,venice1 and who has been ascertained
 to be the author of a painting without 
date1 representing the ,crucifixion of  
our ,saviour1 among various saints4     
,tommaso da ,modena has also been       
referred to the ,venetian ,school1 who1 
about the period of #acea1 produced two 
,holy ,virgins at ,venice2 a ,st4       
,catherine1 at present in the gallery of
 ,n4 ,h4 ,ascanio ,molin1 together with 
the two preceding1 and other rare       
,venetian pictures of the same epoch2   
and a ,s4 ,barbara1 belonging to the    
,abbate ,mauro ,boni1 so fraught with   
expression1 grace1 and power of         
colouring1 as to lead me to conjecture  
he had flourished at a much later       
period1 were it not for the inscribed   
date4 ,his beginning to be known at     
,venice is some reason why he should be 
referred to this school1 if the name of 

his native place1 de ,mutina1 did not   
restrain us from so doing without some  
further doubt4 ,the ,ab4 ,boni1 who has 
given us an account of these pictures in
 an article put forth by the ,italian   
academy1 was the first to discover them4
  ,footnote #ae3 ,before their time1    
however1 ,bergamo could boast a school  
of painting1 as witness what ,count     
,tassi adduces in a parchment of the    
year #abif1 naming a certain ,guglielmo1
 pittore4 ,it does not appear in what   
style he drew4 ,one of his successors1  
who painted the tree of ,st4            
,bonaventura1 abounding in sacred       
figures1 shews himself an artist more   
rude1 indeed1 but more original than    
either of the brothers de ,nova4 ,of his
 name we are1 however1 ignorant1 as he  
only attached the date of #acdg4        
,footnote #af3 ,in the work intitled    
,narrazione dell',isola di ,murano1 by  
,g4 ,a4 ,moschini1 the supposition ,i   
have above stated has been combated by  
its excellent author4 ,a picture in the 

gallery of the ,n4 ,h4 ,molin1 at       
,venice1 subscribed ,johannes           
,vivarinus1 seems to have persuaded him 
of my mistake4 ,in a work embracing an  
account of some thousand painters1 ,i   
cannot pretend to boast of its being    
free from some human errors1 and was    
about to express my gratitude to the    
above mentioned author for having       
pointed one of them out4 ,but ,i am now 
convinced that the picture is from the  
hand of another artist1 and that the    
signature in question is a forgery1 the 
author of which has confounded the      
character of what is called ,gothic and 
,roman1 in place of imitating the true  
character of those times1 which he might
 very easily have done1 inasmuch as he  
had before his eyes a small chart1 with 
a most devout oration1 ,deus meus       
charitas1 c4 in the most complete       
,gothic1 or rather ,german character    
that can be conceived4 ,the impostor    
therefore must have been extremely      
ignorant of his art4 ,the examination   

was made by the cavalier ,gio4 da       
,lazara1 ,abate ,mauro ,boni1           
,bartolommeo ,gamba1 names sufficiently 
known to the public to justify our      
adoption of their opinion4 ,the very    
able ,brandolese has likewise pronounced
 the inscription false1 and published   
thereon a little work1 entitled ,doubts 
respecting the existence of such a      
painter as ,giovanni ,vivarino da       
,murano1 newly confirmed2 and a         
refutation of some recently asserted    
authority1 to confirm them4 ,and in this
 he displays much sound criticism1 and  
many arguments1 all tending to          
strengthen my own conjecture4  ,footnote
 #ag3 ,this artist ought not to be      
confounded with ,jacometto da ,venezia1 
a miniature painter1 and artist of the  
same age1 but who flourished somewhat   
later4 ,he also was celebrated in his   
day1 and is frequently recorded in the  
,notizia ,morelli1 for his small        
pictures1 adapted for private rooms1 his
 portraits1 and his miniatures4 ,it was 

sometimes doubted whether a certain work
 was from the hand of ,john of ,bruges1 
of ,antonello da ,messina1 or of        
,jacometto da ,venezia4 7,see ,notizia  
,morelli1 p4 #gd47  ,footnote #ah3 ,the 
picture referred to by the ,p4          
,moschini1 in his ,narrazione           
dell',isola di ,murano1 is not to be    
admitted as genuine1 the inscription    
upon it being forged by the same author1
 who counterfeited that of ,giovanni    
,vivarini1 before alluded to in the note
 to page #bb4  ,footnote #ai3 ,see      
,morelli ,notizia1 p4 #aeg4  ,footnote  
#bj3 ,i had supposed1 in my first       
edition of this work1 misled by the     
opposite names1 that ,sebeto was a      
different personage from this ,stefano  
da ,zevio4 ,i was afterwards undeceived 
by the appearance of the work of the    
learned ,brandolese1 pronouncing them   
one and the same artist2 and ,i         
willingly here retract what ,i had      
before advanced1 expressing1 at the same
 time1 my acknowledgements for the      

emendation4  ,footnote #ba3 ,drawn in   
the most perfect manner1 are the words  
of ,vasari1 while he adds1 that the     
whole of his works were imitated and    
copied by ,pietro di ,perugia1 an       
experienced artist in fresco1 and more  
especially in miniature1 with which he  
ornamented the whole of the books in the
 library of ,pope ,pius1 in the dome at 
,siena4 ,he is not known1 however1 in   
,perugia1 nor mentioned at ,siena among 
those employed at the cathedral1 as is  
noticed by ,father della ,valle2 yet the
 present work abounds with examples of  
artists1 unknown in their own cities1 on
 account of having resided elsewhere2   
and the before mentioned annotator of   
,vasari was unable to discover the name 
of ,liberal da ,verona1 an undoubted    
illustrator of the books1 in such       
registers4 ,i think we ought not to     
refuse to give credit1 therefore1 to    
,vasari1 as ,father ,guglielmo insists2 
but to admit a new ,pietro di ,perugia1 
anterior to ,vanucci1 who might design  

the frescos of ,stefano in ,verona and  
,mantua1 so extolled in the early part  
of #adjj1 and who copied them in those  
very beautiful and graceful miniatures  
at ,siena2 an art which he probably     
acquired at ,verona1 where it was then  
in such high repute4  ,footnote #bb3    
,see on this head1 the ,descrizione     
delle ,bellezze di ,vicenza1 ,p4 #a4 p4 
#g4  ,footnote #bc3 ,in the cathedral of
 ,pordenone1 under one of his           
altarpieces1 we read--    ,andreas      
,zeusis nostraeque aetatis ,apelles     
,hoc ,bellunellus nobile pinxit opus4   
7,altan47  ,footnote #bd3 ,ruggieri     
indeed had acquired a great reputation  
in ,italy as early as #addi1 when       
,ciriaco ,anconitano1 being in ,ferrara1
 saw a picture of ,christ taken from the
 cross1 belonging to the ,duke4 ,he thus
 writes respecting the artist3 ,rugerus 
,brugiensis pictorum decus ,,agathei    
,,tuchei4--,rugierius in ,brussella post
 praeclarum illum ,brugiensem picturae  
decus ,joannem1 insignis ,n4 ,t4 ,pictor

 habetur1 c4 ,see ,colucci ,a4 ,p4 vol4 
xxiii4 p4 #adc4 ,he is also commended in
 high terms by ,bartolommeo ,facio in   
his little work ,de viris illustribus4  
,see ,morelli1 ,notizia1 p4 #bci4       
,footnote #be3 ,he arrived there1 and   
was at ,rome in the anno ,santo4 ,see   
,facius1 lib4 cit4 p4 #de4  ,footnote   
#bf3 ,this is one of the usual mistakes 
found in ,vasari4 ,baldinucci 7tom4 iv4 
p4 #ag7 calls him ,ans or ,hans4 ,this  
is his ,flemish appellation1 which in   
our tongue1 signifies ,giovanni2 and in 
the ,notizia ,morelli he is termed      
,gianes da ,brugia2 somewhat nearer our 
own tongue4 ,with ,sansovino he is ,gio4
 di ,bruggia1 ,john of ,bruges4 ,see    
,morelli1 p4 #aag2 and by him he is     
distinguished from ,gio4 ,van ,eych4    
,footnote #bg3 ,in a similar taste was  
the perspective introduced by ,giovanni 
,bellino in his celebrated altarpiece at
 ,san ,zaccaria1 in ,venice4 ,another   
was placed in the great altar of the    
dome at ,capo d',istria1 by ,carpaccio  

the elder1 still more striking4 ,in the 
background of the picture1 the virgin   
appears seated on a magnificent throne1 
with the divine infant1 in an upright   
posture1 upon her knees1 surrounded by  
six of the most venerable patrons of the
 place1 disposed around her1 in three   
ranks1 displaying a fine diversity of   
drapery as well as of action4 ,to these 
are added some cherubs1 engaged in      
playing upon musical instruments1 and   
apparently beholding the spectator with 
an air of puerile simplicity1 as if     
inviting him to caress them4 ,a long and
 lofty colonnade1 in excellent          
perspective1 leads the way to the       
throne1 at one time united to a fine    
stone colonnade1 which extended from the
 altarpiece through the chapel1         
producing a fine illusion1 amounting to 
a sort of enchantment of perspective4   
,it was removed along with the stone    
columns1 in order to enlarge the        
tribune4 ,the oldest citizens1 who      
witnessed this beautiful spectacle1     

speak of it to strangers with delight1  
and ,i am glad to put it on record1     
before the recollection of it be        
entirely obliterated4  ,footnote #bh3   
,notizia1 p4 #fc4  ,footnote #bi3       
,albert ,durer1 arriving the same year  
at ,venice1 bestowed on ,giovanni one of
 the most favourable testimonies to his 
talents that now remains4 ,after        
rebuking the envy of the other painters1
 who spoke of him with contempt1 he says
 of him3--,every one assures me that he 
is ,gran ,galantuomo1 for which reason  
,i wish him well4 ,he is already very   
old1 but1 notwithstanding1 the best     
painter we have4 ,v4 ,morel4 ,not4 p4   
#bbd4  ,footnote #cj3 ,the country is   
impressed with this persuasion in spite 
of his own signatures1 attached even to 
the pictures in ,istria4 ,in that1 cited
 at page #dh1 it is written ,victor     
,charpatius ,venetus pinxit1 #aeaf2 in  
another1 at ,san ,francesco di ,pirano1 
,victoris ,charpatii ,veneti opus1      
#aeai4 ,benedetto ,carpaccio1 probably a

 son or nephew of the preceding1 was    
also a ,venetian1 of whom there remains 
a picture of the ,coronation of the     
,virgin1 at ,capo d',istria1 in the     
,rotunda1 subscribed1 ,benetto          
,carpathio ,veneto pingeva1 #aecg4 ,at  
the ,osservanti1 is the picture of the  
,nome di ,gesu1 with the same words1 but
 dated #aeda4 ,he is not mentioned in   
,venetian history1 though highly        
deserving a place in it2 for whatever   
traces he retains of the ancient        
stiffness of manner1 in the extremity of
 his figures1 yet he yields not to many 
in softness of tints2 in the taste of   
his colours2 expression of features1 and
 the effect of his chiaroscuro4 ,i am   
led to think1 that from residing out of 
the capital1 this artist was supposed to
 be a native of ,istria1 but he was     
indisputably of a ,venetian family1 most
 probably tracing its origin from       
,murano4  ,footnote #ca3 ,we find traces
 of his paintings from the year #aejg4  
,see ,tassi1 in his ,lives of the       

,painters1 c4 p4 #ef1 where he corrects 
a mistake of ,zanetti1 who1 instead of  
one painter1 had divided him into two4  
,one of his pictures1 in the parish     
church of ,endine1 will remove every    
doubt4 ,there he signed himself1        
,franciscus ,rizus ,bergomensis         
habitator ,venetiis1 #aebi4 ,in another 
piece1 in the parochial church of       
,serina1 he wrote ,francesco ,rizo da   
,santa ,croxe depense1 #aeah4 ,his last 
work1 of which ,i find any account1 is  
also in the parochial church of         
,chirignano1 in the ,mestrina1 dated    
#aeda4 ,father ,federici1 who describes 
it1 makes ,francesco the son of         
,girolamo da ,s4 ,croce1 or ,s4 ,croce1 
whose name we find subscribed in both   
ways1 but not ever ,rizo4 ,i cannot     
agree with him1 first1 because ,ridolfi 
says only1 7p4 #fb17 that they were of  
the same family2 second1 because the    
pictures of ,girolamo1 according to     
,tassi1 commence later1 and are traced  
also later than those of ,francesco1    

that is in #aedi2 and thirdly1 because  
the style of ,girolamo is incomparably  
more modernized1 as we shall presently  
shew4  ,footnote #cb3 ,morelli ,notizia1
 p4 #bab4  ,footnote #cc3 ,in the       
,statuti de' ,pittori1 it is written    
,mireti2 and the same work contains     
memoirs of him in #adbc and #adda2      
years1 however1 which do not accord with
 his dependence on the ,bellini4 ,this  
,girolamo might possibly have been the  
brother1 or other relation1 of that     
,gio4 ,miretto1 for whom see p4 #ac4    
,these two names will do away with the  
,moreto of ,vasari1 and we must         
substitute ,mireto or ,miretto4         
,footnote #cd3 ,i repeat the epigram1   
which is subscribed in ancient          
characters1 on the strength of which we 
may believe that the work was esteemed  
one of the most valuable the art had    
produced up to that period1 transcribed 
by the very frequently commended ,sig4  
,co4 ,cav4 ,lazara2 it is thus3    ,non 
hic ,parrhasio1 non hic tribuendus      

,apelli1     ,hos licet ,auctores dignus
 habere labor4   ,euganeus1 vixdum      
impleto ter mense1 ,jacobus     ,ex     
,montagnana nobile pinxit opus4         
,footnote #ce3 ,he is thus named in the 
,statuti de' ,pittori1 of ,padua1 and in
 the ,,ms4 ,zen4 whence we may correct  
,ridolfi1 who calls him ,girolamo4      
,footnote #cf3 ,in vol4 iii4 ed4 ,rom4  
p4 #dbg1 it is written by mistake       
,mantegna1 where it says that he1       
,speranza1 and ,veruzio1 studied design 
under ,mantegna4  ,footnote #cg3 ,padre 
,faccioli1 in his third volume of the   
,inscrizioni della ,citta e territorio  
di ,vicenza1 records the following      
epigraph1 ,jo4 ,sperantiae de           
,vangeribus me pinxit1 in which         
,vangeribus may1 perhaps1 apply to some 
small village in the territory of       
,vicenza4 ,he is wholly silent          
respecting ,veruzio1 thus confirming the
 suspicion that his name is a mere      
mistake of ,vasari1 whom it is hoped our
 posterity will still continue to       

correct1 and yet leave sufficient       
employment for their children4 ,the     
following is my conjecture4 ,p4         
,faccioli gives an account of a picture 
that remains in ,s4 ,francesco di       
,schio2 it is composed in the manner    
usually adopted in the composition of   
the marriage of ,s4 ,catherine2 and     
there are also other saints well        
executed in the ,mantegna style1 as is  
observed by the ,cav4 ,gio4 de ,lazara1 
whose authority ,i esteem excellent4 ,it
 bears the inscription1 ,franciscus     
,verlus de ,vicentia pinxit xx4 ,junii4 
,m4 ,d4 ,,xii42 and to this is added by 
,faccioli another old painting by the   
same hand1 remaining at ,sercedo4 ,now  
,i contend that the name of this        
painter1 being reported to ,vasari1 with
 its diminutive termination1 like many  
others1 borrowed either from the stature
 or the age1 7in the ,venetian dialect  
it was ,verlucio or ,verluzo7 it was    
afterwards given by him in his history  
as ,veruzio4 ,the critics of the ,greek 

writers will know how to do me justice  
in this1 for this mode of discovering   
and correcting names ,i have derived    
from them4  ,footnote #ch3 ,to judge    
from some pictures at ,bergamo1 we might
 suppose him educated in the style of   
the fourteenth century2 but he          
afterwards approached nearer to the     
modern1 as we perceive at ,padua1 where 
he resembles ,palma ,vecchio2 and this  
is sufficiently conspicuous also in     
,friuli1 where we make mention of him at
 a more cultivated era4  ,footnote #ci3 
,in this character is the larger picture
 at ,s4 ,niccolo1 a church of the       
,dominicans in ,treviso1 in which the   
cupola1 the columns1 and the            
perspective1 with the throne of the     
virgin seated with the infant ,jesus1   
and surrounded by saints standing1 the  
steps ornamented by a harping seraph1   
all discover ,bellini's composition2 but
 ,i had not seen the work1 until after  
the former edition of my history at     
,bassano4 ,it was painted in #aebj1 by  

,p4 ,marco ,pensaben1 assisted by ,p4   
,marco ,maraveia1 both ,dominican       
priests1 engaged for the purpose from   
,venice4 ,they remained there until     
,july1 #aeba1 when the first of them    
secretly fled from the convent1 and the 
altarpiece of ,treviso was completed in 
a month by one ,gian-,girolamo1 a       
painter invited from ,venice2 supposed  
to be ,girolamo ,trevisano1 the younger4
 ,this artist is not1 however1          
mentioned1 as ,i am aware1 either1 by   
the citizens1 or by foreigners1 by any  
other name than ,girolamo1 and          
calculating from the chronology of      
,ridolfi1 he must then have been        
thirteen years of age4 ,until this      
subject be more clearly investigated1 ,i
 must confess my ignorance of such a    
,gian-,girolamo4 ,but ,i am better      
acquainted with the name of ,pensaben1  
who was afterwards found1 and in #aebd  
was1 as before1 a ,dominican friar at   
,venice2 but a few years after1 in      
#aecj1 is mentioned in authentic books  

belonging to the order1 being registered
 among those who had either left the    
order or were dead4 ,p4 ,federici       
believes him to have been the same as   
,f4 ,bastiano del ,piombo1 an untenable 
supposition1 as ,i have elsewhere shown4
 ,i believe ,pensaben to have been an   
excellent artist in the ,bellini manner1
 though not commemorated in history1 nor
 by his order4 ,in an order so prolific 
with genius1 and in an age abounding    
with great names1 he is by no means a   
solitary instance of this3 the present  
work being found to contain many other  
examples4  ,footnote #dj3 ,as early as  
the eleventh century1 or thereabouts1 it
 would appear that some similar kind of 
art was in repute in ,germany4 ,the monk
 ,theophilus1 in the works before       
mentioned1 ,de omni scientia artis      
pingendi1 alluding1 at the commencement1
 to the most esteemed productions of    
every country1 observes3 quidquid in    
fenestrarum varietate preciosa diligit  
,francia2 quidquid in auri1 argenti1    

cupri1 ferri1 lignorum1 lapidumque      
subtilitate sollers laudat ,germania4   
,codice ,viennese4       ,,venetian     
,,school4    ,,second ,,epoch4          
,giorgione1 ,titian1 ,tintoret1 ,jacopo 
da ,bassano1 ,paolo   ,veronese4        
,behold us at length arrived at the     
golden period of the ,venetian ,school1 
which like the others of ,italy1        
produced its most distinguished         
ornaments about the year #aejj2 artists 
who at once eclipsed the fame of their  
predecessors1 and the hopes of attaining
 to equal excellence on the part of     
their successors4 ,in reaching this     
degree of eminence1 it is true they     
pursued different paths1 though they all
 aimed at acquiring the same perfection 
of colouring2 the most natural1 the most
 lively1 and the most applauded of any  
single school of the age2 a distinction 
they likewise conferred upon their      
posterity1 forming the distinguishing   
characteristic of the ,venetian         
painters4 ,the merit of this has been   

attributed to the climate by some1 who  
assert1 that in ,venice1 and the        
adjacent places1 nature herself has     
bestowed a warmer and deeper colour upon
 objects than elsewhere2 a frivolous    
supposition1 and undeserving of much of 
our attention1 inasmuch as the artists  
of ,holland and ,flanders1 in climates  
so extremely opposite1 have obtained the
 same meed of praise4 ,neither is it to 
be attributed to the quality of the     
colours2 both ,giorgione and ,titian    
having been known to make use of few1   
and these1 so far from being selected or
 procured elsewhere1 exposed to sale in 
all the public shops in ,venice4 ,if it 
should again be objected1 that in those 
days the colours were sold purer and    
less adulterated1 ,i admit there may be 
some degree of truth in this1 inasmuch  
as ,passeri1 in his life of ,orbetto1   
complained at that time of the early    
decay of many pictures1 owing to the    
quality of the colours fraudulently sold
 by the retailers4 ,but ,i would merely 

inquire1 if it were possible1 that      
materials thus pure and uncontaminated  
should so often fall into the hands of  
the ,venetians and their ,flemish       
imitators1 yet be so seldom met with in 
the rest of the schools4 ,the cause of  
their superiority is to be sought1      
therefore1 in their mechanism and art of
 colouring2 in regard to which the best 
,venetian painters conformed1 in some   
points1 to the most celebrated artists  
of ,italy4 ,in other points1 however1   
they differed from them4 ,it was a      
common practice at that period1 to      
prepare with a chalk surface the        
altarpieces and pictures which were     
intended to be executed2 and that white 
ground1 favourable to every variety of  
tint the painter could lay upon it1     
equally favoured the production of a    
certain polish1 floridity1 and          
surprising transparency2 a custom which1
 being laid aside out of indolence and  
avarice1 ,i am happy to perceive seems  
about to be renewed4 ,but in addition to

 this the ,venetians were in possession 
of an art that may be considered        
peculiar to themselves4 ,for it may be  
observed1 that the chief part of them   
during these three centuries1 produced  
the effect of their paintings1 not so   
much by a strong layer of colours1 as by
 separate strokes of the pencil2 and    
each colour being thus adapted to its   
place1 without much repeating or        
refining it1 they still continued       
augmenting the work1 by which the tints 
were preserved clear and virgin2 a      
result which requires no less promptness
 of hand than of intellect1 besides     
education1 and a taste cultivated from  
the earliest period4 ,hence the artist  
,vecchia was accustomed to say1 that by 
dint of copying pictures executed with  
diligence1 a painter will acquire the   
same quality2 but to succeed in copies  
from a ,titian or a ,paolo1 and to      
imitate their stroke1 is a task         
surmounted only by the ,venetians1      
whether natives or educated in their    

school4 7,boschini1 p4 #bgd47  ,should  
it here be inquired what good result may
 attend such a method1 ,i reply that    
,boschini points out two very           
considerable ones4 ,the first of them   
is1 that by this mode of colouring1     
which he terms di macchia and di        
pratica1 a certain hardness of style may
 more easily be avoided2 and the other1 
that1 better than any other1 it gives a 
bolder relief to paintings in the       
distance3 and pictures being intended to
 be thus viewed1 rather than closer to  
the eye1 such an object is by this      
process most easily attainable4 ,i am   
aware of the moderns having misapplied  
and abused these maxims2 but they were  
meant to have been judiciously employed1
 and ,i only wish to propose as examples
 the most celebrated of the school who  
so ably comprehended the method1 and the
 limits of such a practice4 ,nor was the
 harmony of colours better understood by
 any other artists1 insomuch1 that the  
mode of assimilating and of contrasting 

them1 may be considered as the second   
source of the delightful and lively1 so 
predominant in their works1 and more    
especially in those of ,titian and his  
contemporaries4  ,such skill was not    
merely confined to the fleshy parts1 in 
whose colour the disciples of ,titian   
have so far excelled every other school2
 it extended also to the drapery4 ,for  
indeed1 there are no pieces of velvets1 
of stuffs1 or of crapes1 which they did 
not imitate to perfection1 more         
particularly in their portraits1 in     
which the ,venetians of that period     
abounded1 displaying specimens the most 
ornamental and beautiful4 ,the cavalier 
,mengs is of opinion1 that also to this 
branch of the art1 requiring the        
strictest attention to truth1 and       
conferring a peculiar kind of interest  
upon a picture1 may be in some measure  
attributed the degree of power and truth
 acquired by those eminent colourists4  
,their merit was moreover conspicuous in
 imitating every kind of work in gold1  

in silver1 and every species of metal2  
so much so1 that there are no royal     
palaces or lordly feasts1 read of in any
 poet1 which do not appear more nobly   
represented in some ,venetian paintings4
 ,it was equally remarkable in point of 
landscape1 which sometimes surpassed the
 efforts of the ,flemish painters1 and  
in architectural views1 which1 with a   
magnificence unknown elsewhere1 they    
succeeded in introducing into their     
compositions1 as we had before occasion 
to observe of the artists of the        
fourteenth century2 a species of        
industry extremely favourable1 likewise1
 to the distribution1 the variety1 and  
to the complete effect of groups of     
figures4  ,in these extensive           
compositions1 which about the period of 
the ,bellini abounded in half-length or 
diminutive figures1 there has since been
 displayed a grandeur of proportions    
which has led the way to the most       
enlarged productions1 on the scale we   
have more recently seen4 ,the most      

terrific among these is the ,supper of  
,paolo ,veronese at ,s4 ,giorgio1 in    
which the gifts of nature are so nobly  
seconded by the exhibition of talent1   
which appears to have been transmitted  
by succession through this school1      
nearly until the present day4 ,such     
ability consists in finely designing all
 the details of any work1 however great1
 including the transmission and         
gradations of light1 so that the eye of 
itself seems to follow its track1 and   
embraces the entire effect from one end 
of the canvass to the other4 ,and it has
 been observed by several who have      
witnessed ancient paintings 7a violation
 of good taste1 of late but too common17
 cut up and curtailed to adapt them to  
the size of walls and doors1 that such  
an operation often succeeds tolerably   
well with the pictures of other schools1
 but is extremely difficult with those  
of the ,venetians2 so intimately is one 
part connected with another1 and        
harmonized with the whole4  ,these1     

along with other similar qualities that 
flatter the eye of the spectator1 that  
attract the learned and the unlearned1  
and seem to transport the mind by the   
novelty and the reality of the          
representation1 constitute a style which
 is termed by ,reynolds the ornamental1 
who1 likewise1 among all the schools1   
yields the palm in this to the          
,venetians2 a style afterwards          
introduced by ,vovet into ,france1 by   
,rubens into ,flanders1 and by ,giordano
 into ,naples and into ,spain4 ,the same
 ,english critic places it in the second
 rank1 next to the grand style1 and     
remarks that the professors of the      
sublime were fearful of falling into    
luxurious and pompous exhibitions of the
 accessaries2 no less because           
prejudicial to the artist's industry in 
point of design and in point of         
expression1 than because the transitory 
impression which it produces upon the   
spectator1 seldom reaches the heart4    
,and truly1 as the sublime of ,tully is 

more simple than the ornament of ,pliny1
 and seems to dread any excitement of   
admiration for the beautiful1 lest its  
energy should be unnerved by too studied
 a degree of elegance2 so is it with the
 grandeur of ,michelangiolo and of      
,raffaello1 that without seeking to     
occupy us with the illusions of art1    
goes at once to the heart2 terrifies or 
inspires us2 awakens emotions of pity1  
of veneration1 and the love of truth1   
exalting us1 as it were1 above          
ourselves1 and leading us to indulge1   
even in spite of ourselves1 the most    
delicious of all feelings1 in that of   
wonder4 ,it is upon this account that   
,reynolds considered it dangerous for   
students to become enamoured of the     
,venetian style2 an opinion1 which1     
judiciously understood1 may prove of    
much service to such artists as are     
calculated to succeed in the more       
sublime4 ,but since amidst such         
diversity of talent1 there must appear  
artists better adapted to adorn than to 

express2 it would not be advisable that 
their genius should be urged into a     
career in which it will leave them      
always among the last1 withdrawing them1
 at the same time1 from another in which
 they might have taken the lead4 ,let   
him1 therefore1 who in this art of      
silent eloquence possesses not the      
energy and spirit of ,demosthenes1 apply
 himself wholly1 heart and soul1 to the 
elegance1 the pomp1 and the copiousness 
of ,demetrius ,phalereus4  ,let it not  
from this be supposed1 that the sole    
merit of the ,venetians consists in     
surprising the spectator by the effects 
of ornament and colour1 and that the    
customary style and true method of      
painting1 were not understood in those  
parts4 ,yet ,i am aware of the opinion  
of many foreigners1 who having never    
removed beyond their native spot1 are   
inclined to pronounce a general censure 
upon these artists1 as being ignorant of
 design1 too laboured in their          
composition1 unacquainted with ideal    

beauty1 and even unable to understand   
expression1 costume1 and grace2 finally1
 that the rapidity so much in vogue with
 the whole of the school1#da led them to
 despise the rules of art1 not          
permitting them to complete the work    
before them1 out of an anxiety to engage
 in other labours1 for the sake of the  
profits afforded by them4 ,to some of   
their painters1 doubtless1 these        
observations may apply1 but assuredly   
not to the whole2 for if one city be    
obnoxious to them1 another is not so    
much so2 or if they can be affirmed of a
 certain epoch or class of artists1 it  
would be an idle attempt to fix them    
upon all4 ,this school is in truth most 
abundant1 no less in artists than in    
fine examples in every characteristic of
 the art2 but neither one nor the other 
are sufficiently known and appreciated4 
,yet it is hoped the reader will be     
enabled to form a more correct idea of  
both2 and after having cultivated an    
acquaintance with the ,bellini1 the     

,giorgioni1 and the ,titians1 besides   
other masters1 will trace1 as it were   
from one parent stock1 the various      
offshoots transplanted throughout the   
state1 imbibing1 according to the nature
 of the soil1 and the vicinity of other 
climes1 new tastes and qualities1       
without losing at the same time their   
original and native flavour4 ,and if in 
the progress of our history we shall    
here and there1 among plants of nobler  
growth1 meet with some lazzi sorbi1 to  
use the words of our poet1 some bitter  
apples1 growing at their side2 let these
 only be attacked2 but let not the      
disgrace attaching to a few careless    
artists be calumniously extended to the 
whole of their school4  ,the happy era  
we are now entering upon1 commences with
 ,giorgione and with ,titian1 two names 
which1 connected together1 yet in       
competition with each other1 divided    
between them1 as it were1 the whole body
 of disciples throughout the capital and
 the state2 insomuch that we find no    

city that had not more or less adopted  
for its model one or other of these     
masters4 ,i shall proceed to describe   
them separately1 each with his own      
class1 as ,i believe such a method most 
favourable1 to shew how the whole of the
 school ,i am describing was almost     
entirely derived and propagated from two
 masters of a similar style4 ,giorgio   
,barbarelli of ,castelfranco1 more      
generally known by the name of          
,giorgione1 from a certain grandeur     
conferred upon him by nature1 no less of
 mind than form1 and which appears also 
impressed upon his productions1 as the  
character is said to be in the          
handwriting1 was educated in the school 
of the ,bellini4 ,but impelled by a     
spirit conscious of its own powers1 he  
despised that minuteness in the art     
which yet remained to be exploded1 at   
once substituting for it a certain      
freedom and audacity of manner1 in which
 the perfection of painting consists4   
,in this view he may be said to be an   

inventor2 no artist before his time     
having acquired that mastery of his     
pencil1 so hardy and determined in its  
strokes1 and producing such an effect in
 the distance4 ,from that period he     
continued to ennoble his manner1        
rendering the contours more round and   
ample1 the foreshortenings more new1 the
 expression of the countenance more warm
 and lively1 as well as the motions of  
his figures4 ,his drapery1 with all the 
other accessaries of the art became more
 select1 the gradations of the different
 colours more soft and natural1 and his 
chiaroscuro more powerful and effective4
 ,it was in this last indeed1 that      
,venetian painting was the most         
deficient1 while it had been introduced 
into the rest of the schools by ,vinci  
previous to the sixteenth century4      
,vasari is of opinion that from the same
 artist1 or rather from some of his     
designs1 it was first acquired by       
,giorgione1 a supposition that ,boschini
 will not admit1 maintaining that he was

 only indebted for it to himself1 being 
his own master and scholar4 ,and1 in    
truth1 the taste of ,lionardo and of the
 ,milanese artists who acquired it from 
him1 not only differs in point of       
design1 inclining in the contours and in
 the features more towards the graceful 
and the beautiful1 while ,giorgione     
affects rather a round and full         
expression2 but it is contrasted with   
it1 likewise1 in the chiaroscuro4 ,the  
composition of ,lionardo abounds much   
more in shades1 which are gradually     
softened with greater care2 while in    
regard to his lights he is far more     
sparing1 and studies to unite them in a 
small space with a degree of vividness  
that produces surprise4 ,giorgione's    
composition1 on the other hand1 is more 
clear and open1 and with less shade2 his
 middle tints1 also1 partake in nothing 
of the ironcast and grey1 but are       
natural and beautiful2 and in short1 he 
approaches nearer to the style of       
,coreggio1 if ,mengs at least judges    

rightly1 than to any other master4      
,still ,i am far from concluding that   
,vinci in no way contributed to the     
formation of ,giorgione's new manner2   
every improvement in the art having     
taken its rise from some former one1    
which being admired for its novelty1    
became familiar to surrounding artists  
by example1 and to more distant ones by 
its reputation1 thus adding what was    
before wanting to the perfection of the 
art4 ,and in this way have geniuses in  
different parts arisen1 destined to     
increase and improve such advantages4   
,this1 if ,i mistake not1 has been the  
case with the science of perspective1   
subsequent to the time of ,pier della   
,francesca2 with regard to              
foreshortening after ,melozzo2 and also 
with chiaroscuro after ,lionardo4  ,the 
works of ,giorgione were1 for the chief 
part1 executed in fresco1 upon the      
facades of the houses1 more particularly
 in ,venice1 where there now remains    
scarcely a relic of them1 as if to      

remind us only of what have perished4   
,many of his pictures1 on the other     
hand1 both there and in other places1   
painted in oil and preserved in private 
houses1 are found in excellent          
condition2 the cause of which is        
attributed to the strong mixture of the 
colours1 and to the full and liberal use
 of his pencil4 ,in particular we meet  
with portraits1 remarkable for the soul 
of their expression1 for the air of     
their heads1 the novelty of the         
garments1 of the hair1 of the plumes1   
and of the arms1 no less than for the   
lively imitation of the living flesh1 in
 which1 however warm and sanguine are   
the tints which he applied1 he adds to  
them so much grace1 that in spite of    
thousands of imitators1 he still stands 
alone4 ,in analyzing some of these      
tints1 ,ridolfi discovered that they    
bore little resemblance to those used by
 the ancient ,greeks1 and quite distinct
 from those tawny1 brown1 and azure     
colours1 since introduced at the expense

 of the more natural4 ,such of his      
pictures as are composed in the style of
 his ,dead ,christ1 in the ,monte di    
,pieta at ,trevigi1 the ,s4 ,omobono at 
the ,scuola de' ,sarti1 in ,venice1 or  
the ,tempest stilled by the ,saint1 at  
that of ,s4 ,marco1 in which among other
 figures are those of three rowers drawn
 naked1 excellent both in their design  
and their attitudes2 such are the rarest
 triumphs of his art4 ,the city of      
,milan possesses two of an oblong shape1
 in which several of the figures extend 
beyond the proportions of ,poussin1 and 
may be pronounced rather full than      
beautiful4 ,one of these is to be viewed
 at the ,ambrosiana1 the other in the   
archepiscopal palace2 esteemed by some  
the happiest effort of ,giorgione that  
now survives4 ,it represents the child  
,moses just rescued from the ,nile1 and 
presented to the daughter of ,pharaoh4  
,very few colours1 but well harmonized  
and distributed1 and finely broken with 
the shades1 produce a sort of austere   

union1 if ,i may be allowed the         
expression1 and may be assimilated to a 
piece of music composed of few notes1   
but skilfully adapted1 and delightful   
beyond any more noisy combination of    
sounds4  ,giorgione died at the early   
age of thirty-four1 in #aeaa4 ,thus his 
productions1 rather than the pupils he  
educated1 remained to instruct the      
,venetians4 ,vasari1 however1 mentions  
several who have been contested by other
 writers4 ,a ,pietro ,luzzo is recorded 
by ,ridolfi2--a native of ,feltre1      
called ,zarato1 or ,zarotto1--who after 
being a pupil became a rival of         
,giorgione1 and seduced from his house a
 woman1 to whom he was passionately     
attached1 at whose loss it has been     
asserted by some that the disappointed  
artist died in despair4 ,by others1 on  
the contrary1 he is said to have died of
 a disease contracted during his        
intercourse with the same lady4 ,this   
,zarato1 as we read in a ,,ms4 history  
of ,feltre1 and in a ,,ms4 upon the     

pictures of ,udine1 is the same whom    
,vasari entitles1 ,morto da ,feltro2 and
 adds1 that he went when young to ,rome1
 and subsequently flourished in         
,florence and elsewhere1 distinguished  
for his skill in grotesques2 of which   
more hereafter4 ,going afterwards to    
,venice1 he is known to have assisted   
,giorgione in the paintings he made for 
the ,fondaco de' ,tedeschi1 about the   
year #aeje2 and1 lastly1 having remained
 some time at his native place1 he      
embraced a military life1 obtaining the 
rank of captain4 ,proceeding to ,zara1  
he fell in battle near that place in his
 forty-fifth year2 at least such is the 
account of ,vasari4 ,from the mention of
 his native place of ,feltre1 his       
assisting ,giorgione in his works1 and  
his surnames of ,zarato and ,morto1 ,i  
think there is some degree of           
probability in the assertion contained  
in these ,,mss4 though the dates        
attaching to the life of ,morto in      
,vasari1 will not countenance the       

supposition of ,ridolfi1 of his being   
the pupil of ,giorgione1 a man          
considerably younger than himself2 so   
that ,i should conjecture that ,ridolfi 
may have denominated him a scholar of   
,giorgione1 because1 when already of a  
mature age1 he painted under him as his 
assistant4 ,notwithstanding the         
assertion of ,vasari1 he had a tolerable
 genius for figures1 and in the history 
already cited1 written by ,cambrucci1   
and in possession of the bishop of      
,feltre1 a picture of our ,lady between 
saints ,francesco and ,antonio1 placed  
at ,s4 ,spirito1 and another at         
,villabruna1 besides a figure of        
,curtius on horseback1 upon a house at  
,teggie1 are attributed to his hand4 ,we
 gather from the same history that      
another ,luzzi1 by name ,lorenzo1 a     
contemporary and perhaps friend of      
,pietro1 painted very skilfully in      
fresco1 at the church of ,s4 ,stefano2  
and that he was equally successful in   
oils1 he himself assures us in his      

altarpiece of the proto-martyr ,s4      
,stefano1 conspicuous for correctness of
 design1 beauty of forms1 force of      
tints1 and bearing his name and the date
 of #aeaa4  ,the most distinguished     
disciple of the school of ,giorgione is 
,sebastiano1 a ,venetian1 commonly      
called1 from the habit and office he    
afterwards assumed at ,rome1 ,fra       
,sebastiano del ,piombo4 ,having left   
,gian ,bellini1 he attached himself to  
,giorgione1 and in the tone of his      
colours1 and the fulness of his forms1  
imitated him better than any other      
artist4 ,an altarpiece in ,s4 ,gio4     
,crisostomo1 from his hand1 was by some 
mistaken for the work of his master2 so 
strikingly does it abound with his      
manner4 ,it may be presumed1 indeed1    
that he was assisted in the design2     
,sebastiano being known to possess no   
surprising richness of invention1--slow 
in the composition of most of his       
figures2 irresolute2 eager to undertake1
 but difficult to commence1 and most    

difficult in the completion4 ,hence we  
rarely meet with any of his histories or
 his altarpieces comparable to the      
,nativity of the ,virgin1 at ,s4        
,agostino1 in ,perugia1 or the          
,flagellazione at the ,osservanti of    
,viterbo1 which is esteemed the best    
picture in the city4 ,pictures for      
private rooms1 and portraits1 he painted
 in great number1 and with comparative  
ease2 and we no where meet with more    
beautiful hands1 more rosy flesh tints1 
or more novel accessaries than in these4
 ,thus1 in taking the portrait of       
,pietro ,aretino1 he distinguished five 
different tints of black in his dress2  
imitating with exactness those of the   
velvet1 of the satin1 and so of the     
rest4 ,being invited to ,rome by        
,agostino ,chigi1 and there esteemed as 
one of the first colourists of his time1
 he painted in competition with         
,peruzzi1 and with ,raffaello himself2  
and the rival labours of all three are  
still preserved in a hall of the        

,farnesina1 at that period the house of 
the ,chigi4  ,sebastiano became aware1  
that in such a competition1 his own     
design would not appear to much         
advantage in ,rome1 and he improved it4 
,but occasionally he fell into some     
harshness of manner1 owing to the       
difficulties he there encountered4 ,yet1
 in several of his works1 he was        
assisted by ,michelangiolo1 from whose  
design he painted that ,pieta1 placed at
 the ,conventuali of ,viterbo1 and the  
,transfiguration1 with the other pieces 
which he produced1 during six years1 for
 ,s4 ,pietro in ,montorio1 at ,rome4 ,it
 is stated by ,vasari1 that             
,michelangiolo united with him1 in order
 to oppose the too favourable opinion   
entertained by the ,romans1 of          
,raffaello4 ,he adds1 that on the death 
of the latter1 ,sebastiano was          
universally esteemed the first artist of
 his time1 upheld by the favour of      
,michelangiolo2 ,giulio ,romano1 and the
 rest of the rival school1 being all    

inferior to him4 ,i am almost at a loss 
how to judge of a fact1 which1 if       
discredited1 seems to cast an imputation
 upon the historian1 and1 if received1  
reflects very little credit upon        
,buonarotti2 and the reader will do     
best1 perhaps1 to decide for himself4   
,the name of ,sebastiano must also be   
added to the list of inventors1 for his 
new method of oil painting upon stone1  
upon which plan he executed the         
,flagellazione1 for ,s4 ,pietro in      
,montorio1 a work as much defaced by    
time as the others which he made in     
fresco remain at the same place entire4 
,he coloured also upon stone several    
pictures for private houses1 a practice 
highly esteemed at its earlier period1  
but which was soon abandoned owing to   
the difficulty of carriage4 ,upon this  
plan1 or some other resembling it1 we   
find several pictures of the sixteenth  
century executed1 and which1 at this    
period1 are esteemed in museums real    
antiques4#db  ,among the disciples of   

the ,school of ,giorgione1 were1        
likewise1 ,gio4 da ,udine and ,francesco
 ,torbido1 a ,veronese1 who has been    
surnamed il ,moro1 and both were        
distinguished practisers of his tints4  
,in regard to ,giovanni1 afterwards a   
pupil of ,raffaello1 we have written1   
and we shall again write elsewhere4     
,moro remained but little with          
,giorgione1 a much longer while with    
,liberale4 ,of this last he imitated    
very truly both the diligence and the   
design1 in the former even surpassing   
him2 always a severe critic upon        
himself1 and slow in completing his     
undertakings4 ,we rarely meet with him  
in altarpieces1 still more rarely in    
collections of paintings1 for which he  
was often employed in sacred subjects   
and in portraits2 deficient in nothing1 
except1 perhaps1 we could wish to see   
somewhat greater freedom of hand4 ,in   
the dome of ,verona1 he painted several 
histories in fresco1 among which is the 
,assumption of the ,virgin1 truly       

admirable2 but the designs are not his1 
,giulio ,romano having prepared the     
cartoons4 ,his style of execution1      
however1 is clearly enough perceived1   
which1 in respect to colouring and to   
chiaroscuro1 discovers him to be an     
artist1 as ,vasari has recorded1 as     
careful in regard to his use of colours1
 as any other who flourished at the same
 period4  ,the other names that here    
follow1 are included1 according to      
history1 in the train of ,giorgione1 not
 as his pupils1 but his imitators4 ,yet 
all exhibit traces of ,bellini1 because 
the ,venetian manner1 up to the time of 
,tintoretto1 did not so much aim at     
inventing new things1 as at perfecting  
such as had already been discovered2 not
 so desirous of relinquishing the taste 
of the ,bellini1 as of modernizing it   
upon the model of ,titian and           
,giorgione4 ,hence it arose1 that a     
people of painters were formed in a     
taste extremely uniform2 and the        
exaggerated observation1 that whoever   

had cultivated an acquaintance with one 
,venetian artist of that age1 knew them 
all1 seemed to have some ground in      
truth4 ,but still1 as ,i have said1 it  
is exaggeration1 as there is certainly  
much diversity of style and merit when  
compared with one another4 ,among the   
leading disciples of ,giorgione are to  
be ranked three1 who belong to the city 
or territory of ,bergamo1 and these are 
,lotto1 as is most generally supposed1  
,palma1 and ,cariani4 ,they resemble    
their master most frequently in fulness1
 but in the mixture and selection of    
colours they often appear of the school 
of ,lombardy4 ,more particularly in     
,cariani there is apparent a certain    
superficies1 like that of wax1 equally  
diffused over the canvass1 which shines 
so as to enliven the eye2 and when seen 
at a distance1 with but little light1   
appears in full relief1 a result which  
others have also noticed in the works of
 ,coreggio4  ,the name of ,lorenzo      
,lotto is recorded by ,vasari and       

elsewhere1 in which accounts his country
 is considered as consisting of the     
entire state1 as he himself1 indeed1    
affixed to his picture of ,s4           
,cristoforo di ,loreto1 ,laurentius     
,lottus ,pictor ,venetus4#dc ,the late  
annotator of ,vasari1 observing the     
grace of countenance and the turn of the
 eyes remarkable in his pictures1       
supposed him to be a disciple of ,vinci1
 an opinion that might be supported by  
the authority of ,lomazzo1 who mentions 
the names of ,cesare da ,sesto and      
,lorenzo ,lotto together1 both being    
imitators1 in the distribution of their 
lights1 of da ,vinci4 ,lotto most likely
 profited by his vicinity to ,milan1 in 
order to cultivate an acquaintance with1
 and to imitate ,vinci in many points2  
though ,i am not1 therefore1 inclined to
 discredit the account which gives him  
for a pupil to ,bellini1 and a rival to 
,castelfranco4 ,but the style of the    
disciples of ,lionardo1 so uniform in   
,luini and in the other ,milanese1 is   

very slightly perceptible in the        
productions of ,lotto4 ,his manner is1  
in truth1 wholly ,venetian1 bold in its 
colours1 luxurious in its draperies1 and
 like ,giorgione1 of a deep red in the  
fleshy parts4 ,his hand1 however1 is    
less bold and free than that of the     
latter1 whose loftier character he is   
fond of tempering with the play1 as it  
were1 of his middle tints2 selecting1 at
 the same time1 lighter forms1 to whose 
heads he gives a character more placid  
and a beauty more ideal4 ,in the        
background of his pictures he often     
retains a peculiar clear or azure       
colour1 which if it do not harmonize so 
much with the figures1 confers          
distinctness on each individual1 and    
presents them in a very lively manner to
 the eye4 ,his pictures of ,s4          
,antonino1 at the ,dominicans in        
,venice1 and of ,s4 ,niccolo1 at the    
,carmine1 which design he repeated in   
the ,s4 ,vincenzio of the ,dominicans at
 ,recanati1 are compositions extremely  

novel and original4 ,in his others he   
varies little from the usual style2 that
 of a ,madonna seated on a throne1      
surrounded with saints1 with cherubs in 
the air1 or upon the steps4 ,yet these  
he relieves by the novelty of           
perspective1 or by attitudes1 or        
contrasted views4 ,thus in his specimen 
of the ,s4 ,bartolommeo1 at ,bergamo1   
entitled by ,ridolfi wonderful1 he      
bestows upon the ,virgin and the infant 
,jesus such finely diversified and      
contrasted motions1 that they seem as if
 conversing with the holy bystanders1   
the one on the right and the other on   
the left hand4 ,and in that of ,s4      
,spirito1 sparkling as it were with     
graces1 we meet with a figure of ,s4    
,john the ,baptist1 drawn as a child1   
standing at the foot of the throne1 in  
the act of embracing a lamb1 and        
expressing so natural and lively a joy1 
at once so simple and innocent1 with a  
smile so beautiful1 that we can hardly  
believe while we gaze upon it1 that     

,raffaello or ,correggio could have gone
 beyond it4  ,such masterpieces as      
these1 with others that are to be seen  
at ,bergamo1 in churches and private    
collections1 place him almost on a level
 with the first luminaries of the art4  
,if ,vasari did not fairly appreciate   
his merits1 it arose only from his      
having viewed several of his less       
studied and less noble pieces4 ,and it  
is true that he has not always exhibited
 the same degree of excellence1 or force
 of design4 ,the period in which he     
chiefly flourished may be computed from 
the year #aeac1 when he was selected1   
among many professors of reputation1 to 
adorn the altar for the church of the   
,dominicans at ,bergamo2 and1 perhaps1  
the decline of his powers ought to be   
dated from #aedf1 an epoch inscribed    
upon his picture of ,san ,jacopo        
dell',orio1 in ,venice4 ,he was employed
 also at ,ancona1 and in particular at  
the church of ,s4 ,dominico1 at         
,recanati1 where1 interspersed among    

pieces of superior power1 more          
especially in his smaller pictures1 we  
detect some incorrectness in his        
extremities1 and stiffness of           
composition1 resembling that of ,gian   
,bellini2 whether1 as it is conjectured 
by ,vasari1 they were among the         
earliest1 or more probably among some of
 his latest efforts4 ,for it is well    
known1 that when far advanced in years1 
he was accustomed to retire to ,loreto1 
a little way from ,recanati1 and that   
engaged in continual supplication to the
 ,virgin1 in order that she might guide 
him into a better method1 he there      
closed the period of his days in        
tranquillity4  ,jacopo ,palma1 commonly 
called ,palma ,vecchio1 to distinguish  
him from his great-nephew ,jacopo1 was  
invariably considered the companion and 
rival of ,lotto1 until such time as     
,combe first confused the historical    
dates relating to him4 ,by ,ridolfi we  
are told that ,palma employed himself in
 completing a picture left imperfect by 

,titian1 at the period of his death in  
#aegf4 ,upon this1 and similar          
authorities1 ,combe takes occasion to   
postpone the birth of ,palma1 until     
#aedj2 adding to which the forty-eight  
years assigned him by ,vasari1 the time 
of his decease is placed in #aehh4 ,in  
such arrangement the critic seems       
neither to have paid attention to the   
style of ,jacopo1 still retaining some  
traces of the antique1 nor to the       
authority of ,ridolfi1 who makes him the
 master of ,bonifazio1 any more than to 
,vasari's testimony1 in the work        
published in #aefh1 declaring him to    
have died several years before that     
period in ,venice4 ,he does not even    
consider1 what he might more easily have
 ascertained1 that there was another    
,jacopo ,palma1 great-nephew of the     
elder1 who1 according to the authority  
of ,boschini 7p4 #aaj71 was a pupil of  
,titian's as long as the latter         
survived2 and that ,ridolfi1 on this    
occasion1 entitled him ,palma1 without  

the addition of younger1 on account of  
its being so extremely unlikely that any
 would confound him with the elder      
,palma4 ,such1 notwithstanding1 was the 
case1 and is1 in fact1 only a slight    
sample of the inaccuracies of the whole 
work4 ,the same error has been repeated 
by too many authors1 even among the     
,italians2 and the most amusing of all  
is1 that ,palma the elder is said to    
have been born about the year #aedj1    
while almost1 in the same breath1 the   
younger ,palma is declared to have been 
born in #aedd4 ,so much must here       
suffice as to his age1 proceeding in the
 next instance to his style4  ,much     
attached to the method of ,giorgione1 he
 aimed at attaining his clearness of    
expression1 and vivacity of colouring4  
,in his celebrated picture of ,saint    
,barbara1 at ,s4 ,maria ,formosa1 one of
 his most powerful and characteristic   
productions1 ,jacopo more especially    
adopted him as his model4 ,in some of   
his other pieces1 he more nearly        

approaches ,titian1 a resemblance we are
 told by ,ridolfi1 consisting in the    
peculiar grace which he acquired from   
studying the earliest productions of    
that great master4 ,of this kind is the 
,supper of ,christ1 painted for ,santa  
,maria ,mater ,domini1 with the ,virgin 
at ,san ,stefano di ,vicenza1 executed  
with so much sweetness of expression as 
to be esteemed one of his happiest      
productions4 ,there are many examples of
 both styles to be met with in the grand
 ,carrara collection1 as given in the   
list of ,count ,tassi1 7p4 #ic74        
,finally1 ,zanetti is of opinion that in
 some others he displays a more original
 genius1 as exemplified in the ,epiphany
 of the island of ,saint ,helena1 where 
he equally shines in the character of a 
naturalist who selects well1 who        
carefully disposes his draperies1 and   
who composes according to good rules4   
,the distinguishing character then of   
his pieces is diligence1 refinement1 and
 a harmony of tints1 so great as to     

leave no traces of the pencil2 and it   
has been observed by one of his         
historians1 that he long occupied       
himself in the production of each piece1
 and frequently retouched it4 ,in the   
mixture of his colours1 as well as other
 respects1 he often resembles ,lotto1   
and if he be less animated and sublime1 
he is1 perhaps1 generally speaking1 more
 beautiful in the form of his heads1    
especially in those of boys and women4  
,it is the opinion of some1 that in     
several of his countenances he expressed
 the likeness of his daughter ,violante1
 very nearly related to ,titian1 and a  
portrait of whom1 by the hand of her    
father1 was to be seen in the gallery of
 ,sera1 a ,florentine gentleman1 who    
purchased at ,venice many rarities for  
the ,house of the ,medici1 as well as   
for himself1 7,boschini1 p4 #cfh74 ,a   
variety of pictures intended for private
 rooms1 met with in different places in 
,italy1 have also been attributed to the
 hand of ,palma2 besides portraits1 one 

of which has been commended by ,vasari  
as truly astonishing1 from its beauty2  
and ,madonnas1 chiefly drawn along with 
other saints1 on oblong canvass2 a      
practice in common use by many artists  
of that age1 some of whom we have       
already recounted1 and others are yet to
 come4 ,but the least informed among    
people of taste1 being ignorant of their
 names1 the moment they behold a picture
 between the dryness of ,giovanni       
,bellini and the softness of ,titian1   
pronounce it to be a ,palma1 and this1  
more particularly1 where they find      
countenances well rounded and coloured1 
landscape exhibited with care1 and      
roseate hues in the drapery1 occurring  
more frequently than any of a more      
sanguine dye4 ,in this way ,palma is in 
the mouths of all1 while other artists1 
also very numerous1 are mentioned only  
in proportion as they have attached     
their own names to their productions4   
,one of these1 resembling ,palma and    
,lotto1 but slightly known beyond the   

precincts of ,bergamo and some adjacent 
cities1 is ,giovanni ,cariani1 as to    
whom ,vasari is altogether silent4 ,one 
of his pieces1 representing our         
,saviour1 along with several saints1 and
 dated #aead1 ,i have myself seen at    
,milan1 which appears to have been      
altogether formed upon the model of     
,giorgione4 ,if ,i mistake not1 it is a 
juvenile production1 and when compared  
with some others1 which ,i saw at       
,bergamo1 very indifferent in its forms4
 ,the most excellent of any from his    
hand1 is a ,virgin1 preserved at the    
,servi1 with a group of beatified       
spirits1 a choir of angels1 and other   
angels at her feet1 engaged in playing  
upon their harps in concert4 ,it is an  
exceedingly graceful production1        
delightfully ornamented with landscape  
and figures in the distance2 very       
tasteful in its tints1 which are blended
 in a manner equal to the most studied  
specimens of the two artists of         
,bergamo1 already mentioned2 thus       

forming with them a triumvirate1        
calculated to reflect honour upon any   
country4 ,it has been stated by ,tassi1 
that the celebrated ,zuccherelli never  
visited ,bergamo1 without returning to  
admire the beauties of this picture1    
pronouncing it one of the finest        
specimens of the art he had ever beheld1
 and the best which that city had to    
boast4 ,cariani was also no less        
distinguished as a portrait painter1 as 
we gather from a piece belonging to the 
,counts ,albani1 containing various     
portraits of that noble family2 and     
which1 surrounded with specimens of the 
best colourists2 would almost appear to 
be the only one deserving of peculiar   
admiration4  ,the city of ,trevigi may  
boast of two artists belonging to the   
same class1 though widely differing from
 each other4 ,one of these is ,rocco    
,marconi1 distinguished by ,zanetti     
among some of the best disciples of     
,bellini1 and erroneously referred by   
,ridolfi to the school of ,palma4 ,he   

excelled in accuracy of design1 taste of
 colouring1 and diligence of hand1      
though not always sufficiently easy in  
his contours1 and for the most part     
exhibiting a severity almost approaching
 to plebeian coarseness in his          
countenances4 ,even in the earliest     
production attributed to him1 executed  
in the year #aeje1 and preserved in the 
church of ,san ,niccolo1 at ,trevigi1   
,ridolfi detects that peculiar clearness
 of style1 which may be traced also so  
strongly in his ,three ,apostles1 at    
,,ss4 ,giovanni and ,paolo1 as well as  
in his few other pictures dispersed     
among the public places4 ,indeed        
half-length figures of this artist are  
by no means of rare occurrence in       
private collections1 though he can boast
 no single specimen so beautiful1 or so 
completely ,giorgionesque as his        
,judgment of the ,adulteress1 to be seen
 in the chapter of ,san ,giorgio        
,maggiore1 and of which there is either 
a duplicate or a copy at ,san ,pantaleo1

 and in other places4 ,the other of     
these two artists is ,paris ,bordone1   
the elevation of whose mind and genius  
seemed to correspond with that of his   
birth4 ,after having been a pupil of    
,titian for a short period1 he became an
 enthusiastic imitator of ,giorgione1   
finally adopting an originality of      
manner1 whose peculiar grace bears no   
resemblance to that of any other        
painter4 ,his forms may truly be said to
 breathe1 to glow1 and even to laugh1   
with a force of colouring1 which1       
incapable of displaying a greater degree
 of truth than that of ,titian1 aimed1  
nevertheless1 at more variety and       
attraction2 while1 at the same time1    
they were not wanting in delicacy of    
design1 novelty of drapery1 propriety of
 composition1 and a peculiarly lively   
air of the heads4 ,in the church of ,s4 
,giobbe he produced a picture of ,s4    
,andrew embracing his ,cross1 with an   
angel seen hovering above1 in the act of
 bestowing upon him the crown of        

martyrdom2 while in one of the two      
saints1 represented at the side1 he drew
 the figure of ,s4 ,peter1 in the act of
 gazing upon him with a kind of envy2 an
 idea equally novel and picturesque4 ,a 
similar method he adopted in other of   
his works1 produced in great part for   
the ornament of his native place and its
 vicinity4 ,not a subject but is taken  
from the antique2 yet each of them is   
treated with originality4 ,of such kind1
 is that picture of a true ,paradise1   
seen in the ,ognissanti at ,trevigi1 and
 those evangelical mysteries in the     
cathedral of the same city1 represented 
in an altarpiece1 divided into six      
different groups1 at the request1 it is 
presumed1 of the person who engaged him 
to execute it4 ,here we behold1         
assembled in a small space1 every thing 
of the most pleasing and beautiful kind1
 which he has elsewhere scattered       
throughout the whole of his works4 ,in  
,venice1 his representation of the      
restoration of the ring to the ,doge by 

a fisherman1 possesses a high           
reputation2 and this1 accompanied with  
that of the ,tempest1 shortly before    
described1 by ,giorgione1 forms an      
admirable contrast in its beauty to the 
terrors abounding in the latter4        
,decorated with the finest specimens of 
architecture1 and a profusion of        
animated and well adapted figures1 as   
varied in their actions as in their     
draperies1 it has been commended by     
,vasari as the masterpiece of his       
labours4 ,the same artist is1 likewise1 
highly prized in collections4 ,madonnas 
of his are to be met with1 characterized
 by the uniformity of their countenance1
 as well as some of his portraits1 often
 attired in the manner of ,giorgione1   
and composed with fine and novel        
embellishments4 ,being invited to the   
court of ,francis ,,ii41 he acquired the
 favour of that monarch and of his      
successor1 thus enriching himself by the
 exercise of his talents4 ,he had a son 
who pursued the same branches of the    

art2 but from his picture of ,daniel1   
remaining at ,santa ,maria ,formosa in  
,venice1 it is evident how very inferior
 he must have been4  ,at the same time  
flourished one ,girolamo da ,trevigi1 a 
different artist to his namesake already
 mentioned by us1 who1 induced probably 
by the example of his noble fellow      
citizen1 and turning his attention to a 
more select style than the generality of
 the ,venetian ,school1 applied himself 
to the models of ,raffaello1 and the    
,romans4 ,he is entitled by ,padre      
,federici1 upon the authority of ,mauro1
 ,pennacchi1 and is considered by him   
the son of that ,piermaria1 of whom we  
made brief mention before1 7page #fb74  
,there is little from his hand remaining
 at ,venice1 but more in ,bologna1      
particularly at ,san ,petronio1 where he
 painted in oil the histories of ,s4    
,antony of ,padua1 with judgment and    
grace1 combined with an exquisite degree
 of polish1 which obtained for him the  
commendation of ,vasari4 ,it was here he

 happily succeeded in uniting the       
excellences of the two schools1 though  
he did not flourish long enough to      
mature them1 having devoted himself to  
the military occupation of an engineer1 
to which service he fell a victim in    
#aedd1 while in ,england2 he was killed1
 according to ,vasari1 in his           
thirty-sixth year4 ,on this last point  
we can scarcely admit the emendation    
offered us by the author of the         
,description of ,vicenza1 who would     
substitute for this earlier date the age
 of seventy-six years1 a period of life 
when men seldom encounter their final   
doom in the field4 ,in this instance1   
perhaps1 the emendator was not aware    
that there exist signatures of a        
,girolamo da ,treviso1 met with upon    
pictures from the year #adgb to that of 
#adhg1 uniformly of ancient design2 an  
artist1 who could not1 in the common    
course of life1 have survived to become 
an excellent disciple of ,raffaello1 and
 the assistant of ,pupini at ,bologna1  

about the year #aecj4 ,he failed1       
therefore1 to make a distinction between
 two painters of the same name1 as it   
will be perceived we have done1 followed
 by the authority of ,padre ,federici4  
,finally1 in this list must be          
enumerated ,gio4 ,antonio ,licinio1     
either ,sacchiense1 or ,cuticello1#dd   
until such period1 as happening to be   
wounded in the hand by his brother1 he  
renounced all title to his family name1 
assuming the appellation of ,regillo4   
,he is commonly1 however1 called        
,pordenone1 from his native place1      
formerly a province1 and now a city of  
the ,friuli4 ,in this province1 it is   
observed by ,vasari1 there flourished1  
during his time1 a great number of      
excellent artists1 who had never visited
 either ,florence or ,rome2 but he stood
 pre-eminent above all1 surpassing his  
predecessors in the conception of his   
pieces1 in design1 in boldness1 in the  
use of his colours1 in his frescos1 in  
rapidity1 in grandeur of relief2 and1   

indeed1 in every other attribute of the 
arts4 ,it is uncertain whether he       
attended the ,school of ,castelfranco1  
as it has been supposed by some1 and    
much more so1 whether he was a fellow   
student along with him and ,titian1     
under ,giovanni ,bellini1 a supposition 
started by ,rinaldis1 7p4 #fb74 ,to me1 
the opinion reported by ,ridolfi appears
 nearer the truth1 that having first    
studied1 in his youth1 the productions  
of ,pelligrino1 at ,udine1 he           
subsequently adopted the manner of      
,giorgione1 following the bias of his   
own genius1 invariably the artist's     
safest guide in the formation of a      
style4 ,other disciples of ,giorgione1  
more or less resembled him in manner1   
but ,pordenone seemed to vie with him in
 spirit1 a spirit equally daring1       
resolute1 and great2 surpassed by no    
other1 perhaps1 in the ,venetian        
,school4 ,yet in lower ,italy he is     
little known beyond his name4 ,the      
picture with the portraits of his       

family1 preserved in the ,palazzo       
,borghese1 is the best production of his
 that ,i have met with in these parts4  
,and elsewhere1 indeed1 we rarely behold
 such histories as his exquisite picture
 of the ,raising of ,lazarus1 in        
possession of the ,conti ,lecchi1 at    
,brescia4 ,nor does he abound in        
altarpieces1 beyond the province of     
,friuli1 which boasts of several in     
different places1 though not all equally
 genuine4 ,the few executed in          
,pordenone1 are unquestionably his1     
inasmuch as he has himself described    
them in a memorial still extant4#de ,the
 collegiate church possesses two of     
these2 one consisting of a ,holy        
,family1 with ,s4 ,christopher1 executed
 in #aeae1 very finely coloured1 but not
 exempt from some inaccuracies4 ,the    
other bears the date of #aece1          
representing ,s4 ,mark in the act of    
consecrating a bishop1 along with other 
saints1 and with perspective2 a piece1  
says its author1 posta in opera1 non    

finita1 begun1 indeed1 but not finished4
 ,a more complete specimen was to be    
seen at ,san ,pier ,martire di ,udine1  
in his ,annunciation1 since re-touched  
and destroyed4 ,some there are who have 
preferred1 before every other1 that     
preserved in ,s4 ,maria dell',orto1 at  
,venice4 ,it consists of ,san ,lorenzo  
,giustiniani1 surrounded by various     
saints2 among whom ,s4 ,john the        
,baptist appears naked according to the 
rules of the most learned schools2 while
 the arm of ,s4 ,augustine is seen1 as  
it were1 stretched forth out of the     
picture1 an effect of perspective this  
artist has repeated in various other    
places4 ,the most beautiful of his      
pieces in ,piacenza1 where he had       
established himself1 is his picture of  
the ,marriage of ,s4 ,catherine1 upon a 
dark ground1 which gives a roundness to 
the whole of the figures2 it is full of 
grace in those of a more tender         
character1 and displays grandeur in the 
forms of ,s4 ,peter and ,s4 ,paul1      

represented on the two sides2 in the    
last of whom1 as well as in the ,s4     
,rocco of ,pordenone1 he gave a portrait
 of himself4  ,but his works in fresco  
display the highest degree of merit2    
great part of which he produced in the  
,friuli1 besides numerous others        
scattered throughout castles and villas1
 no longer distinguished by strangers1  
except from the circumstance of         
possessing some painting of ,pordenone4 
,such places are ,castions1 ,valeriano1 
,villanova1 ,varmo1 ,pallazuolo1 where  
he is with certainty known to have      
employed his talents4 ,a few remnants   
are likewise preserved in ,mantua1 in   
the ,casa de' ,cesarei1 and in the      
palazzo ,doria1 at ,genoa2 some at ,s4  
,rocco1 and the cloisters of ,s4        
,stefano1 in ,venice1 and many specimens
 in high preservation in the dome of    
,cremona1 and at ,santa ,maria di       
,campagna1 in ,piacenza1 where1 in      
collections1 and in the facades of      
houses1 other pieces of his are pointed 

out4 ,his labours in fresco1 however1   
are not all equally studied and correct2
 more particularly those in his native  
,friuli1 which he produced at an early  
age in great abundance1 and for a small 
price4 ,he is more select in his male   
forms than in those of his women1 whose 
model he appears to have frequently     
taken from very robust rather than very 
beautiful subjects1 most probably met   
with in the adjacent province of        
,carnia1 where he is said to have       
indulged his early passions4 ,but in    
every thing he undertook we may         
invariably trace the workings of a      
vigorous fancy1 rich in conceiving1 in  
varying1 and developing his ideas2      
powerful in his exhibition of the       
passions1 displaying the master-hand    
that encounters the difficulties of the 
art with the most novel combinations in 
the science of foreshortening1 with the 
most laboured perspective1 and with a   
power of relief which appears perfectly 
starting from the canvass4  ,in ,venice1

 he seemed to surpass all he had before 
done4 ,the competition1 or rather enmity
 subsisting between him and ,titian1    
served as a spur both by day and night1 
to actuate him to fresh exertions4 ,he  
was at times even accustomed to paint   
with arms at his side2 and it is the    
opinion of many1 that such emulation was
 of no less advantage to ,titian1 than  
was the rivalship of ,michelangiolo to  
,raffaello4 ,in this instance1 also1 the
 one excelled in strength1 the other in 
grace of hand2 or1 as it has been       
observed by ,zanetti1 nature prevailed  
in ,titian in a superior degree to      
manner1 while in ,pordenone both shone  
with an equal degree of excellence4 ,to 
have competed with ,titian is a         
circumstance not a little honourable to 
his name1 and has acquired for him in   
the ,venetian ,school the second rank at
 least1 in a period so prolific in      
excellent artists4 ,a portion of the    
people1 indeed1 then preferred him to   
,titian2 for1 as ,i have elsewhere      

observed1 there is nothing so well      
calculated to surprise the multitude as 
the production of fine effect and of the
 chiaroscuro1 in which art he is known  
to have first preceded ,guercino4       
,pordenone was highly favoured1 and     
presented with the title of cavalier by 
,charles ,v42 and being subsequently    
invited to the court of ,ercole ,,ii4   
duke of ,ferrara1 he died there shortly 
after1 not without suspicion of having  
been poisoned4 ,we have in the next     
place to give an account of his school4 
,bernardino ,licinio1 from his surname  
probably a relation of the foregoing1   
was an artist who is here deserving of  
mention4 ,we gather from history1 as    
well as from his manner1 that he was    
also a pupil of ,pordenone2 and there   
remains at the ,conventuali1 in ,venice1
 an altarpiece of the usual antique     
composition1 quite in the style of the  
other ,licinio1 from his hand4 ,it is   
reported1 likewise1 that some of his    
portraits are preserved in different    

collections which have been erroneously 
ascribed to the elder ,pordenone4       
,sandrart makes mention of ,giulio      
,licinio da ,pordenone1 a nephew and    
scholar to ,gio4 ,antonio1 adding that  
he employed himself in ,venice2 thence  
transferred his residence to ,augusta1  
where he left behind him some truly     
surprising specimens in fresco1 which   
obtained for him with some a higher     
reputation than his uncle4 ,he would    
appear to be the same ,giulio ,lizino1  
who1 in competition with ,schiavone1    
,paul ,veronese1 and other artists1     
produced the three tondi1 in the library
 of ,st4 ,mark1 in the year #aeef4 ,by  
,zanetti he is considered of ,roman     
origin1#df but this is a mistake1       
arising from ,giulio's having assumed   
the title of ,romano during his         
residence in the capital2 while he      
retained it in ,venice1 the better to   
distinguish him from the other ,licinj1 
in the same manner as we have already   
observed of one of the ,trevisani1 about

 the same period4  ,giannantonio        
,licinio the younger1 was a brother to  
,giulio1 and more commonly named        
,sacchiense1 an artist who has been     
highly commended1 but whose works are no
 longer to be seen1 not even in ,como1  
as far as we can learn1 where he died4  
,after the ,licinj we ought next to     
record the name of ,calderari1 a        
distinguished pupil of ,gio4 ,antonio1  
who has succeeded in sometimes imposing 
upon the most acute judges4 ,thus it has
 occurred in the parish church of       
,montereale1 where he produced many     
scripture histories in fresco1 which had
 been uniformly ascribed to the hand of 
,pordenone1 until the discovery of a    
document establishing the contrary4 ,he 
is even little known in his native place
 of ,pordenone1 and his frescos in the  
cathedral were attributed to the pencil 
of ,amalteo4 ,pordenone may also boast  
of another disciple in ,francesco       
,beccaruzzi da ,conigliano4 ,for this we
 have the authority of ,ridolfi1        

confirmed by the artist's own work1     
ornamenting his native place1 of ,st4   
,francis in the act of receiving the    
stigmata1 or marks of ,christ1 a figure 
more striking in point of relief than of
 colouring4 ,to the same school has been
 added by ,orlandi1 the name of ,gio4   
,batista ,grassi1 a good painter1 but   
more excellent as an architect1 and the 
same from whom ,vasari drew his notices 
of the painters of ,friuli4 ,i should be
 inclined1 however1 to refer him to some
 other school1 both on account of       
,vasari's silence on a point so         
creditable to him1 and his resemblance  
to the manner of ,titian in such of the 
few pieces as have been well preserved1 
and are exempt from modern retouches of 
art4 ,of this kind are his pictures of  
the ,annunciation2 the ,translation of  
,elias2 and the ,vision of ,ezekiel1 in 
the cathedral of ,gemona1 on the doors  
of the organ there4  ,the last name to  
be enumerated in this class1 is that of 
,pomponio ,amalteo1 a native of ,san    

,vito1 and of a noble family which yet  
boasts its descendants at ,uderzo4 ,he  
was one of the most excellent of        
,giannantonio's pupils1 and introduced  
his master's style into the ,friuli1 for
 which reason we shall here give him a  
place1 together with the whole of his   
followers4 ,he was son-in-law to        
,pordenone1 and the artist who succeeded
 him in his school at ,friuli4 ,both    
there and in other places he employed   
himself in works of distinguished merit4
 ,he preserved the manner of his        
father-in-law1 as has been observed by  
,ridolfi1 who erroneously ascribes to   
,licinio the ,three ,judgments1         
indisputably the production of ,amalteo1
 which he represented in a gallery at   
,ceneda1 in which causes are decided4   
,they consist of the ,judgment of       
,solomon1 of that of ,daniel1 and a     
third of ,trajan2 the whole completed in
 the year #aecf4 ,it is everywhere      
evident that he aspired to originality  
of manner2 his shading is less strong1  

his colours are brighter1 and the       
proportions of his figures1 and all his 
ideas are upon a less elevated scale    
than those of his father-in-law4 ,some  
faint idea of his works may be gathered 
from ,vasari and ,ridolfi1 who omitted1 
however1 many of them1 among others the 
five pictures of ,roman histories       
adorning the ,hall of the ,notaries at  
,belluno3 but it is only some faint     
idea1 inasmuch as neither these two     
writers1 nor ,altan1 who collected      
memorials of him in a little work1 were 
at all enabled to do full justice to the
 labours of an artist who continued to  
occupy himself1 assisted by various     
other hands1 until the latest period of 
his life4 ,hence it is that the bulk of 
his works can by no means boast the same
 degree of excellence as the ,three     
,judgments we have mentioned1 or the    
picture of ,s4 ,francis1 at the church  
of that name1 in ,udine1 esteemed one   
among the valuable pieces belonging to  
the city4 ,still1 wherever or upon      

whatever subject he employed himself1 he
 displayed the powers of a great master1
 educated by ,pordenone2 and one who not
 only shewed himself1 with the          
generality of ,venetians1 a splendid    
colourist1 but designed far more        
accurately4 ,the same merit continued1  
for some period1 to characterize his    
successors1 who1 however1 if ,i mistake 
not1 were greatly inferior to him in    
genius2 excepting only his brother1 with
 whom we shall commence the history of  
,pomponio's ,school4  ,his name was     
,girolamo1 and1 receiving the           
instructions of his brother1 he is      
supposed to have assisted him in his    
labours1 giving proofs of a noble       
genius1 which he more peculiarly        
manifested in works of design2 in small 
pictures1 which appeared like miniature1
 in several fables executed in fresco1  
and in an altarpiece which he painted in
 the church of ,san ,vito4 ,ridolfi     
commends him highly for his spirited    
manner1 and another of the old writers1 

as we learn from ,rinaldis1 gives his   
opinion1 that if he had flourished for a
 longer period1 he would1 perhaps1 have 
proved no way inferior to the great     
,pordenone4 ,hence ,i find reason to    
conclude that ,girolamo continued1      
during life1 the exercise of his art2   
and that the report transmitted to us   
through ,ridolfi1 about a century after 
his death1 of his brother ,pomponio     
having devoted him out of jealousy of   
his genius to mercantile pursuits1 as   
was certainly the case with a brother of
 ,titian's1 must have been wholly       
without foundation4  ,pomponio likewise 
availed himself of the aid of ,antonio  
,bosello in the paintings he produced at
 ,ceneda1 as well as for the ,patriarch 
within the gallery just before recorded1
 and for the canons in the ,organ of the
 cathedral4 ,this artist must assuredly 
have arrived at some degree of          
perfection1 inasmuch as we are in       
possession of the particulars of various
 salaries paid to him1 distinct from    

such as were paid to the principal4 ,as 
,i find mention in ,bergamo of an       
,antonio ,boselli1 memorials of whom    
subsist there between the period of     
#aeji and that of #aebg1 it is extremely
 probable that he was the same painter1 
who1 being unable to contend with the   
fame of ,lotto1 and so many other of his
 contemporaries in that celebrated      
school1 sought for better fortune beyond
 his native place4 ,it is certain he    
exercised his talents in ,padua1 and    
thence he might easily penetrate into   
,friuli1 and give his assistance to     
,pomponio1 whilst employed at ,ceneda   
during the years #aecd1 #aece1 and      
#aecf4  ,in the course of time1         
,amalteo1 having bestowed two of his    
daughters in marriage1 appears to have  
obtained the assistance of his          
sons-in-law1 both painters1 and promoted
 by him in the progress of their art4   
,quintilia1 who had the reputation of a 
fine genius1 familiar with the          
principles both of painting and         

engraving1 and more particularly        
excellent in portraits1 became united to
 ,gioseffo ,moretto1 of ,friuli1        
although there remains only a single    
altarpiece of his in the ,friuli1 in the
 province of ,san ,vito1 bearing the    
following inscription3 ,inchoavit       
,pomponius ,amalteus1 perfecit ,joseph  
,moretius1 anno #aehh2 a short time     
previous to which date1 his             
father-in-law had resigned his          
profession with his life4 ,the other    
daughter espoused ,sebastiano ,seccante1
 mentioned by ,ridolfi1 and esteemed in 
,udine for his two grand pictures       
embellished with fine portraits1 with   
which he ornamented the castle of the   
city2 and still more so for several of  
his altarpieces4 ,of these there is one 
at ,san ,giorgio1 representing the      
,redeemer1 suffering under the cross1   
between various figures of cherubs1     
holding other instruments of his        
passion2 a piece that displays all the  
excellent maxims derived from his       

education4 ,this artist may be          
pronounced the last of the great school1
 whose productions do credit to a good  
collection4 ,his brother1 ,giacomo1 who 
did not apply himself to painting until 
he had attained his fiftieth year2      
,sebastiano1 the son of ,giacomo1 who   
became early initiated in the art1      
without even equalling his father1 with 
their relative ,seccante1 who lived at  
the same period1 were none of them      
esteemed1 even in ,udine1 beyond        
mediocrity in their respective lines4   
,two natives1 however1 of ,san ,vito1   
named ,pier ,antonio ,alessio1 and      
,cristoforo ,diana1 were much commended 
by ,cesarini1 one of ,amalteo's         
contemporaries4 ,they were employed in  
their studies at the very period that   
the former wrote his dialogue2 though   
there remain no memorials of ,pier      
,antonio1 similar to those of           
,cristoforo1 of whom ,altan discovered  
several specimens at ,san ,vito1 in a   
very good style1 besides one preserved  

in the monastery of ,sesto1 bearing     
traces of his name1 which he had        
inscribed upon it4 ,we shall close this 
catalogue with the name of another      
disciple of ,amalteo1 belonging to ,san 
,daniele1 where1 among some other       
remains1 there is a tolerably good      
fresco1 preserved in the facade of one  
of the inns in the suburbs of the place4
 ,it represents the ,virgin1 seated with
 the divine child1 her throne surrounded
 by ,s4 ,thomas the ,apostle1 and ,s4   
,valentine1 along with other saints2 and
 it bears the inscription1 ,opus ,julii 
,urbanis1 #aegd2 it partakes of the     
taste of ,amalteo1 and of ,pordenone1   
the succession of whose school we have  
just completed1 history affording us no 
farther materials for description4      
,whilst the school of ,amalteo continued
 to embellish various cities1 provinces1
 and villas of the ,friuli1 another from
 the same place started into competition
 with it1 first introduced by           
,pellegrino1 of which mention has been  

made at page #ff1 though ,i reserved its
 description for this place4 ,the whole 
of ,pellegrino's disciples followed him 
at a very unequal pace1 and few of their
 works can be pointed out which appear  
to catch the spirit of his fresco of ,s4
 ,daniel1 or his altarpiece at          
,cividale1 already mentioned with       
praise4 ,luca ,monverde was an artist   
who flourished but for a short period1  
nor ever advanced beyond the ,bellini   
manner1 imbibed from his master at a    
very early age4 ,in this1 however1 he   
arrived at so high a degree of          
perfection1 that his picture1 adorning  
the great altar of the ,grazie at       
,udine1 a church dedicated to ,s4       
,gervasio and ,s4 ,protasio1 which is   
there placed around the throne of the   
,virgin1 was highly commended previous  
to its being retouched4 ,and we are     
elsewhere informed that ,luca1 while he 
flourished1 was regarded as a sort of   
prodigy of genius4 ,girolamo d',udine1  
supposed also to come under this        

standard1 has been omitted by ,grassi1  
in his sketch of the painters           
transmitted to ,vasari1 and is not      
otherwise known than for his little     
picture of the ,coronation of our ,lady1
 remaining in ,san ,francesco at ,udine1
 with his name attached4 ,the vigour of 
its colours is striking1 the invention  
novel1 but rather strained2 and1 if ,i  
mistake not1 the whole betrays an artist
 educated with other maxims4 ,i pass    
over ,martini1 though ,i am aware ,altan
 maintains him to have been a scholar1  
rather than a fellow pupil of           
,pellegrino2 but the authority of       
,vasari1 combined with his own beautiful
 picture at ,s4 ,mark's1 so nearly      
simultaneous with that of ,pellegrino1  
induce me to retain my own opinion4 ,i  
should hardly venture to decide to which
 of the two preceding masters           
,bernardino ,blaceo ought to be         
referred2 an artist who appears1 from   
the great altarpiece of ,s4 ,lucia1 with
 his name attached1 to have retained the

 ancient style of composition1 while in 
other points his manner is sufficiently 
graceful and modern4 ,another artist who
 has been with more certainty given as a
 pupil to ,pellegrino1 was by birth a   
,greek1 of singular merit in his art1   
but who has retained only his national  
appellative of ,n4 ,greco4 ,thus the    
number of disciples from ,san ,daniele1 
at all worthy of such a master1 is      
reduced to two1 ,florigerio and         
,floriani4 ,the labours of the former in
 ,udine1 executed in fresco1 have       
however perished1 though his picture of 
,s4 ,george1 in the church of the same  
name1 still survives1 of itself         
sufficient to constitute an artist's    
fame4 ,it is esteemed by many the best  
specimen in the city1 displaying both in
 the figures and the landscape a        
strength of hand which appears to rival 
,giorgione1 more than any other model we
 could mention4 ,he painted1 likewise1  
with equal spirit1 though scarcely      
perhaps with equal softness1 in the city

 of ,padua2 and there he subscribed his 
name to one of his frescos1 ,florigerio1
 as it has been read by the ,guida of   
,padua1 in which ,i agree2 and not      
,flerigorio1 as he has been called by   
some historians4 ,francesco ,floriani1  
together with his brother ,antonio1     
though devoting his talents to the      
service of ,maximilian ,,ii41 at        
,vienna1 boasts1 nevertheless1 a high   
reputation in ,udine4 ,he was more      
particularly excellent in portrait1 a   
specimen of which is in possession of   
,signor ,gio4 ,batista de ,rubeis2 being
 a portrait of ,ascanio ,belgrado1 which
 might almost be placed in competition  
with ,moroni or ,tinelli4 ,he produced  
several altarpieces for churches1 the   
most highly admired of which was1       
perhaps1 that placed at ,reana1 a       
village near ,udine4 ,it has recently   
been purchased and divided into as many 
small pictures as the number of saints  
which it contained1 and which now belong
 to a private collection4  ,but it is at

 length time to proceed to ,tiziano     
,vecellio1 a name the reader has        
probably long wished to greet4 ,yet ,i  
fear ,i shall hardly gratify his        
expectations2 for where we have formed  
enlarged ideas of an artist's worth1    
every attempt to do justice to the      
splendid merits we admire1 appears not  
only inferior1 but in some measure      
derogatory to the character we would    
exalt4 ,but if in treating on the       
qualities of artists1 we may consider a 
particular estimation of their          
characteristic talents preferable to    
warm commendations1 ,i shall avail      
myself of the judgment of an excellent  
critic1 who was accustomed to say that  
,titian observed and drew nature in all 
her truth1 better than any other artist4
 ,to this ,i might add the testimony of 
another1 that of all painters he was    
most familiar with nature1 in all her   
forms2 the universal master1 who1 in    
every subject he undertook1 whether     
figures1 elements1 landscape1 or other  

pieces1 imprinted upon all that lively  
nature1 constituting the great charm of 
his genius4 ,he was gifted1 likewise1   
with a peculiarly sound judgment1       
tranquil1 penetrative1 and decidedly    
studious of what was true1 rather than  
what was novel and specious2 a character
 no less essential to the production of 
true painters than of true writers4     
,the education he first received from   
,sebastiano ,zuccati1 a native of the   
,valteline1 though supposed to have been
 of ,trevigi1#dg and next from ,gian    
,bellini1 had the effect of rendering   
him a minute observer of every object   
falling under the senses4 ,to such a    
degree of excellence did he carry it1   
that when1 later in life1 he wished to  
compete with ,albert ,durer1 and        
produced1 at ,ferrara1 the ,christ to   
whom the ,pharisee is seen offering the 
piece of money1#dh he executed it with  
so much exactness as to surpass even the
 minuteness which characterises that    
artist4 ,indeed1 in several of those    

figures1 the hairs might be numbered1   
the skin of the hands1 the very pores of
 the flesh1 and the reflection of       
objects in the pupils2 yet with all     
this1 the work failed not of success1   
for where the pictures of ,durer appear 
to diminish and lose their effect at a  
distance1 this improves in size1 and    
grows1 as it were1 upon the spectator4  
,but he never repeated any specimen in  
this style1 adopting1 as is well known1 
while yet very young1 that free and     
unshackled manner1 first originating    
with his fellow student1 afterwards his 
rival1 ,giorgione4 ,a few of the        
portraits1 indeed1 painted by ,titian1  
during that short period1 are not to be 
distinguished from those of ,giorgione  
himself4 ,i say during that period1     
because shortly afterwards he formed a  
new style1 less bold1 clear1 and fiery1 
but one peculiarly his1 the sweetness of
 which attracts the spectator more by   
its artless representation of truth1    
than by the novelty of its effect4 ,the 

first specimen he is known to have      
produced altogether in the ,titian      
manner1 is preserved in the ,sacristy of
 ,san ,marziale1 representing the       
archangel ,raphael1 with ,tobias at his 
side1 painted in the thirtieth year of  
his age4 ,following at a short interval1
 if we are to give credit to ,ridolfi1  
he next produced that fine              
representation of our ,lord1 for the    
college of the ,carita1 one of the      
grandest pictures1 and the richest1     
perhaps1 in point of figures1 which we  
have now to boast2 many of them having  
since perished in different             
conflagrations4  ,from these1 and a few 
others1 painted in the zenith of his    
fame1 his critics have gathered the     
general idea of his style2 the greatest 
contest which they have amongst         
themselves1 relating to the design4 ,by 
,mengs he is denied the title to rank   
among good designers1#di considering him
 an artist of ordinary taste1 by no     
means familiar with1 however well he    

might1 if he pleased1 have succeeded in 
the study of the antique1 possessing so 
very exact an eye in copying objects    
from nature4 ,vasari appears to be of   
the same opinion1 where he introduces   
,michelangiolo observing1 after viewing 
the ,leda of ,titian1#ej that it was a  
great pity the ,venetian artists were   
not earlier taught how to design4 ,the  
judgment formed of him by ,tintoret1    
though placed in competition with him1  
was less severe1 namely1 that ,titian   
had produced some things which it was   
impossible to surpass1 but that others  
might have been more correctly designed4
 ,and among these more excellent pieces1
 he might indisputably have included his
 ,san ,pietro ,martire1 in the church of
 ,,ss4 ,giovanni and ,paolo1 a piece1   
says ,algarotti1 which the best masters 
have agreed in pronouncing free from    
every shade of defect2 besides that fine
 ,bacchanal1 and a few others1          
ornamenting a cabinet of the ,duke of   
,ferrara1 and declared by ,agostino     

,caracci prodigies of art1 and the      
finest paintings in the world4#ea       
,fresnoy was of opinion that in the     
figures of his men he was not altogether
 perfect1 and that in his draperies he  
was somewhat insignificant2#eb but that 
many of his women and boys are          
exquisite1 both in point of design and  
colouring4 ,this commendation is        
confirmed by ,algarotti1 in respect to  
his female forms1 and by ,mengs in those
 of his boys4 ,indeed it is almost      
universally admitted that in such kind  
of figures1 no artist was ever          
comparable to him2 and that ,poussin and
 ,fiammingo1#ec who so greatly excelled 
in this particular1 acquired it only    
from ,titian's pictures4 ,reynolds#ed   
also affirms that1 although his style   
may not be altogether as chaste as that 
of some other schools of ,italy1 it     
nevertheless possesses a certain air of 
senatorial dignity2 and that he shone in
 his portraits as an artist of first    
rate character2 and he concludes by     

observing that he may be studied with   
advantage even by lovers of the sublime4
  ,zanetti assigns him the first rank in
 design1 among all the most             
distinguished colourists2 asserting that
 he was much devoted to the study of    
anatomy1 and copying from the best      
antique2#ee but supposes that he was not
 ambitious of affecting an extensive    
knowledge of the muscles1 nor aimed at  
displaying an ideal beauty in his       
contours2 whether he had not early      
enough acquired facility in these1 or   
for some other reasons4 ,for the rest1  
he adds1 the ,titian manner was         
uniformly elegant1 correct1 and         
dignified in its female forms1 and in   
its boys2 elevated1 great1 and learned  
for the most part1 in those of its men2 
while in testimony of his naked figures1
 he adduces the history pieces1 painted 
for the ,sacristy of ,la ,salute1 whose 
beauty of design appears to triumph1    
even in the extremities1 while it boasts
 the rare merit of a striking           

acquaintance with the science of        
foreshortening1 both appearing blended  
together4 ,had the historian been       
desirous of extending his notice to such
 works as are to be met with in foreign 
parts1 he might have added much valuable
 matter upon the subject of his         
,bacchanals1 and his pictures of the    
,venus2 one of which1 adorning the royal
 gallery at ,florence1 was justly       
thought to vie with that of the ,medici 
herself1 the most exquisite triumph of  
,grecian art4 ,for skill in his         
draperies1 ,zanetti further brings the  
example of his ,s4 ,peter1 painted on an
 altar of the ,casa ,pesaro1 with a very
 artificially wrought mantle2 adding    
that he occasionally sacrificed the     
appearance of the drapery1 purposely to 
give relief to some neighbouring object4
 ,in this contest of opinion1 between   
true judges of the art1 ,i shall decline
 interfering with my own1 observing     
only1 in justice to so extraordinary a  
genius1 that if happier combinations had

 led him to become familiar with more   
profound maxims of design1 he would     
probably have ranked as the very first  
painter in the world4 ,for he would have
 been allowed to be the first and most  
perfect in design1 as he is by all      
allowed to have no equal in point of    
colouring4  ,many critics have pushed   
their inquiries from the artist1 into   
the peculiar character of his           
chiaroscuro2 and the most copious among 
these is ,signor ,zanetti1 who devoted  
years to its examination4 ,i select some
 of his observations1 premising1        
however1 that he left a large portion of
 them to the more studious1 desirous    
themselves of developing them1 in the   
works of ,titian4 ,and1 in truth1 his   
pictures are the best masters to direct 
us in the right method of colouring2    
but1 like the ancient classics1 that are
 equally open1 and equally the subjects 
of commentary to all1 they are only of  
advantage to those who are accustomed to
 reflect4 ,i have already mentioned the 

lucid clearness predominating in        
,venetian paintings1 and more especially
 in those of ,titian1 whom the rest     
adopted for their model4 ,i then too    
pronounced it to be the result of very  
clear primary grounding1 upon which a   
repetition of colours being laid1 it    
produces the effect of a transparent    
veil1 and renders the tints of a cast no
 less soft and luscious than lucid4 ,nor
 did he adopt any other plan in his     
strongest shades1 veiling them with     
fresh colour1 when dry2 renewing1       
invigorating them1 and warming the      
confines that pass into the middle      
tints4 ,he availed himself1 very        
judiciously1 of the power of shade2     
forming a method not altogether that of 
a mere naturalist1 but partaking of the 
ideal4 ,in his naked forms he cautiously
 avoided masses of strong shades and    
bold shadows1 although they are         
sometimes to be seen in nature4 ,they   
certainly add to the relief1 but they   
much diminish the delicacy of the fleshy

 parts4 ,titian1 for the most part1     
affected a deep and glowing light2      
whence1 in various gradations of middle 
tints1 he formed the work of the lower  
parts2 and having very resolutely drawn 
the other parts1 with the extremities1  
stronger1 perhaps1 than in nature1 he   
gave to objects that peculiar aspect    
which presents them1 as it were1 more   
lively and pleasing than the truth4     
,thus in his portraits he centers the   
chief power in the eyes1 the nose1 and  
the mouth1 leaving the remaining parts  
in a kind of pleasing uncertainty1      
extremely favourable to the spirit of   
the heads1 and to the whole effect4     
,but since the variations of depth and  
delicacy of shades are insufficient1    
without the aid of colours1 in this     
branch he likewise found for himself an 
ideal method1 consisting of the use in  
their respective places1 of simple      
tints1 copied exactly from the life1 or 
of artificial ones1 intended to produce 
the illusion required4 ,he was in the   

habit of employing only few and simple  
colours2 but they were such as afforded 
the greatest variety and contrast2 he   
knew all their gradations1 and the most 
favourable moments for their application
 and opposition to each other4 ,there   
appears no effort1 no degree of violence
 in them1 and that striking diversity of
 colours which seems to strive1 one     
above another1 for the mastery1 as it   
were1 in his pictures1 has all the      
appearance of nature1 though an effect  
of the most bold and arduous art4 ,a    
white dress1 placed near a naked figure1
 gives it all the appearance of being   
mingled with the warmest crimson1 while 
he employed nothing beyond simple terra 
rossa1 with a little lake in the        
contours1 and towards the extremities4  
,certain objects1 in themselves dark and
 even black1 produce a similar effect   
upon his canvass2 and which1 besides    
enlivening the adjacent colour1 give    
force to the figures1 wrought1 as was   
before stated1 with gradual middle      

tints4 ,it is said to have been his     
favourite opinion1 transmitted to us by 
,boschini1 p4 #cda1 that whoever aspires
 to become a painter1 must make himself 
familiar with three colours1 and have   
them ready upon his palette2 these are  
white1 red1 and black2 and that an      
artist1 while attempting the fleshy     
parts1 must not expect to succeed at    
once1 but by repeated application of    
opposite tints1 and kneading of his     
colours4  ,here ,i shall subjoin some   
observations by the ,cavalier ,mengs1   
who entered so very deeply into the     
,titian manner4 ,he pronounces him the  
first1 who1 subsequent to the revival of
 painting1 knew how to avail himself of 
the ideal1 as it were1 of different     
colours in his draperies4 ,before his   
time all colours had been applied       
indifferently1 and artists used them in 
the same measure for clear and for      
obscure4 ,titian was aware1 if indeed he
 did not acquire his knowledge from     
,giorgione1 that red brings objects     

nearer to the eye1 that yellow retains  
the rays of light1 that azure is a      
shade1 and adapted for deep obscure4    
,nor was he less intimate with the      
effects of juicy colours1 and was thus  
enabled to bestow the same degree of    
grace1 clearness of tone1 and dignity of
 colour1 upon his shades and middle     
tints1 as upon his lights1 as well as to
 mark with great diversity of middle    
tints1 the various complexions1 and the 
various superficies of bodies4 ,no other
 artist1 likewise1 was more accurately  
acquainted with the mutual power or     
equipoise of the above three colours1   
upon which the harmony of pictures so   
much depends2 an equipoise1 too1 so     
difficult in practice1 to which not even
 ,rubens1 however excellent a colourist1
 perfectly attained4  ,both ,titian's   
inventions and compositions partake of  
his usual character2 he produced nothing
 in which nature was not consulted4 ,in 
the number of his figures he is inclined
 to be moderate2 and in grouping them he

 displays the finest unshackled art2 an 
art he was fond of exemplifying by      
comparison with a bunch of grapes1 where
 a number of single ones compose the    
figure of a whole1 agreeably rounded1   
light through the openings1 distinct in 
shades1 in middle tints1 and in lights1 
according as it receives more or less of
 the solar rays4 ,no contrasts are to be
 met with in these compositions that    
betray a studied effect2 no violent     
action that is not called for by the    
incidents of the story2 the actors in   
general preserve their dignity1 and a   
certain composure1 as if each seemed to 
respect the assembly of which he formed 
a part4 ,whoever is attached to the     
taste of the ,greek bassi relievi1 in   
which all is nature and propriety1 will 
invariably prefer the sober composition 
of ,titian to the more fiery one of     
,paul ,veronese and ,tintoret1 whose    
merits we shall canvass in another      
place4 ,neither was ,titian ignorant of 
those strong contrasts of limbs and     

action1 then in such high vogue with his
 countrymen2 but these he reserved for  
his bacchanals1 his battle pieces1 and  
other subjects1 in fine1 which called   
for them4  ,it is on all hands admitted1
 that as a portrait painter1 he was     
quite incomparable2 and to this species 
of excellence he was in great part      
indebted for his fortune1 smoothing1 as 
it did1 his reception into some of the  
most splendid courts1 such as were that 
of ,rome in the time of ,paul ,,iii4 and
 those of ,vienna and of ,madrid1 during
 the reign of ,charles ,v4 and his      
successors4 ,it is the opinion of       
,vasari that in this branch of his art  
he was inimitable2 being engaged in     
drawing the portraits of numbers of the 
most distinguished characters1 both for 
rank and letters1 who flourished during 
the same period4 ,we wish we could add  
to these the name of ,cosmo ,i41 grand  
duke of ,tuscany1 who1 little to his    
credit1 evinced an objection to have his
 likeness taken by so celebrated a hand4

 ,he was no less successful in depicting
 the passions of the mind4 ,the death of
 ,s4 ,peter the ,martyr1 at ,venice1    
with that of a devotee of ,s4 ,antony1  
at the college of the same name in      
,padua1 display scenes than which ,i    
know not whether painting can afford us 
any thing more terrific in the ferocity 
of those who strike1 or more full of    
compassion in the whole attitude of the 
falling saint4 ,and thus the grand      
picture of the ,coronation of ,thorns1  
in the ,grazie at ,milan1 abounds with  
powers of expression that enchant us4   
,he has left us also not a few examples 
of costume1 and of erudition in the     
antique1 every way worthy of imitation1 
as we may observe in the ,coronation    
above alluded to1 where1 desirous of    
marking the precise period of the event1
 he inserted in the ,pretorium a bust of
 ,tiberius2 an idea that could not have 
been better conceived1 either by        
,raffaello or ,poussin4 ,in his         
architecture he sometimes availed       

himself of other works1 in particular   
those of the ,rosa1 of ,brescia2 but his
 perspectives1 like that of his picture 
of the ,presentation1 are extremely     
beautiful4 ,he was equalled by none in  
his landscape2 and he was careful not to
 employ it1 like some artists1 as a mere
 embellishment2 several artists         
esteeming themselves so highly in this  
particular1 that they hardly scruple to 
present us with cypress trees growing   
out of the sea4 ,but ,titian makes his  
landscape subservient to history1 as in 
that horrific wood1 whose dreary aspect 
adds so much to the solemnity of ,s4    
,peter's death2 or to give force to his 
figures1 as we perceive them in those   
pieces where the landscape is thrown    
into the distance4 ,his natural manner  
of representing the various effects of  
light may be best gathered from his     
,martyrdom of ,san ,lorenzo1 belonging  
to the ,jesuits at ,venice1 in which he 
displayed such an astonishing diversity 
in the splendour of fire1 in that of    

torchlights1 and in that of a           
supernatural light1 which appears to    
fall upon the martyr2 a picture         
unfortunately much defaced by age1 but  
of which there is a near imitation or   
duplicate in the ,escurial4 ,he likewise
 expressed1 with the utmost felicity1   
the time of the day in which the event  
is supposed to have taken place1 and he 
frequently selected nightfall1 drawing  
forth all its most beautiful attributes 
for the canvass4  ,from the whole of    
this it may be inferred that ,titian is 
not to be included in that class of     
,venetian artists1 whose rapidity of    
hand overpowered their judgment1        
rendering them somewhat careless and    
inaccurate2 though1 at the same time1 we
 must speak of his celerity with some   
degree of reservation4 ,a freedom of    
pencil must doubtless be granted to him1
 and he thus applied it without failing 
in point of design1 to his paintings in 
fresco1 as they are to be seen in       
,padua1 and which1 in some measure1     

compensate us for the loss of those in  
the ,venetian capital4 ,in that city we 
have nothing of the same kind in        
preservation1 if we except1 perhaps1 his
 ,s4 ,christopher1 adorning the ducal   
palace2 a majestic figure1 both in its  
character and its expression4 ,we are   
not1 however1 to look for the same      
degree of freedom in his pictures in    
oil4 ,indeed he was by no means         
ambitious of displaying it2 but rather  
encountered much painful labour to      
arrive at a perfect knowledge of his    
subjects4 ,with this view1 after        
throwing off a rough draught of his     
intended works1 with a certain freedom  
and resolution1 he was in the habit of  
laying them for some time aside1 and    
again returned to them with an eye      
prepared to detect every the least      
defect4 ,the noble ,casa ,barbarigo1    
among a fine selection of his most      
highly finished pictures1 preserves1    
also1 a few of these first sketches4 ,it
 is well known that he underwent extreme

 labour in the completion of his works1 
and1 at the same time1 was very         
solicitous to conceal the pains he      
bestowed upon them4 ,yet in some of his 
pieces such spirited and resolute       
strokes are to be met with as seem to   
imprint upon every object the true      
character of nature1 attain at once the 
points that have been long laboriously  
aimed at1 and perfectly delight         
professors4 ,to this practice he adhered
 in the zenith of his fame2 nor was it  
until near the close of his existence1  
falling a victim to the plague when     
within a year of completing a century1  
that both his hand and eye failing him1 
his style became less elegant1 being    
compelled to paint with repeated efforts
 of the brush1 and with difficulty      
mingling his tints4 ,vasari1 who saw him
 once more in #aeff1 even then was no   
longer able to recognize ,titian in     
,titian1 and it must have been much more
 difficult in the few following years4  
,yet1 as is customary with old age1 he  

was not at all aware of his failings1   
and continued to receive commissions    
until the final year of his life4       
,there remains at ,s4 ,salvatore1 one of
 these pictures of the ,annunciation1   
which attracts the spectator only from  
the name of its master4 ,yet when he was
 told by some that it was not1 or at    
least appeared not to have been executed
 by his hand1 he was so much irritated1 
that in a fit of senile indignation1 he 
affixed to it the following words1      
,tizianus fecit fecit4 ,still the most  
experienced judges are agreed that much 
may be learned even from his latest     
works2 in the same manner1 as the poets 
pronounce judgment on the ,odyssey1 the 
product of old age1 but still by ,homer4
 ,several of these last specimens1      
distributed throughout private          
collections1 are nevertheless doubtful1 
as well as a few copies made by his     
pupils1 but retouched by his hand2 and  
in particular some ,madonnas and        
,magdalens1 which ,i have seen in       

various places1 displaying little or no 
variety4 ,upon this point we ought not  
to omit the account given by ,ridolfi1  
of his having purposely left his studio 
open for the free access of his         
disciples1 in order that they might     
secretly take copies of such pictures as
 he had placed there4 ,that afterwards  
when he found such copies became        
vendible1 he gladly took possession of  
them1 and retouching them with little   
trouble1 they were passed as his        
originals4 ,the reporter of this        
incident added a marginal note to his   
account1 as follows3 ,vedi che          
accortezza6 behold what a degree of     
forecast6 ,and to this ,i might rejoin  
with another of my own3 ,note1 that the 
worth of ,titian ought not to be        
estimated1 as is too often the case1 by 
this multiplication of originals4       
,following the usual order1 ,i shall now
 proceed to describe the imitators of   
,titian2 by no means so excellent a     
master as an artist4 ,whether disliking 

the interruption and tediousness        
attaching to such a character1 or       
apprehensive of meeting with a rival1 he
 was always averse to affording his     
instructions4 ,he was extremely harsh   
with ,paris ,bordone1 and even entered  
into decided hostility against him1 an  
artist who burned with an ambition to   
resemble him4 ,he banished ,tintoret    
from his studio1 and artfully directed  
his own brother to mercantile pursuits1 
though he displayed uncommon talents for
 painting4 ,hence1 observes ,vasari1    
there are few who can really be called  
his disciples1 inasmuch as he taught    
little2 but each learned more or less   
according as he knew how to avail       
himself of the productions of ,titian4  
,his family of itself enumerated several
 artists1 the series of whom may be seen
 at ,cadore1 and in part at the adjacent
 city of ,belluno4 ,there1 too1         
contemporary with the ,vecellj1         
flourished one ,niccolo di ,stefano1 a  
painter deserving of commendation1 no   

less for having competed with the family
 of ,titian1 than for the reputation he 
acquired in such competition4 ,his      
rivals among the ,vecellj1 were         
,francesco1 the brother1 and ,orazio1 a 
son of ,titian1 who approached him      
pretty nearly in point of style4 ,they  
devoted1 however1 little attention to   
the arts1 one of them having duties of a
 military and mercantile nature to      
discharge1 and the other having thrown  
away much of his time and fortune upon  
the idle pursuit of alchemy4 ,several   
pictures by ,francesco are to be seen at
 ,san ,salvatore1 in ,venice1 consisting
 of a tolerably well executed ,magdalen1
 appearing at the feet of ,christ risen1
 at ,oriago1 on the banks of the river  
,brenta1 and a grand ,nativity of our   
,lord1 at ,san ,giuseppe1 in ,belluno1  
which1 until lately1 was esteemed a fine
 specimen of ,titian1 when ,monsignor   
,doglioni traced it by authentic        
documents to its real author4 ,the      
production1 however1 which gave rise to 

,titian's jealousy1 was the altarpiece  
at ,san ,vito1 in ,cadore1 in which1    
among the other saints1 he represented  
the figure of the denominator of the    
town1 in a military dress4 ,orazio was  
considered a good portrait painter1 even
 so far as to rival his father2 and he  
likewise painted1 for the public palace 
a history piece1 very beautiful1 though 
retouched by ,titian's hand1 which has  
since perished by fire4 ,i find no      
account of ,pomponio1 another son of    
,titian's1 having applied himself to the
 art1 though he survived both his father
 and brother1 who both died in the same 
year1 and dissipated his inheritance4   
,marco ,vecellio conferred more honour  
upon his family1 and being the nephew1  
the pupil1 and intimate companion of the
 great ,vecellio in his travels1        
received the title of ,marco di         
,tiziano4 ,in simple composition and    
mechanism of the art1 he was a good     
disciple of his master2 but he had not  
the genius to inspire his figures and   

interest the eye of the spectator1 like 
his great contemporary4 ,he was1        
nevertheless1 esteemed worthy of the    
honour of ornamenting several chambers  
of the ,venetian senate1 with history   
pieces and portraits of saints that are 
yet preserved4 ,some of his altarpieces1
 likewise1 still exist at ,venice1 in   
,trevigi1 and in the ,friuli2 while one 
of his large pictures1 adorning a parish
 church at ,cadore1 the native place of 
the ,vecellj1 has more particularly     
elicited the highest commendations4 ,in 
this appears the ,crucifixion1          
represented in the midst1 with two      
histories of ,s4 ,catherine1 ,v4 ,m41   
her controversy1 and her martyrdom1     
supporting either side4 ,tiziano        
,vecellio1 called1 to distinguish him   
from the former1 ,tizianello1 was the   
son of ,marco1 whose name ,i include    
with those of the other ,vecellj1 in    
order to avoid recurring to a family of 
artists which ought to be made known and
 described in full4 ,this last artist   

flourished about the beginning of the   
seventeenth century1 when mannerism     
began its innovations upon ,venetian    
painting4 ,and those specimens of him   
possessed by ,venice1 at the            
,patriarchal church1 at the ,servi1 and 
elsewhere1 exhibit him in a very        
opposite taste to that of his           
predecessors1 with larger forms1 but    
less imposing2 a full and free pencil1  
but destitute of softness of hand2 so   
powerful is the influence of reigning   
example over family descent and         
education4 ,in portraits1 nevertheless1 
and in heads1 very capriciously varied  
and ornamented1 ,i find him to be in    
much esteem among artists4  ,fabrizio di
 ,ettore traced his origin to another   
branch of the ,vecellj4 ,his name had   
hitherto been confined within his native
 spot of ,cadore1 until brought to light
 by ,rinaldis1 who gives some account of
 a fine painting he executed for the    
council hall of the parish1 and for     
which he was paid sixteen gold ducats1  

no despicable sum at the period when he 
flourished4 ,he died in the year #aehj4 
,his brother1 of the name of ,cesare1   
was likewise long unknown to pictorial  
history1 although his productions are   
pointed out at ,lintiai1 at ,vigo1 at   
,candide1 and at ,padola4 ,his name is  
more familiar to engravers1 inasmuch as 
he gave to the world two works of       
,etchings1 during the period of his     
residence in ,venice4 ,one of these1 at 
present very scarce1 contains1 ,ogni    
sorte di mostre di punti tagliati1 punti
 in aria1 c4 ,the other is upon ancient 
and modern costume1 and has been several
 times republished1 and once in #affd1  
with a false title2 where ,cesare is    
mentioned as a brother of the great     
,titian4 ,a third ,vecellio1 an artist  
of the name of ,tommaso1 has1 in a      
similar way1 sprung into notice1 one of 
whose productions1 consisting of a      
,nunziata1 is preserved in the parish   
church of ,lozzo1 as well as a ,supper  
of our ,lord1 both which the historian  

pronounces estimable4 ,this artist died 
in #afbj4  ,another scion from the      
stock1 though not from the studio of    
,titian1 is ,girolamo ,dante1 otherwise 
,girolamo di ,tiziano1 and first among  
his followers to be here mentioned4 ,he 
was educated and employed1 both as a    
scholar and assistant1 by ,titian1 in   
his less important works4 ,and in fact1 
by dint of assisting and copying the    
originals of his master1 he attained    
such a degree of excellence1 that such  
of his pieces as were retouched by      
,titian1 bid defiance often to the most 
exact connoisseurs4 ,he also produced   
works of design1 and the altarpiece     
attributed to him at ,san ,giovanni in  
,olio1 reflects credit upon so great a  
school4 ,domenico delle ,greche1 named  
in the dictionary of artists1 ,domenico 
,greco1 and in another article1         
,domenico ,teoscopoli1 was an artist    
employed by ,titian in engraving his    
designs4 ,the very copious print of the 
,submersion of ,pharaoh1 to say nothing 

of the others1 is sufficient proof of   
his worth in this kind of engraving4 ,no
 specimen of his painting is pointed out
 with certainty in ,italy2 many1        
however1 in ,spain1 where1 having       
accompanied his master thither1 he      
resided during the remainder of his     
days4 ,there1 too1 he produced portraits
 and altarpieces1 which1 according to   
,palomino1 appeared to be from the hand 
of ,titian himself4 ,but he entered upon
 a new style1 in which he altogether    
failed1 and for a more particular       
account of this artist we must here     
refer the reader to the ,lettere        
,pittoriche1 7vol4 vi4 p4 #cad74  ,the  
shortness of their career interrupted   
the fame of two other ,venetians1 both  
dying young1 after having given the most
 astonishing and lively promise of      
future distinction4 ,the name of one was
 ,lorenzino1 who produced1 at ,,ss4     
,giovanni and ,paolo1 several finely    
designed ornaments over a tomb1 with two
 noble figures of ,virtues1 still highly

 esteemed for their symmetry1 their     
attitude1 and their colouring4 ,the     
other was ,natalino da ,murano1 as      
excellent in portrait as any other of   
the fellow pupils of his time1 as well  
as a good composer in pictures for      
private ornament1 from which ,venetian  
dealers reaped greater profit than the  
artist4 ,one of his ,magdalens1 which1  
in spite of frequent retouches1         
preserved much of the ,titian manner1   
was put up to sale in ,udine1 where ,i  
saw it2 and after some difficulty       
deciphered his name and the date of     
#aeeh1 in very faint characters4 ,there 
was likewise one ,polidoro1 a ,venetian1
 who supplied the shops to abundance    
with specimens of his sacred figures4   
,he appears1 for the most part1 a feeble
 disciple of ,titian2 one who made a    
trade of his profession4 ,to judge from 
an altarpiece preserved at the ,servi1  
and some other pictures in ,venice1 we  
may pronounce him a tolerably good      
composer1 though he never distinguished 

himself much in the rank of his         
contemporaries4 ,yet when the great     
school declined1 his labours1 such as   
they were1 acquired more esteem1 and    
were exhibited in the studios of those  
artists1 much in the same manner as     
sculptors are accustomed to collect     
specimens of ancient marbles1 however   
inferior1 as advantageous in the pursuit
 of their art4 ,such is the influence of
 a great master's reputation1 and the   
maxims of a flourishing epoch1 in the   
estimation of an artist's merit4 ,doubts
 have been started as to his real name1 
although in the ,necrologio of ,s4      
,pantaleone he is expressly called      
,polidoro ,pittore4 ,this supposition   
appears to have arisen from a little    
oblong painting1 in the style of        
,polidoro's ,madonnas1 preserved by the 
noble ,casa ,pisani1 where is formed so 
valuable a collection of monuments and  
books4 ,the painter's name affixed to   
it1 is ,gregorius ,porideus2 but        
whatever resemblance we trace in the two

 names1 it is not sufficient to mark    
,polidoro for the author of that piece1 
most probably the production of one of  
,titian's imitators1 whose name is      
fallen with many others of an inferior  
class1 into oblivion4 ,we must not1     
however1 include that of ,gio4 ,silvio1 
a ,venetian1 which1 omitted in the      
history of his native place1 still      
vindicates its title to notice1 by      
numerous works dispersed throughout the 
state of ,trevigi1 and a very elegant   
altarpiece1 executed for the collegiate 
church of ,piove di ,sacco1 a           
municipality of the ,padovano4 ,it      
represents ,san ,martino in his         
episcopal chair1 between the two        
,apostles ,peter and ,paul2 three angels
 form the accessaries1 two in the act of
 raising his pastoral staff1 and the    
third playing upon a harp1 at the foot  
of the throne1 extremely graceful1 like 
the rest1 and displaying a degree of    
taste and nature1 such as we find in    
,titian4 ,if we cannot then adduce      

authority sufficient to prove that      
,silvio was his scholar1 it may1 at     
least1 from such a specimen1 be strongly
 suspected4  ,i am indebted to ,sig4    
,ab4 ,morelli1 who in the ,notizia      
already cited1 has pointed out the true 
birthplace of ,bonifazio ,veneziano1 who
 appears1 notwithstanding the authority 
of ,vasari1 ,ridolfi1 and ,zanetti1 to  
have been a native of ,verona1 not of   
,venice4 ,he is pronounced by ,ridolfi a
 pupil of ,palma1 and by ,boschini1 on  
the other hand1 the disciple of ,titian1
 whom he followed as closely as his     
shadow4 ,it was an usual observation1   
during the time of ,boschini1 and yet   
repeated indeed1 in regard to certain   
doubtful pieces2 is it a ,titian or a   
,bonifazio8 ,he approached nearest1     
perhaps1 to ,vecellio1 in his ,supper of
 our ,lord1 preserved in the monastery  
of the ,certosa4 ,for the most part he  
boasts a freedom1 a spirit1 and grandeur
 of hand1 peculiarly his2 although it is
 known that he greatly admired the      

vigour of ,giorgione1 the delicate taste
 of ,palma1 and the attitude and        
composition of ,titian4 ,the merit of   
this professor of the art was early     
appreciated1 and historians have often  
observed that the three most            
distinguished artists of that period    
were ,titian1 ,palma1 and ,bonifazio4   
,public edifices abound with his        
productions1 and the ducal palace1 among
 other of his historical pieces1 boasts 
that grand ,expulsion of the money      
dealers from the ,temple1 which1 for the
 number of the figures1 for its spirit1 
and power of colouring1 as well as for  
its fine perspective1 is enough to      
render his name immortal4 ,a more than  
mortal air of divinity shines in the    
countenance of the ,redeemer1 who1 alone
 and unsupported1 throws consternation  
into a crowd of people intent upon their
 worldly interests1 and with a mere     
scourge of ropes1 from which they fly in
 the utmost terror4 ,and how anxiously  
is some wretch seen collecting his money

 upon those tables glittering with      
silver and gold2 and with what dread he 
looks back1 in order that he may escape 
from the blows6 ,what an expression of  
alarm is seen in the countenance of each
 spectator2 women1 boys1 people of every
 rank1 terrified at the strangeness of  
the spectacle6 ,this noble picture was  
presented to the public collection1 not 
long ago1 by the family of the          
,contarini2 and for this reason we find 
no notice taken of it in the work of    
,zanetti4 ,other paintings might be     
mentioned upon a grand scale1 and rich  
in figures1 adapted for private         
collections2 the most celebrated1       
perhaps1 of which are his series of     
,triumphs1 taken from ,petrarch2 pieces 
that have since passed into ,england4   
,he likewise employed himself upon      
pictures of a smaller size1 rarely1     
however1 to be met with4 ,one of these1 
a ,holy ,family at ,rome1 is in         
possession of ,prince ,rezzonico4 ,the  
scene represents the workshop of ,s4    

,joseph1 where he is seen reposing1     
while the ,virgin is intent upon her    
domestic duties1 and a group of angels  
surrounds the infant ,jesus1 who is     
playing with the instruments of the     
saint's occupation4 ,one of these is    
employed in placing two pieces of wood  
in the form of a cross1 an idea         
frequently imitated by ,albano4 ,it is  
worth observation that ,orlandi and     
other writers have confounded this      
artist with ,bonifazio ,bembo1 many     
years anterior to him1 and born at      
,cremona4 ,the resemblance of names has 
likewise misled a more recent author in 
regard to another ,venetian painter1    
mistaken for a native of ,lucca4 ,he    
painted a virgin with four saints for   
,san ,francesco1 at ,padua2 a piece     
between the style of the moderns and the
 ,bellini1 to which is affixed the name 
,paulus ,pinus ,ven4 #aefe4 ,and in the 
castle of ,noale1 in the state of       
,trevigi1 he adorned with historical    
figures1 adapted to the place1 the      

public gallery1 both interior and       
exterior1 near which the judge is       
accustomed to hear cases and decide     
differences4 ,whoever is acquainted with
 the ,dialogue upon ,painting1 published
 by this professor at ,venice as early  
as #aedh1 where1 in the dedication1 he  
professes himself a ,venetian1 and      
whoever has seen his works will be in no
 danger of confounding him with ,paul   
,pini1 of ,lucca1 of the ,caracci       
,school1 whom we shall meet with beyond 
the precincts of his native place1 like 
numerous others of his fellow citizens4 
,an imitator of ,titian1 in his         
colouring1 though with a share of       
original vivacity1 is ,andrea           
,schiavone1 of ,sebenico1 surnamed      
,medula4 ,few artists have so early     
evinced a decided taste for their       
profession1 of which it is said his     
father became aware when accompanying   
him through the city1 yet a child1 in   
order to fix upon his future            
destination4 ,observing him highly      

entertained with productions of the art1
 he instantly applied to the artists1   
and devoted him to the profession4 ,but 
fortune was not favourable to him1 and  
he became compelled1 by penury1 to      
obtain a subsistence rather as a daily  
hireling1 than as an artist4 ,hence it  
was1 that1 destitute of a knowledge of  
design1 he was obliged to paint1 meeting
 with no other patrons than some master 
muratore1 or wall painter1 who had it in
 his power to recommend him for the     
facades1 or some painter of household   
articles to employ him as an assistant4 
,titian conferred upon him some degree  
of credit1 by proposing him1 along with 
others1 for ornamenting the library of  
,s4 ,mark1 where he worked more         
correctly1 perhaps1 than in any other   
place4 ,tintoret1 also1 did him justice1
 often aiding him in his labours1 to    
observe the artifice of his colouring2  
and even gave one of his pictures a     
place in his own studio1 observing that 
it would be well if every other artist  

would follow his example1 though he     
would do ill not to design better than  
his model4 ,moreover he wished to       
imitate him1 and placed an altarpiece at
 the church of the ,carmini1 so much    
resembling his style1 that ,vasari      
pronounced it to be the work of         
,schiavone4 ,yet the same historian held
 him in such slight esteem1 as to say   
that it was only by mistake that he     
occasionally produced a good piece2 a   
sentence severely criticised by ,agostin
 ,caracci1 as we gather from ,bottari1  
in his ,life of ,franco4 ,and1 in truth1
 except for design1 the whole           
composition of ,schiavone is highly     
commendable2 spirited in his attitudes1 
drawn from the engravings of            
,parmigianino2 his colours1 approaching 
to the sweetness of ,andrea del ,sarto1 
beautiful2 and his hand altogether that 
of a great master4 ,his fame increased  
after his death1 and his paintings1 for 
the most part1 of a mythological        
character1 were removed from the chests 

and benches to adorn the cabinets of    
connoisseurs4 ,guarienti cites three of 
these in the collection at ,dresden1 and
 ,rosa four1 in the ,cesarean one of    
,vienna4 ,i have seen several very      
graceful specimens in the ,casa ,pisani1
 at ,san ,stefano1 and almost in every  
other gallery in ,venice4 ,in ,rimini1  
also1 ,i saw two of his pictures1       
painted as companions1 at the ,padri    
,teatini2 the ,nativity of our ,lord1   
and the ,assumption of the ,virgin1     
small figures upon the ,poussin scale1  
and among the most beautiful he ever    
drew4 ,santo ,zago1 and ,orazio da      
,castelfranco1 called dal ,paradiso1 are
 known for a very few works in fresco1  
but too well executed to be here        
omitted4 ,cesare da ,conegliano1 also1  
is the author of a single altarpiece1 at
 the ,santi ,apostoli1 of the same      
place1 which represents our ,lord's     
,supper1 and sufficient of itself to    
place him near ,bonifazio1 and the best 
of that class4  ,vasari1 who has omitted

 some of the preceding1 twice makes     
honourable mention of ,gio4 ,calker1 or 
,calcar1 as it is written by others1 an 
excellent portrait painter1 of ,flemish 
extraction4 ,he was also a good painter1
 both of small and large figures1       
several of which1 according to          
,sandrart1 have been attributed to      
,titian2 and others1 when he changed his
 manner1 to ,raffaello4 ,he died young1 
in #aedf1 at ,naples4 ,treating of      
,dietrico ,barent1 in ,venice known by  
the name of ,sordo ,barent1 ,baldinucci 
supposes him to have been ,titian's     
pupil1 by whom he was regarded as his   
son4 ,to these ,ridolfi adds three      
excellent foreigners1 one ,lamberto1 a  
,german1#ef who is supposed the         
,lombardo1 or ,sustermans1 who gave     
assistance in their landscapes          
alternately to ,titian and to ,tintoret1
 and left a very beautiful picture of   
,san ,girolamo1 at the ,teresiani1 in   
,padua2 the others were ,cristoforo     
,scuarz1 and one ,emanuel1 a ,german4   

,these1 like many others1 resorting to  
,titian for instruction1 on their return
 to their native place introduced a     
taste for the ,venetian ,school2 and    
there continued to flourish4 ,he must   
have presented more disciples to ,spain1
 when being invited by ,charles ,v4 he  
removed to his court1 and founded in his
 dominions a school1 which acquired and 
continued to boast of excellent artists1
 particularly in point of colouring4    
,one ,don ,paolo de las ,roelas is      
mentioned by ,preziado1 who1 in mature  
age1 became a priest and canon4 ,there  
is a grand picture from his hand in the 
parochial church of ,san ,isidoro1 at   
,seville1 representing the death of the 
bishop4 ,the style is altogether that of
 ,titian1 though he could not have been 
his disciple1 if he was1 indeed1 born in
 #aefj1 when that artist was no longer  
in ,spain4 ,but in regard to foreigners1
 it is enough to have alluded to them in
 a history of ,italians2 and we must    
return to those natives of ,italy1 in   

particular of the state of ,venice1 who 
are esteemed among ,titian's imitators4 
,we may begin with the ,friuli2         
although1 the school of the great       
,pordenone there holding the sway1 the  
genuine followers of ,titian1 excepting 
the ,cadorini already mentioned1 are    
very few and almost forgotten in        
history4 ,among others of ,friuli1      
,ridolfi mentions a ,gaspero ,nervesa1  
who painted at ,spilimbergo1 and calls  
him ,titian's scholar4 ,no genuine      
picture of his1 however1 is pointed out1
 though ,father ,federici discovered one
 at ,trevigi4 ,the same author likewise 
extols ,irene de' ,signori di           
,spilimbergo1 a lady of singular        
accomplishments1 highly celebrated by   
the poets of the fifteenth century4 ,she
 left behind her three little pictures  
of sacred histories1 preserved by the   
noble family of ,maniago1 and which are 
still to be seen at the house of ,conte 
,fabio1 equally distinguished for his   
acquaintance with science and with art4 

,they display but little skill in the   
design1 though they are coloured with a 
degree of masterly power1 not unworthy  
the first artist of the happiest period4
 ,a ,bacchanal1 by the same hand1 is at 
,monte ,albodo1 in possession of the    
,claudj family4 ,titian took the        
portrait of this lady1 being known to be
 extremely intimate with her family2 and
 for this reason it is believed that he 
must have had some share in the         
pictorial education of the fair artist4 
,lodovico ,fumicelli was an artist of   
,trevigi1 reported to have been a pupil 
of ,titian4 ,at all events he was one of
 his most distinguished imitators4 ,one 
of his pieces1 adorning the great altar 
of the church of the ,eremitani1 at     
,padua1 displays both the design and    
colouring of a great master4 ,his native
 place can boast works that have been   
equally extolled4 ,it is mortifying then
 to recall to mind that he abandoned his
 profession for the art of              
fortification4 ,one of his assistants1  

in ,trevigi1 was ,francesco ,dominici1  
who may be said to rival him in the     
cathedral of the city1 in those two     
processions which they painted1 opposite
 to each other4 ,this young artist1 of  
great promise1 especially in portraits1 
produced little1 being cut off in the   
flower of his days4 ,with pleasure ,i   
annex to these a friend of ,paolo1 and  
excellent pupil of ,titian's1 whom1 in  
some things1 he imitated2 but who has   
been erroneously denominated by         
historians3#eg my information respecting
 him1 as well as other artists of       
,castelfranco1 has been obtained from a 
,,ms4 communicated to me by the learned 
,dottore ,trevisani4#eh ,he took the    
name of ,gio4 ,batista ,ponchino1 and   
the surname of ,bozzato1 a city of his  
native place1 where several of his      
paintings in fresco still exist1        
together with his celebrated piece of   
the ,limbo1#ei in ,san ,liberale1 the   
finest1 if we except the works of       
,giorgione1 which that city has to      

boast1 and it is greatly admired by     
strangers4 ,he painted also at ,venice  
and ,vicenza1 during the lifetime of his
 consort1 a daughter of ,dario          
,varotari2 but on her death he assumed  
the ecclesiastical habit1 nor interested
 himself much in his art4  ,padua       
boasted two noble scholars from the hand
 of ,titian2 ,damiano ,mazza1 and       
,domenico ,campagnola4 ,the former1     
however1 was rather promised than       
conferred upon us2 dying very young1    
after producing a single piece deserving
 of commemoration1 in his native place4 
,this was a ,ganymede borne away by the 
,eagle1 depicted on an entablature1     
which1 for its exquisite beauty1 was    
attributed to the hand of ,titian1 and  
removed from the place4 ,venice must    
have been his sphere of action2 a few of
 his pictures remaining in different    
churches1 executed with striking power  
and relief1 if not with much delicacy of
 hand4 ,the other artist is better      
known1 said to have been of the family  

of ,campagnola1 though with no authority
 for the assertion4 ,he was nephew to   
the ,girolamo mentioned by ,vasari among
 the disciples of ,squarcione1 and son  
to that ,giulio1#fj whose genius is     
commended in the ,literary ,history of  
,tiraboschi1 7vol4 vi4 p4 #gib7 and in  
the ,storia ,pittorica of ,vasari4 ,he  
was a fine linguist1 miniature painter1 
and engraver1 and the author of several 
altarpieces1 which betray some traces of
 the ancient style4 ,domenico's appears 
more modern1 so much so1 as to have     
awakened1 it is said1 the jealousy of   
,titian2 an honour he enjoyed in common 
with ,bordone1 with ,tintoret1 and other
 rare artists4 ,and his works give      
authority to the tradition1 not so much 
in ,venice as in ,padua1 a city for     
whose embellishment he would appear to  
have risen up4 ,he painted in fresco1 at
 the college of the ,santo1 in the style
 of an able scholar1 emulating an       
incomparable master of his art4 ,his    
pictures in oil resemble him the nearest

 of any1 as we see in the college of ,s4
 ,m4 del ,parto1 a complete cabinet of  
his works4 ,he represented on the       
entablature1 the ,holy ,evangelists1    
with other saints1 in various           
compartments2 and he seems to have      
aspired to a vastness of design1 beyond 
that of ,titian2 and to mark the naked  
parts with a more evident degree of     
artifice4  ,contemporary with           
,campagnola1 though scarcely heard of   
beyond ,padua1 were ,gualtieri1 one of  
his relatives1 and a ,stefano del       
,arzere1 who1 in his picture of ,christ 
upon the ,cross1 at ,san ,giovanni di   
,verzara1 appears ambitious1 however    
rudely1 of imitating ,titian4 ,both     
were1 nevertheless1 esteemed by ,ridolfi
 for their paintings in fresco1 and     
both1 together with ,domenico1 were     
employed in ornamenting a large hall1   
representing the figures of emperors and
 illustrious characters1 upon nearly a  
colossal scale4 ,for this reason it was 
denominated the ,sala de' ,giganti1     

afterwards converted into a public      
library4 ,these figures are1 for the    
most part1 of an ideal cast1 various in 
point of design1 in some dignified1 in  
others heavy4 ,the antique costume is   
not always strictly observed1 but the   
colouring is rich and of a fine         
chiaroscuro1 and it would be difficult  
to find in all ,italy a piece which     
appears to have suffered less from time4
 ,niccolo ,frangipane is supposed to    
have been a ,paduan1 though his         
birthplace is disputed1#fa and he is not
 mentioned by ,ridolfi4 ,still he may be
 esteemed worthy of being recorded for  
his exquisite style as a naturalist1 in 
which he painted his picture of the     
,assumption1 at the ,conventuali1 in    
,rimini1 dated #aefe1 and a half-length 
figure of ,san ,francesco1 with that of 
#aehh1 at ,s4 ,bartolommeo1 in ,padua4  
,a picture also of ,san ,stefano is     
attributed to him by the ,guide of      
,pesaro1 though his genius was more     
adapted to burlesques1 several specimens

 of which are yet in the possession of  
private individuals4  ,vicenza boasts   
the name of ,giambatista ,maganza1 the  
head of a family of artists1 who long   
devoted themselves1 both in public and  
private1 to the ornament of their native
 province4 ,his descendants1 however1   
adopted various styles1 as we shall see1
 while ,giambatista was only ambitious  
of treading in the steps of ,titian1 his
 master1 which he did with success4 ,he 
was an excellent portrait painter1 and  
also left several works of pure         
invention at ,vicenza1 in which he      
displayed the same easy genius as in his
 poetry4 ,he wrote in the rustic idiom  
of ,padua1 under the name of ,magagno1  
while such contemporaries as ,sperone1  
,trissino1 ,tasso1 and other celebrated 
wits1 not ignorant of the dialect1      
applauded the excellence of his rude and
 sylvan strains4 ,giuseppe ,scolari was 
an artist1 supposed by most to have been
 a native of ,vicenza1 though referred  
by the ,cavalier ,pozzo to ,verona4 ,a  

pupil of ,maganza1 he excelled in works 
in fresco1 and in chiaroscuro1 enlivened
 by certain yellow tints1 at that period
 in great vogue4 ,he was a good         
designer1 which appears from his works1 
both in ,vicenza and ,verona2 and he    
likewise produced several large pictures
 in oil at ,venice1 much commended by   
,zanetti4 ,possibly another disciple of 
,maganza1 from the period at which he   
flourished1 was ,gio4 de ,mio of        
,vicenza1 an artist who competed with   
,schiavone1 ,porta1 ,zelotti1 ,franco1  
and with ,paul ,veronese himself1 in the
 library of ,s4 ,mark1 though history   
makes no mention of his master any more 
than of ,mio2 if1 indeed1 he should not 
be the same as ,fratina1 recorded by    
,ridolfi1 as one of the assistants in   
ornamenting the library4 ,the name of   
,gio4 de ,mio was met with in one of the
 archives1 and ,fratina was possibly his
 surname4  ,among the ,veronese         
disciples of ,titian1 we have to mention
 ,brusasorci1 and1 according to some    

writers1 also ,farinato4 ,both at least 
visited ,venice1 either for the purpose 
of studying his works1 or in his school4
 ,zelotti has been pronounced in more   
open terms the scholar of ,titian4 ,but 
of these and other distinguished artists
 of ,verona1 it will be preferable to   
give the reader some account when       
treating on the merits of ,paul         
,caliari1 a plan that will bring under  
immediate view the state of that noble  
school during its most flourishing      
period4  ,about the same time several   
,brescian artists greatly distinguished 
themselves1 although too little known   
for want of enjoying a metropolitan city
 for their sphere of action4 ,luca      
,sebastiano1 an ,aragonese1 who died    
towards the close of the sixteenth      
century1 was celebrated1 we are told1   
rather as a fine designer than a        
painter4 ,an altarpiece with the initial
 letters ,l4 ,s4 ,a4 has been attributed
 to his hand4 ,it is the ,saviour       
represented between two saints1 the     

composition of which is common2 the     
foldings of the drapery want softness2  
but the figures1 the colours1 and the   
attitudes are excellent4 ,i apprehend   
that1 however learned in his art1 he    
would have been anxious to avoid        
competition with the two celebrated     
citizens1 of whom we shall now give some
 description4 ,the first is ,alessandro 
,bonvicino1 commonly called ,moretto of 
,brescia1 who was among the earliest of 
,titian's school1 to introduce his      
master's whole style of composition into
 his native district4 ,this is clearly  
seen in his picture of ,s4 ,niccolo1    
painted in #aecb for the ,madonna de'   
,miracoli1 in which he depicted several 
figures of children1 and of a man       
presenting them to the saint2 portraits 
in ,titian's best manner4 ,subsequently 
attracted by the composition of         
,raffaello1 as exhibited in some        
pictures and engravings1 he changed his 
style1 adopting one altogether new1 and 
so rich in its attractions1 that many   

dilettanti have gone out of their way1  
and visited ,brescia1 for the sole      
purpose of feasting their eyes with     
them4 ,the manner of ,raffaello may be  
as strongly traced as we can imagine    
possible for a painter who had never    
seen ,rome2 we meet with graceful       
features1 elegant proportions1 if they  
do not sometimes appear too slender2    
accuracy in the attitudes and           
expression1 which1 in his sacred        
subjects1 display1 as it were1 the      
peculiar feeling of remorse1 of pity1   
and even of charity itself4 ,the drapery
 is diversified1 but not sufficiently   
select1 while all the accessaries of the
 perspective and other embellishments   
are as splendid as in any ,venetian     
artist1 although not lavished with so   
much profusion2 and he displays an      
exact1 diligent1 and delicate hand1     
which appears1 to use a modern          
expression often applied1 to write what 
it paints4 ,in regard to colouring1     
,moretto pursued a method1 which        

surprises by its combined novelty and   
effect4 ,its chief characteristic       
consists of a very beautiful play of    
light and shadow1 not disposed in great 
masses1 but finely tempered and         
contrasted with each other4 ,the same   
degree of art he applies both to his    
figures and his skies1 where he         
sometimes depicts clouds whose colours  
are contrasted in a similar way4 ,for   
the most part his grounds are clear and 
bright1 from which the figures seem to  
rise with admirable relief4 ,his fleshy 
parts often remind us of the freshness  
of ,titian's2 in his tints1 moreover1 he
 is more varied than the latter1 or any 
other of the ,venetians4 ,little azure  
appears in his draperies1 the union of  
reds and yellows in a picture having    
been apparently more to his taste4 ,it  
is the same with other colours1 a       
circumstance ,i have noticed in some of 
his contemporaries1 both of ,brescia and
 ,bergamo4 ,vasari1 who has recorded his
 name1 along with that of many other    

,brescian artists1 in his life of       
,carpi1 commends him for his skill in   
imitating every kind of velvet1 satin1  
or other cloth1 either of gold or       
silver2 but as he did not see1 or failed
 to commemorate1 some of his choicest   
works1 he has by no means done justice  
to his character4  ,moretto produced    
some works in fresco1 though1 if ,i     
mistake not1 he coloured better in oils2
 as is the case where diligence and     
depth of parts are not equally matched  
with pictorial rapidity and fire4 ,he   
employed himself a good deal in his     
native province and the adjacent parts1 
in general distinguishing himself more  
by his delicacy than by his grandeur of 
hand4 ,a fine specimen of this last1    
however1 may be seen in his terrific    
picture of ,elias1 placed in the old    
cathedral4 ,he was intimate with all the
 best methods of his art2 but he did not
 always care to practise them4 ,his     
picture of ,s4 ,lucia1 in the church of 
,s4 ,clemente1 is not so much studied as

 that of ,s4 ,catherine1 and even this  
yields to his painting of the great     
altar1 representing our ,lady in the    
air1 with the titular and other saints  
seen below4 ,the composition is         
conducted in every part with exquisite  
taste1 and the piece is considered one  
of the best the city has to boast4 ,an  
altarpiece1 consisting of various saints
 at ,s4 ,andrea1 in ,bergamo1 another at
 ,s4 ,giorgio1 in ,verona1 with the     
,fall of ,s4 ,paul1 at ,milan1 with     
which last he appears to have been so   
much pleased1 as to subscribe1 which was
 very unusual with him1 his name--are   
all likewise of the most finished       
composition4 ,he was esteemed excellent 
in portrait1 and educated for this      
branch of art ,gio4 ,batista ,moroni4   
,this last was a native of ,albino1 in  
the territory of ,bergamo1 where he     
produced1 both for the city and the     
state1 a variety of altar and history   
pieces1 which he continued to supply    
from early youth1 until within a few    

months of his decease4 ,so much has been
 made out1 from authentic documents1 by 
the ,conte ,tassi1 who brought forward a
 long series of his noble compositions4 
,this artist is not1 however1 at all    
comparable to his master in point of    
invention1 of composition1 or design2   
which last sometimes betrays a dryness  
approaching that of the quattrocentisti4
 ,pasta notices the same defect1 in his 
,incoronazione of our ,lord at the      
,trinita1 although very finely coloured1
 and a work equalling any of his others 
in point of merit4 ,for the rest1 it is 
certain that no artist of the ,venetian 
,school1 besides ,titian1 has excelled  
him in the truth and nature of his      
portraits1 and in the life and spirit of
 his heads1 insomuch that ,titian was in
 the habit of recommending him to the   
governors of ,bergamo1 as the best face 
painter he could offer them4 ,there     
exist specimens in the ,carrara         
collection1 in possession of the ,conti 
,spini1 and in other noble houses1 which

 still appear to breathe and live2 the  
drapery is in the ,titian manner1 and if
 any thing can be said to be wanting1 it
 is a greater degree of mastery in the  
design and attitude of the hands4       
,francesco ,ricchino1 of ,brescia1 is   
another name deserving of record among  
the better disciples of ,moretto1 even  
in point of colouring4 ,he was desirous1
 however1 from what we learn from his   
pieces at ,san ,pietro in ,oliveto1 of  
extracting improvement from the         
pictures1 or at least from the          
engravings of ,titian4 ,luca ,mombelli  
followed him in some of his earliest    
works1 until giving into too great      
delicacy of manner1 his productions     
became somewhat feeble and tame4        
,girolamo ,rossi1 another pupil or      
imitator1 has1 if ,i mistake not1 better
 displayed his master's manner than any 
other1 particularly in an altarpiece1   
placed at ,san ,alessandro1 representing
 the ,virgin between various saints4    
,bagnatore was also a good copyist of   

the same style1 an artist who1 in his   
,slaughter of the ,innocents1 subscribes
 his name ,balneator1 and who1 if not   
displaying great power1 is nevertheless 
judicious1 correct1 and sober in his    
works in oil2 and he was one to whom was
 committed by public order the task of  
copying a picture by ,moretto4          
,contemporary with ,moretto flourished  
,romanino1 of ,brescia1 about the year  
#aedj2 the same who in ,s4 ,giustina at 
,padua subscribes his name ,hieronymus  
,rumanus4 ,he was the rival of          
,bonvicino1 inferior to him in the      
opinion of ,vasari1 but his equal       
according to ,ridolfi4 ,and truly it    
would appear that he surpassed him in   
genius and boldness of hand2 but could  
boast neither the same taste nor        
diligence1 several of his works         
appearing to be executed with a hasty   
pencil4 ,still he in general displays   
the qualities of a great master1 both in
 his altarpieces and his histories1 to  
say nothing of his burlesque            

compositions4 ,the same character he    
maintained at ,verona1 where he painted 
the martyrdom of the titular saint1 at  
,s4 ,giorgio1 in four large pictures    
abounding with great variety of figures1
 some of the most spirited1 and the most
 terrible1 in the executioners1 that ,i 
ever saw4 ,the same richness of         
invention1 accompanied even with more   
select forms1 is displayed in his       
altarpiece of the ,holy ,virgin in      
,calcara1 at ,brescia1 in which he      
represented the bishop1 ,s4 ,apollonio1 
administering the ,eucharist to the     
crowd4 ,it is a work altogether         
charming1 the splendour of the place1   
and of the sacred vessels2 the religious
 aspect of the prelate1 of the ,levites1
 and of the people2 the great variety of
 features and of rank2 so many singular 
pictorial beauties are all placed within
 the limits of propriety and truth4     
,less full1 but no less perfect1 is his 
,descent of ,christ from the ,cross1 at 
,,ss4 ,faustino and ,giovita1 a piece   

commended by ,palma for its extreme     
resemblance to the ,venetian style1 most
 probably alluding to that of ,titian1  
although in some other works he very    
strongly resembles ,bassano4 ,titian1   
however1 would appear to have been his  
model1 to which he wholly devoted       
himself2 whether he acquired so high a  
regard for him from his own master1     
,stefano ,rizzi1 an artist of           
mediocrity1 or despairing of forming a  
new style1 like his rival1 he was in    
hopes of surpassing him by such means4  
,and1 in fact1 he still retains admirers
 in those parts1 who prefer him to      
,moretto1 as well for grandeur of       
composition and energy of expression1 as
 for a capacity of genius that embraced 
every variety of subject4  ,girolamo    
,muziano acquired the art of design from
 ,romanino1 and taking his style of     
colouring from the works of ,titian1 he 
subsequently flourished at ,rome1 in    
which school he has been already        
mentioned4 ,in this place we must       

include ,lattanzio ,gambara1 the pupil  
and companion of ,romanino1 as well as  
his son-in-law1 at least if we are to   
credit ,ridolfi and other writers1 in   
this last point sanctioned by the       
popular tradition of ,brescia4 ,vasari  
alone1 who resided in his house only a  
short time before he gave some account  
of him1 observes that he was son-in-law 
to ,bonvicino1 a point in which his     
memory1 doubtless1 betrayed him4        
,lattanzio was not inferior to his      
master in spirit1 and1 at the same time1
 better instructed in the rules of the  
art1 and more learned4 ,having attended 
the academy of ,campi1 in ,cremona1     
until his eighteenth year1 and          
cultivated an acquaintance with the best
 foreign masters that he always         
retained1 he added to this knowledge all
 the richest and most tasteful colours  
of the ,venetian ,school4 ,like         
,pordenone1 he employed his talents1 for
 the most part1 in frescos1 which are   
still to be seen at ,venice1 as well as 

within and without the confines of the  
state4 ,his manner1 however1 was less   
strong and shaded1 but in other points  
much resembling him in the beauty and   
variety of his forms1 variously coloured
 according to his subjects2 in his      
knowledge of anatomy1 without           
affectation1 spirited attitudes1        
difficult foreshortenings2 in a relief  
that deceives the eye1 and in novelty   
and play of invention4 ,to these we may 
add even a greater propriety of ideas1  
and sweetness of tints1 acquired from   
other schools2 ,lattanzio having studied
 ,giulio ,romano at ,mantua1 and        
,coreggio in ,parma4 ,in the ,corso de' 
,ramai1 at ,brescia1 there yet remain   
three facades1 adorned with various     
histories and fables1 truly beautiful1  
executed by his hand4 ,they are not1    
however1 so imposing as some of his     
scriptural pieces1 to be seen in still  
better preservation in the cloister of  
,s4 ,euphemia1 engravings of which have 
been promised to the public4 ,the       

spectator often recurs to them1 and     
always with fresh pleasure4 ,when for   
want of space the figures could not be  
put in an upright posture1 he           
foreshortened them with admirable nature
 and facility1 so that no other         
attitudes could be imagined so becoming 
to each figure4 ,professors have        
detected some degree of imperfection in 
the naked parts1 very common1 indeed1 to
 the most celebrated painters of        
frescos2 but it is such as cannot be    
perceived at a distance1 or if seen1    
resembles only some false quantity in a 
good poet1 easily to be pardoned in the 
number of poetical beauties with which  
his verses abound4 ,he painted still    
more copious histories for the cathedral
 at ,parma1 containing1 perhaps1 his    
greatest and most studied production1   
and which fails not to please1 even in  
the presence of those of ,coreggio4     
,there are several altarpieces likewise 
in oil at ,san ,benedetto1 in ,mantua1  
all of which are not equally happy4 ,a  

,nativity of our ,lord1 at ,,ss4        
,faustino and ,giovita1 is his only     
picture in oil remaining at his native  
place in public2 it is very graceful1   
displaying certain traits of the        
,raffaello manner4 ,his picture of a    
,pieta1 at ,san ,pietro1 in ,cremona1 is
 also highly esteemed by professors1 one
 among whom1 who had designed a good    
deal from the works of ,lattanzio1      
declared to me that he had never        
witnessed any other so exquisite in     
point of design1 nor coloured with so   
much delicacy1 clearness1 and taste and 
softness of tints4 ,yet this great      
artist only reached his thirty-second   
year1 leaving in ,giovita1 a ,brescian  
artist1 7likewise called ,brescianino7  
an excellent disciple1 particularly of  
works in fresco4  ,geronimo ,savoldo1   
sprung of a noble family in ,brescia1   
flourished also about #aedj1 and is     
ranked by ,paolo ,pino among the best   
artists of his age4 ,i know not where he
 acquired the rudiments of his art2 but 

from a specimen which ,i saw at         
,brescia1 he must have possessed great  
accuracy and delicacy of hand4 ,upon    
transferring his residence to ,venice1  
he is known to have become one of the   
most formidable of ,titian's rivals2    
not1 indeed1 in works of a large scale1 
but in smaller pieces conducted with an 
exquisite degree of care1 which may1 in 
a manner1 be said to have been his chief
 characteristic4 ,with such as these he 
beguiled his time1 presenting them      
gratuitously as ornaments for churches4 
,he produced others for private persons1
 now extremely rare and valuable1 in    
different collections4  ,zanetti1 in his
 description of his little ,presepio1   
7,christ in the manger71 recently       
retouched1 which is to be seen at ,san  
,giobbe1 observes that the tint of his  
pictures is truly beautiful1 and the    
whole composition conducted with a      
singular degree of care4 ,in ,venice1   
says ,ridolfi1 he is known by the name  
of ,girolamo ,bresciano1 neither        

,romanino nor ,muziano having employed  
themselves there1 with whom he might    
possibly have been confounded4 ,there he
 resided for many years1 and terminated 
his days at the same place4 ,his        
happiest production1 though unknown to  
the historian1 was placed in the        
,altar-,maggiore1 of the ,padri         
,predicatori1 at ,pesaro1 a noble piece1
 which produces a striking impression   
upon the eye4 ,our ,lord is seen placed 
on high1 seated upon a cloud1 which     
appears truly illuminated by the sun1   
and on the foreground are represented   
four saints1 drawn with a force of      
colouring that seems to bring them as   
near to the eye1 as the soft colour of  
the perspective and of the upper part of
 the picture throws its objects into the
 distance4 ,a small1 but beautiful      
piece1 in excellent preservation1 is    
also seen in the ,royal ,gallery of     
,florence1 exhibiting the               
,transfiguration of our ,lord1 placed   
there along with specimens of other     

,venetian artists1 by the ,cavalier     
,puccini1 one who has conferred so many 
obligations upon that princely          
collection of art4  ,finally1 after     
,savoldo1 may be placed1 among the      
,brescian disciples of ,titian1 ,pietro 
,rosa1 son of ,cristoforo1 and nephew to
 ,stefano ,rosa1 both excellent artists 
in oil4 ,he was one of those pupils whom
 ,titian1 induced by the friendship he  
bore his father1 instructed with most   
care1 and the best success4 ,hence it   
is1 we trace that clear and true force  
of colouring1 which shines in every one 
of his pieces4 ,brescia boasts several1 
at the church of ,san ,francesco1 in the
 ,dome1 and at the ,grazie1 where such  
as have the fewest figures produce the  
happiest effect4 ,in his composition he 
is not so perfect as in other parts1    
whether it were that he had not         
naturally the best talent for it1 or1 as
 is more probable1 that it is a branch  
of the art most difficult to young      
practitioners4 ,for he died in the      

outset of his career1 at the same period
 as his father1 in #aegf1 whether from  
the plague or from poison is not known4 
,although ,bergamo1 at that period1     
boasted many distinguished imitators of 
,giorgione1 it yet produced an artist1  
,girolamo ,colleoni1 who ought to be    
included in the present list4 ,some     
frescos from his hand are found at      
,bergamo1 and an oil painting in the    
,carrara ,gallery4 ,it exhibits the     
marriage of ,s4 ,catherine1 which the   
best judges1 on a first view1 pronounced
 to be the work of ,titian1 till the    
superscription1 with the name of        
,hieronymus ,colleo1 #aeee1 vindicated  
it for his own4 ,this distinguished     
artist1 conscious of his merit1 and not 
finding himself appreciated in his own  
country1 foreign and inferior painters  
being preferred before him1 sought      
better fortune at the court of ,madrid4 
,but before setting out1 he painted upon
 a facade the figure of a horse1 of     
which great encomiums1 in different     

works1 are all that remain2 and to this 
he affixed as a motto1 ,nemo propheta in
 patria4 ,he is known to have employed1 
as an assistant1 ,filippo ,zanchi1 who1 
together with a brother of the name of  
,francesco1 has more recently been      
brought into view by ,count ,tassi1     
besides some others who might here add  
to the number1 but not to the eminence1 
of so rich a school4 ,an artist         
celebrated also by ,ridolfi1 ought not1 
in this place1 to be omitted2 the beauty
 of his tints1 the design of his infant 
figures1 and the nature of his          
landscape1 all shewing that he aspired  
to the ,titian manner4 ,he painted in   
fresco1 but possessed an universal      
genius1 as has been pronounced by       
,muzio1 in his ,teatro di ,bergamo2 the 
truth of which more clearly appears from
 his own works4 ,his name was           
,giovan-,batista ,averara1 and he died  
young about the middle of the most      
flourishing period of the art4 ,another 
artist deserving commemoration is       

,francesco ,terzi1 who long resided at  
the ,austrian court1 and is             
distinguished in most of the capitals of
 ,italy for works he has there left4 ,he
 has been mentioned by ,lomazzo1 in     
whose native place are still seen1 at   
,san ,sempliciano1 two noble histories1 
representing our ,lord with his         
,apostles1 somewhat dry in point of     
design1 but bold in colouring4  ,in     
,gio4 da ,monte1 ,crema boasted a       
disciple of ,titian1 as he is described 
by ,torre1 who numbers him among the    
more distinguished artists who          
ornamented ,milan4 ,a grado1 executed by
 him in chiaroscuro for an altar of     
,santa ,maria1 at ,san ,celso1 where he 
ought also to have painted the          
altarpiece1 obtained for him a high     
reputation2 but he was deprived of the  
altarpiece1 owing to the intrigues of   
,antonio ,campi4#fb ,the work of ,campi 
still remains there1 and the opinion is 
that though it was paid for at a higher 
rate than the grado itself1 it is yet a 

work of inferior merit to that of       
,giovanni1 which much resembles         
,polidoro da ,caravaggio1 giving rise to
 a suspicion that ,aurelio ,buso1 of    
,cremona1 a scholar and assistant of    
,polidoro's1 in ,rome1 may have been the
 only1 or at least the earliest master  
of ,giovanni4 ,we know from ,ridolfi    
that ,buso produced various histories1  
in his native place1 in the manner of   
his master1 and historians of ,genoese  
art record other works from his hand in 
their city4 ,they assert that he        
departed thence unexpectedly1 while     
,ridolfi concludes his life1 by saying1 
that notwithstanding his worth1 he died 
in poverty4 ,from the period in which he
 flourished1 he might possibly have been
 the master of ,gio4 da ,monte1 no less 
than ,titian4  ,callisto ,piazza is     
likewise announced1 by ,orlandi1 as     
another imitator of the latter1 which is
 very evident from his picture of the   
,assumption1 in the collegiate church of
 ,codogno4 ,it contains figures of      

apostles1 and two portraits of the      
,marchesi ,trivulzi1 not unworthy of any
 of ,titian's disciples4 ,and for such1 
indeed1 was ,callisto esteemed1 both    
elsewhere and in ,lodi1 possessing1 in  
the church of the ,incoronata1 three    
chapels1 each ornamented with four of   
his very beautiful histories4 ,one of   
these contains the mysteries of the     
,passion1 another the acts of ,s4 ,john 
the ,baptist1 and the third displays    
histories in the life of the ,virgin4 ,a
 report is current there1 that ,titian1 
in passing through ,lodi1 produced      
several heads1 probably only a story    
originating in the exceeding beauty that
 may be observed in some4 ,it appears1  
however1 certain1 that he also imitated 
,giorgione1 in whose style he conducted 
his altarpiece1 representing the ,virgin
 between various saints1 at ,san        
,francesco1 in ,brescia1 esteemed one of
 the most beautiful in the whole city4  
,he produced others for ,brescia1 for   
,crema1 for the dome of ,alessandria1   

and for ,lodi1 though in this last he   
succeeded better in fresco than in oil4 
,from the circumstance of his residing  
in so many different places1 ,i shall   
not refer him to the school of ,milan1  
preferring to place him here1 no less   
because of the vicinity of ,crema to    
,lodi1 than from his belonging to the   
list of the imitators of ,titian4#fc    
,little justice has been done to the    
memory of such a man by ,ridolfi1 who   
commends him for nothing besides his    
colouring in fresco1 and water colours2 
when1 in fact1 he boasts very noble     
design1 and forms tolerably select1 more
 particularly in the ,assumption already
 mentioned4 ,moreover1 he calls him     
,callisto da ,lodi ,bresciano1 as if da 
,lodi were a family name2 although in   
signing his own name1 he gave it        
,callixtus de ,platea1 at the           
,incoronata1 and elsewhere desirous of  
marking his country1 ,callixtus         
,laudensis4 ,ridolfi1 too1 says little  
or nothing of the period in which he    

flourished4 ,padre ,orlandi found1      
affixed to one of his pictures1 at      
,brescia1 the date of #aebd4 ,i may add1
 that in ,lodi he gave the years #aebg  
and #aecj2 and that1 in the ,nuptials of
 ,cana1 in the refectory of the ,padri  
,cisterciensi1 at ,milan1 he marked     
#aede4 ,it is truly a surprising        
production1 no less for its boldness of 
hand than for the number of its figures1
 although the whole of them are not     
equally well studied1 and a few1 among  
others that seem to breathe and live1   
are really careless and incorrect4#fd   
,he painted in the same city1 within a  
courtyard1 the choir of the muses1      
including the portraits of the president
 ,sacco1 the master of the house1 and of
 his wife2 respecting which1 writes     
,lomazzo1 ,i may1 without fear of       
temerity1 observe1 that it is impossible
 to produce any thing more perfectly    
graceful and pleasing1 more beautiful in
 point of colouring1 among works in     
fresco4 7,trat4 p4 #eih47  ,we next     

arrive at the name of ,jacopo ,robusti1 
the son of a ,venetian dyer1 and for    
this reason surnamed ,tintoret4 ,he was 
pupil to ,titian1 who1 jealous of his   
talents1 soon banished him from his     
studio4 ,he did not aspire1 like the    
preceding artists1 to the name of       
,titian's follower2 for he burned with  
ambition to become the head of a new    
school which should carry his manner to 
perfection1 adding to it all that was   
yet wanting2 a vast idea1 the offspring 
of a grand and fervid genius1 and as    
bold as it was great1 not even          
banishment from his master's school     
being able to damp his ardour4          
,constrained by circumstances to confine
 himself to an incommodious apartment1  
he ennobled it with specimens of his    
early studies4 ,over the door of it he  
wrote1 ,michelangiolo's design1 and the 
colouring of ,titian2 and as he was an  
indefatigable imitator of the latter1 so
 he was equally studious1 both night and
 day1 in copying the models1 taken from 

the statues in ,florence1 belonging to  
the former4 ,to these he added many more
 of bassi relievi1 and of ancient       
statues4 ,in a catalogue of ancient     
pieces of sculpture1 cited by ,morelli1 
and belonging to the year #afie1 is     
recorded a head of ,vitellius1 upon     
which ,tintoretto was always employed in
 designing and learning1 7note1 p4      
#aeb74 ,he was frequently in the habit  
of designing his models by lamplight1   
the better to obtain strong shades1 and 
thus acquire skill in the use of a bold 
chiaroscuro4 ,with the same view he     
wrought models in wax and chalk1 and    
having clothed them carefully1 he       
adapted them to little houses1 composed 
of pasteboard1 and slips of wood1       
supplying them through the windows with 
small lights1 by which he might thus    
regulate his own lights and shades4 ,the
 models themselves he suspended from the
 ceiling by cords1 placing them in a    
variety of positions1 and designing them
 from different points of view1 the     

better to acquire a mastery of the sotto
 in su1 or foreshortening on the        
ceiling1 a science not so familiar to   
his school as to that of ,lombardy4 ,nor
 did he neglect the study of anatomy1 to
 obtain a thorough knowledge of the     
muscles1 and the structure of the human 
frame4 ,he designed also the naked      
parts1 as much as possible1 in various  
shortenings and attitudes1 in order to  
render his compositions as diversified  
as nature herself4 ,by such studies he  
prepared himself to introduce the true  
method to be pursued by his followers1  
beginning with designing from the best  
models1 and having obtained the idea of 
a correct style1 proceeding to copy the 
naked parts1 and to correct their       
defects4#fe ,to such aids he united a   
genius which extorted the admiration of 
,vasari1 one of his severest critics1   
who pronounced it the most terrible of  
which the art could boast--an           
imagination fertile in new ideas1 and a 
pictorial fire which inspired him with  

vigour to conceive well the boldest     
character of the passions1 and continued
 to support him until he had given full 
expression to them on his canvass4  ,yet
 to what did it amount8--what is the    
noblest genius1 and all the rarest      
qualities meeting in a single artist1   
without diligence1 a virtue which of    
itself1 says ,cicero1 seems to include  
all the rest4 ,tintoretto possessed it  
for a period1 and produced works in     
which the most captious of critics could
 not find a shade of defect4 ,of such   
kind is that ,miracle of the ,slave1    
adorning the college of ,st4 ,mark1 a   
piece he executed in his thirty-sixth   
year1 and which is held up as one of the
 wonders of ,venetian art4 ,the colours 
are ,titian's2 the chiaroscuro extremely
 strong2 the composition correct and    
sober2 select forms2 studied draperies2 
while equally varied1 appropriate1 and  
animated beyond conception1 are the     
attitudes of the men assisting at the   
spectacle1 in particular of the saint   

who flies to succour1 giving an idea of 
the swiftness of an aerial being4       
,there1 too1 he painted other beautiful 
pieces1 whose merit extorted from the   
lips of ,pietro da ,cortona these words3
 ,did ,i reside in ,venice1 not a       
festival should pass without still      
resorting to this spot1 in order to     
feast my eyes with such objects1 and    
above all1 with the design6 ,his picture
 of the ,crucifixion at the college of  
,san ,rocco1 is also esteemed a work of 
singular merit2 displaying as it does1  
so much novelty upon so hackneyed a     
subject4 ,nor are other examples of his 
sovereign power wanting in the same     
place1 filled with pictures as various  
as new2 but1 for brevity's sake1 ,i     
shall merely record1 in the third place1
 his ,supper of our ,lord1 now at the   
,salute1 having been removed from the   
refectory of the ,crociferi1 for which  
it was drawn4 ,those who have beheld it 
in its place1 write of it as a miracle  
in the art1 inasmuch as the construction

 of the place was so well repeated in   
the picture1 and imitated with so much  
knowledge of perspective1 as to make the
 apartment appear double its real size4 
,nor are these three works to which he  
affixed his name1 as his favourite      
productions1 the only ones worthy of his
 genius1 ,zanetti having enumerated many
 more1 conducted with the most finished 
care2 the whole exhibited to the        
,venetian public1 without including     
those dispersed throughout the different
 cities of ,europe4  ,but diligence is  
rarely found long united to a rage for  
achieving much2 the true source in this 
instance1 as in numerous others1 of     
false1 or at least of inferior          
composition4 ,hence1 ,annibale ,caracci 
observed1 that in many pieces           
,tintoretto was inferior to ,tintoretto2
 while ,paul ,veronese1 so ardent an    
admirer of his talents1 was in the habit
 of reproaching him with doing injustice
 to the professors of the art1 by       
painting in every manner1 a plan that   

went far to destroy the reputation of   
the profession 7,ridolfi74 ,similar     
exceptions will be found to apply to    
such of his works as1 conceived at a    
heat1 executed by habit1 and in great   
part left imperfect1 betray certain     
errors both in point of judgment and    
design4 ,sometimes there appears a crowd
 of superfluous or badly grouped        
figures1 and most generally all in the  
most energetic actions1 without any     
spectators regarding them in quiet1 as  
was practised by ,titian and all the    
best composers4 ,neither in these       
figures are we to look for that         
senatorial dignity1 which ,reynolds     
discovers in ,titian4  ,tintoretto aimed
 rather at liveliness than at grace1 and
 from the studied observation of the    
people of his native state1 perhaps the 
most spirited in ,italy1 he drew models 
for his heads1 as well as his attitudes1
 sometimes applying them to the most    
important subjects4 ,in a few specimens 
of his ,suppers1 the ,apostles might    

occasionally be taken for gondoliers1   
just when their arm is raised1 ready to 
strike the oar1 and with an air of      
native fierceness they raise the head   
either to look out1 to ridicule1 or to  
dispute4 ,he likewise varied ,titian's  
method of colouring1 making use of      
primary grounds no longer white1 and    
composed of chalk1 but shaded2 owing to 
which his ,venetian pictures have felt  
the effects of time more than the rest4 
,neither were the choice1 nor the       
general tone of his colouring the same  
as ,titian's2 the blue1 or the ash      
coloured1 being that which predominates2
 one which assists the effect of the    
chiaroscuro1 as much as it diminishes   
the amenity of the whole4 ,in his       
fleshes there appears a certain vinous  
colour1 and more particularly in his    
portraits4 ,the proportions of his      
bodies are also different2 he does not  
affect the fulness of ,titian2 he aims  
more at lively action than the latter1  
and sometimes attenuates his figures too

 much4 ,the least correct portion of his
 pictures is the drapery2 few of them   
being free from those long and straight 
folds1 or flying abroad1 or in some     
other way too common and obvious4 ,it   
would be useless to insist upon his want
 of judgment1 or rather his pictorial   
extravagances1 ,vasari having already   
said too much of them1 upon the subject 
of his ,universal ,judgment1 at ,santa  
,maria dell',orto4  ,he ought to have   
tempered the severity of his criticism1 
however1 by admitting1 that if the      
author of that great picture had        
bestowed as much pains upon the several 
parts as upon the whole1 it would have  
been a magnificent production4 ,even in 
those pictures1 in which he wished to   
display the talent as it were of an     
improvvisatore1 he still vindicated his 
title to the name of a great master1 in 
the command and rapidity of his pencil1 
in his manifestations of original       
powers1 where he seems to triumph in his
 play of light1 in the most difficult   

shortenings1 in fanciful inventions1 in 
his relief1 in harmony1 and1 in the best
 supported of his pieces1 even in the   
beauty of his tints4 ,but his sovereign 
merit consisted in the animation of his 
figures1 it being an universal opinion1 
that has almost acquired the force of a 
proverb1 that the power of action ought 
to be studied in ,tintoretto4 ,upon this
 point ,pietro da ,cortona used to      
observe1 that if we carefully examine   
the whole of those pictures which have  
been engraved1 no artist will be found  
equal to him in the pictorial fire he   
infused into his forms 7,boschini1 p4   
#bhe74 ,he flourished for a long period1
 exerting his talents until we could    
with difficulty make a catalogue of his 
works1 still giving the rein to his     
divine ardour in many pieces of great   
size1 or at least abounding with a great
 variety of actors4 ,among these last1  
his picture of the ,paradiso1 in the    
hall of the great council1 was greatly  
esteemed1 even by the ,caracci2 and     

though the production of advanced age1  
the figures are almost innumerable4 ,had
 they only been better grouped and      
distributed1 the artist would not have  
given occasion for ,algarotti to        
criticize such a painting as he did1    
adducing it as an example of badly      
conceived composition4 ,tintoretto's    
genuine productions are not often met   
with in the different collections of    
,italy4 ,in ,venice1 however1 they are  
not rare1 and there we may learn1 what  
appears so very improbable in ,ridolfi1 
that ,tintoretto wrought with a degree  
of finish equal to that of a miniature  
painter4 ,the noble ,casa ,barbarigo1 at
 ,s4 ,polo1 possesses a ,susanna of this
 character1 where1 in small space1 is   
included a park1 with birds and rabbits 
disporting1 together with every thing   
desirable in a pleasure garden2 the     
whole as studiously finished as his     
figures4  ,there is little to add       
relating to his school on which none    
conferred greater credit than his son1  

,domenico ,tintoretto4 ,he trod in the  
steps of his father2 but1 like ,ascanius
 following ,a,eneas1 non passibus       
aequis4 ,still he may boast much        
resemblance in his countenances1 in his 
colouring1 and in harmony1 but there is 
a wide distinction in point of genius1  
though some of his most spirited pieces 
have been ascribed to his father1 or at 
least suspected of having been chiefly  
indebted to his hand4 ,many works1      
however1 upon a large scale1 are        
attributed to the son2 those which he   
has filled with portraits being far the 
most commended2 his merit in this branch
 having been thought equal by ,zanetti  
to that of his father4 ,one of these is 
seen at the college of ,st4 ,mark1      
where1 as in the rest of his            
compositions1 the figures are disposed  
with more sobriety than those of        
,jacopo1 as well as finished with more  
care1 and with more enduring colours4   
,as he grew older his style fell        
somewhat into that of a mannerist1 which

 at that period1 as we shall see1 much  
prevailed4 ,by these distinctions his   
productions may be frequently known from
 his father's1 and we may be enabled to 
refute the assertions of dealers1 who1  
to obtain a higher price1 attribute them
 indiscriminately to ,jacopo4 ,yet      
,domenico produced many pieces1 more    
especially portraits for different      
collections1 besides several            
mythological and scriptural histories1  
to which he sometimes added his name1 as
 in his picture boasting such exquisite 
tints which adorns the ,campidoglio2 the
 subject of which is a penitent         
,magdalen4 ,contemporary with ,domenico1
 we ought not to omit the name of his   
sister ,marietta1 so exquisite a painter
 of portraits1 as to receive invitations
 from the ,emperor ,maximilian1 and from
 ,philip ,,ii4 of ,spain1 to visit their
 respective courts4 ,but her father     
would never consent to such a measure1  
in order to enjoy her society at home1  
though he was deprived of her not long  

afterwards1 cut off in the flower of her
 genius and her age4  ,jacopo possessed 
few disciples beyond his two children1  
though he profited in some measure from 
these few4 ,paolo ,franceschi1 or de'   
,freschi1 a ,fleming1 and ,martino de   
,vos d',anversa1 were artists he        
employed to draw his landscapes4 ,the   
former was esteemed one of the best     
landscape painters of his time1 while he
 succeeded also in figures4 ,he was     
engaged to paint for the ,palazzo       
,publico1 and several churches in       
,venice1 where he terminated his days4  
,the second resided also at ,rome2 and1 
in the church of ,san ,francesco a      
,ripa1 painted his ,concezione1 a       
picture1 indeed1 abounding with too many
 figures1 but beautiful and exquisite in
 its tints4 ,with still greater felicity
 he depicted the four seasons for the   
,colonna family1 very pleasing little   
pictures1 presenting a happy union of   
various schools1 fine perspective1 fine 
relief1 with correct and graceful       

design4 ,passing into ,germany1 and     
increasing in reputation no less by his 
works than by the engravings made of    
them by ,sadeler1 there1 full of years  
and fame1 he died4 ,lamberto ,lombardo  
has been just before recorded as the    
assistant of ,tintoretto1 but not his   
disciple4  ,odofardo ,fialetti1 a native
 of ,bologna1 was educated in the school
 of ,tintoretto1 where he acquired a    
reputation for good design1 and a       
thorough acquaintance with all the      
precepts of the art1 yet he was still   
far from emulating his master1 not      
possessing vivacity of genius equal to  
the task4 ,to avoid a competition with  
the ,caracci he long continued1 and died
 at ,venice1 where many of his works are
 highly esteemed1 and in particular his 
picture of the ,crucifixion1 painted for
 the ,croce4  ,among the imitators of   
,tintoretto appears the name of ,cesare 
dalle ,ninfe1 an artist who aimed at    
reaching the sharp expression of        
ridicule1 the novelty of ideas1 and the 

rapidity of hand1 so remarkable in his  
prototype2 though unequal in his design4
 ,flaminio ,floriano seems to have been 
ambitious of imitating only the more    
correct parts of his model2 so uniformly
 exact1 temperate1 and precise does he  
appear in his picture of ,san ,lorenzo1 
to which he affixed his name4  ,the name
 of ,melchior ,colonna also occurs1     
though hardly known in ,venice1 and some
 perhaps would add that of ,bertoli1 a  
,venetian1 to be met with affixed to a  
picture at the chapel of ,san ,niccola1 
in ,tolentino4 ,it represents the       
,plague that visited that city1 if ,i   
mistake not1 and which disappeared at   
the solicitation of the patron saint4   
,there is also an account of another    
artist1 who from his age might have     
received the instructions of            
,tintoretto1 or at all events obtained  
them from his works2 his name was ,gio4 
,rothenamer di ,monaco4 ,arriving in    
,italy with but a small fund of         
knowledge1 acquired in the studio of a  

poor national artist1 he distinguished  
himself at ,rome1 and perfected his     
style in ,venice1 adopting in a great   
measure the maxims of ,tintoretto4      
,there1 at the ,incurabili1 he left a   
,santa ,cristina1 a ,nunziata at ,san   
,bartolommeo1 and1 as we have reason to 
believe1 other works in private         
possession1 by which he obtained some   
degree of credit4 ,subsequently arriving
 at a handsome practice in ,england1 he 
nevertheless contrived to die there in  
poverty1 his funeral expenses being     
defrayed by the alms of some ,venetians4
 ,but few others1 observes ,zanetti1    
pursued the same path1 probably because 
at that period more pleasing and popular
 styles were in vogue4 ,ridolfi1 on the 
other hand1 asserts1 that all young     
artists towards the end of the century  
were anxious to study him for their     
model2 and we shall find1 in treating of
 the mannerists1 that he was            
acknowledged by them as their sovereign 
master4 ,we must1 in the next place1    

enter upon a consideration of the school
 of ,bassano4  ,jacopo da ,ponte1 son to
 that ,francesco1 who1 in the preceding 
epoch1 was commended as one of the      
better artists who flourished during the
 fourteenth century1 was nearly         
contemporary with ,tintoretto1 and was  
instructed by his father in the art4    
,his earliest efforts1 that are seen in 
the church of ,san ,bernardino1 in his  
native place1 bear the impress of such  
an education4 ,on resorting to ,venice  
he was recommended to ,bonifazio1 a     
master no less jealous of his art than  
,titian or ,tintoretto2 insomuch that   
,jacopo never obtained the advantage of 
seeing him colour1 except by secretly   
watching him through a crevice in the   
door of his studio4 ,he resided but a   
little time in ,venice1 employed in     
designing the cartoons of ,parmigianino1
 and in taking copies of the pictures of
 ,bonifazio and ,titian1 whose scholar1 
upon the authority of some manuscript1  
he had also been4 ,and1 if conformity of

 manner were sufficient evidence1 by no 
means always a certain guide1 we might  
admit the truth of such supposition2 his
 second style being altogether that of  
,titian4 ,a few of his pictures are met 
with in his native place1 such as his   
,flight into ,egypt1 at ,san ,girolamo1 
and a ,nativity of the ,redeemer1 in    
possession of ,sig4 ,dottor ,larber1    
both youthful productions1 but which    
seemed to promise another ,titian2 so   
richly were they imbued with his        
sweetness of taste4  ,upon his father's 
death ,jacopo was compelled to return1  
and settle in his own province1 whose   
city is at this day both rich and       
populous1 and in those times it was     
esteemed by no means despicable2 its    
situation delightful1 abounding with    
flocks and herds1 and well adapted for  
the sale of merchandize1 and for fairs4 
,from these elements arose by degrees   
his formation of a third style1 full of 
simplicity and grace1 and which gave the
 first indications in ,italy of a taste 

altogether foreign2 that of the         
,flemish4 ,in the use of his pencil1    
,jacopo may be said to have pursued two 
different methods4 ,the first of these  
is much softened with a fine union of   
tints1 and at last determined with free 
strokes4 ,the second1 resulting in a    
great measure from the other1 was formed
 by simple strokes of the pencil1 with  
clear and pleasing tints1 and with a    
certain command1 or rather audacity of  
art1 that1 nearly viewed1 appears a     
confused mixture1 but forms in the      
distance an enchanting effect of        
colouring4 ,in both of these he displays
 the originality of his own style1      
chiefly consisting in a certain soft and
 luscious composition4 ,it partakes at  
once of the triangular and the circular 
form1 and aims at certain contrast of   
postures2 so that if one of the figures 
is in full face1 the other turns its    
shoulders2 and at the same time at a    
kind of analogy1 so that a number of    
heads shall meet in the same line1 or in

 a want of these1 some other form       
elevated in the same direction4 ,in     
regard to his lights1 he appears partial
 to such as are confined to one part1   
and displayed masterly power in         
rendering it subservient to the harmony 
of the whole2 for with these rare       
lights1 with the frequent use of middle 
tints1 and the absence of deep obscure1 
he succeeded admirably in harmonizing   
the most opposite colours4 ,in the      
gradation of lights he often contrives  
that the shadow of the interior figure  
shall serve as a ground for one more    
forward2 and that the figures should    
partake of few lights1 but extremely    
bold and vivid at their angles2 as for  
instance1 on the top of the shoulder1 on
 the knee1 and on the elbow2 for which  
purpose he makes use of a flow or sweep 
of folds1 natural to all appearance1 but
 in fact highly artificial1 to favour   
his peculiar system4 ,in proportion to  
the variety of his draperies1 he varies 
the folds with a delicacy of judgment   

that falls to the share of few4 ,his    
colours every where shine like gems2 in 
particular his greens1 which display an 
emerald tinge peculiar to himself4      
,whoever would become more familiar with
 the mechanism1 and at the same time    
peruse a very full analysis1 of         
,bassano's style1 may refer to ,sig4    
,verci1 the able historian of the ,marca
 ,trevigiana1 who drew it up from the   
,,ms4 ,volpati1 cited by us in another  
epoch1 and in the index to the writers4 
,at the outset ,jacopo aspired to a     
grandeur of style1 which is apparent    
from some of his pictures remaining in  
the facade of the ,casa ,michieli4      
,among these1 a ,samson slaying the     
,philistines meets with much praise1 and
 indeed they all partake of the boldness
 of ,michel ,angiolo4 ,but1 whether the 
result of disposition or of judgment1 he
 afterwards confined himself to smaller 
proportions1 and to subjects of less    
power4 ,even the figures in his         
altarpieces are generally less than     

life1 and so little animated1 that it   
was observed by some one1 that in       
,tintoretto even his old men were       
spirited1 but that the youths of        
,bassano were mere dotards4 ,we do not  
meet with any of that noble architecture
 in his paintings1 that adds so much    
dignity to those of the ,venetian       
,school4 ,he appears rather anxious to  
find subjects in which to introduce     
candlelight1 cottages1 landscape1       
animals1 copper vessels1 and all such   
objects as passed under his eye1 and    
which he copied with surprising         
accuracy4 ,his ideas were limited1 and  
he often repeated them1 a fault to be   
attributed to his situation1 it being an
 indisputable fact1 that the conceptions
 both of artists and of writers become  
enlarged and increased in great         
capitals1 and diminish in small places4 
,all this may be gathered from his      
pictures produced for private ornament1 
the most familiar occupation of his     
life1 inasmuch as he executed very few  

large altarpieces4 ,he conducted them at
 leisure in his studio1 and1 assisted by
 his school1 he prepared a great number 
of various dimensions4 ,he then         
despatched them to ,venice1 and         
sometimes to the best frequented fairs1 
thus rendering the number so very great1
 as to make it rather a disgrace for a  
collection not to possess copies by his 
hand1 than an honour to have them4 ,in  
these may be viewed1 almost invariably1 
the same subjects2 consisting of acts of
 the ,old and ,new ,testament2 the      
,feasts of ,martha1 of the ,pharisee1 of
 the ,glutton1 with a splendid display  
of brazen vessels2 the ,ark of ,noah1   
the ,return of ,jacob1 the ,annunciation
 of the ,angel to the ,shepherds1 with  
great variety of animals4 ,to these we  
may add1 the ,queen of ,sheba2 the three
 ,magi1 with regal pomp of dress1 and   
the richest array2 the ,deposition of   
our ,lord from the ,cross1 by           
torchlight4 ,his pieces upon profane    
subjects exhibit the sale of beasts and 

of brazen vessels2 sometimes rural      
occupations1 corresponding to the       
seasons of the year2 and sometimes      
without human figures1 merely a kitchen1
 furniture1 a fowl yard1 or similar     
objects4 ,nor is it only the histories  
or the compositions themselves that     
recur in every collection to the eye2   
but even countenances taken from        
individuals of his own family2 for      
instance1 arraying his own daughter     
either as a ,queen of ,sheba1 or a      
,magdalen2 or as a villager1 presenting 
fowls to the infant ,jesus4 ,i have     
likewise seen entire pieces1 with the   
title of the ,family of ,bassano1       
sometimes in small size1 and sometimes  
in larger4 ,of the former1 ,i remarked a
 specimen in ,genoa1 in possession of   
,signor ,ambrogio ,durazzo1 where the   
daughters of the painter are seen intent
 upon their feminine occupations1 a     
little boy playing1 and a domestic in   
the act of lighting a candle4 ,one of   
the second kind may be seen in the      

,medicean ,museum1 a picture which      
represents an academy of music4  ,by    
this method he seemed to confess the    
poverty of his imagination1 though he   
derived from it a very remarkable       
advantage4 ,by dint of continually      
repeating the same things1 he brought   
them to the utmost point of perfection  
of which they were susceptible2 as we   
may gather from his picture of the      
,nativity of our ,lord1 placed at ,san  
,giuseppe1 in ,bassano2 the master not  
only of ,jacopo1 but in point of force  
of colours and the chiaroscuro1 of every
 thing that modern painting has to      
boast4 ,the same is seen in his ,burial 
of ,christ1 at the ,seminario of ,padua1
 a picture of which an engraving was    
taken by order of ,madame ,patin1 among 
the portraits of celebrated painters2   
having met with no other that seemed to 
breathe such a spirit of pity and holy  
terror4 ,finally1 in his ,sacrifice of  
,noah1 at ,santa ,maria ,maggiore in    
,venice1 in which he collected specimens

 of all the birds and animals he had    
drawn elsewhere1 he preserved the same  
character2 and by this production so far
 won the regard of ,titian1 that he     
wished to purchase a copy for the       
ornament of his own studio4  ,hence it  
happens1 that the works of ,bassano1    
conducted at a certain age and with     
singular care1 are estimated very       
highly1 and purchased at large sums1    
though not altogether exempt from some  
errors of perspective1 from some        
awkwardness of posture1 and some fault  
in composition1 particularly in point of
 symmetry4 ,indeed it was the general   
belief1 that he possessed little        
practical skill in designing the        
extremities1 thus avoiding1 as much as  
lay in his power1 the introduction of   
feet and hands into his pictures4 ,these
 accusations1 with others before alluded
 to1 might be greatly extenuated by     
producing such examples of ,bassano as  
would fully prove1 that he could1 when  
he pleased1 draw much better than he was

 accustomed to do4 ,he knew how to vary 
his compositions1 as we perceive in his 
,nativity1 at the ,ambrosiana in ,milan2
 and he might as easily have varied his 
other pieces4 ,he was capable also of   
conceiving with equal novelty and       
propriety1 as we gather from his ,san   
,rocco1 at ,vicenza2 and he might thus  
have shone on other occasions4          
,moreover1 he knew how to draw the      
extremities1 as appears from his picture
 of ,s4 ,peter1 at ,venice1 adorning the
 church of the ,umilta2 and he could    
give dignity to his countenances1 as in 
his ,queen of ,sheba1 which ,i have seen
 in ,brescia2 and he might have         
displayed the same dignity in other     
pieces4 ,but whether he found such a    
task too irksome1 or from whatever other
 cause1 he displayed his powers rarely2 
content with having arrived at his      
peculiar method of colouring1 of        
illuminating1 and of shading1 with a    
sovereign skill4 ,so universally was he 
admired1 that he received innumerable   

commissions from various courts1 and an 
invitation to that of ,vienna4 ,what is 
more honourable1 notwithstanding his    
defects1 he extorted the highest        
praises1 if not from ,vasari1 from many 
of the most renowned artists2 from      
,titian1 from ,annibal ,caracci1 who was
 so much deceived by a book painted upon
 a table1 that he stretched out his hand
 to take it up2 and from ,tintoretto1   
who commended his colouring1 and in some
 measure wished to imitate him4 ,above  
all1 he was highly honoured by ,paul    
,veronese1 who entrusted him with his   
son ,carletto1 for a pupil1 to receive  
his general instructions1 and more      
particularly in regard to that just     
disposition of lights reflected from one
 object to another1 and in those happy  
counterpositions1 owing to which the    
depicted objects seem clothed with a    
profusion of light4 ,such is the        
flattering testimony given by ,algarotti
 to the style of ,jacopo da ,ponte4     
,bassano educated four of his sons to   

the same profession1 which thus became  
transmitted to others1 so that the      
,bassanese school continued for the     
length of a century1 though still       
declining and departing fast from its   
primitive splendour4 ,francesco and     
,leandro were the two members of        
,jacopo's family best disposed to pursue
 his footsteps1 and he was accustomed to
 pride himself upon the inventive       
talents displayed by the former1 and the
 singular ability of the latter for     
portrait painting1 ,of his two other    
sons1 ,giambatista and ,girolamo1 he    
used to observe1 that they were the most
 accurate copyists of his own works4    
,all of these1 more especially the two  
latter1 were instructed by their father 
in those refinements of the art he      
himself practised1 and they so far      
succeeded1 that many of their copies1   
made both during and after the lifetime 
of their father1 very frequently imposed
 upon professors1 being received for the
 originals of ,jacopo4 ,the whole of    

them1 however1 produced original works1 
and ,francesco the eldest1 having       
established himself in ,venice1 gave    
ample proof of it in those histories    
drawn from ,venetian records1 which he  
painted for the ,palazzo ,grande4 ,they 
are placed near those of ,paul          
,veronese1 and appear to advantage even 
in such competition4 ,his father here   
assisted him with his advice2 himself   
attending upon the spot1 and instructing
 him where he found occasion1 how to add
 force to his tints1 to improve his     
perspective1 and to bring the whole work
 to the most perfect degree of art4 ,his
 pencil may be very clearly traced in   
that of his son1 as well as his style1  
which in the opinion of critics is      
somewhat too much loaded1 especially in 
his shades4 ,francesco1 likewise1       
produced several beautiful altarpieces1 
in which1 on the other hand1 he appears 
less vigorous than his father2 as may be
 seen in his ,paradiso1 at the ,gesu1 in
 ,rome1 or in his ,san ,apollonio1 at   

,brescia1 one of the most beautiful     
pieces in the church of ,s4 ,afra1 and  
much admired by foreigners4 ,and he     
would have achieved still greater       
things1 had he not been afflicted with  
severe fits of melancholy1 such as to   
deprive him of the use of his faculties 
and his time1 until he was driven by    
sudden desperation to throw himself from
 a window1 and1 by this accident1 still 
in the prime of his days1 he lost his   
life4  ,the works which he left         
imperfect in the ,ducal ,palace1 and in 
other places1 were completed by         
,leandro1 the third son of ,jacopo1 and 
a professor in high repute4 ,he followed
 the same maxims in the art1 except that
 by his practice in portrait taking1 he 
acquired more originality of            
countenance2 and in the use of his      
pencil approaches nearer to the first   
than to the second style of ,jacopo4 ,he
 is1 moreover1 more variable in it1 and 
inclines somewhat to the mannerism of   
his age4 ,one of his best performances  

perhaps1 is to be seen at ,san          
,francesco1 in ,bassano2 ,santa         
,caterina crowned by our ,lord2 amidst  
various saints1 distributed upon the    
steps of the throne1 with figures larger
 than customary in the ,bassanese       
school4 ,his pictures likewise of the   
,resurrection of ,lazarus1 placed at the
 ,carita2 and of the ,nativity of the   
,virgin1 at ,santa ,sofia2 besides      
others he produced at ,venice1 as well  
as for the state1 are distinguished by  
their large proportions4 ,if familiar   
with the father's productions1 we may   
often detect domestic plagiarisms in    
,leandro2 who often repeats the family  
of da ,ponte1 copied in innumerable     
pieces by ,jacopo1 by his sons1 and by  
their descendants4 ,even in his pictures
 for private ornament1 conducted        
according to his own style and fancy1 he
 was fond of adopting paternal subjects 
and examples2 being skilful in drawing  
animals of every kind from nature4 ,but 
nothing proved so favourable to his     

reputation1 both in ,italy and          
throughout ,europe1 as the immense      
number of his portraits1 admirably      
executed1 and not unfrequently with a   
certain original fancy1 both for private
 persons and for princes4 ,those that he
 executed for the ,imperial ,palace were
 particularly relished2 insomuch that he
 received an invitation from ,rodolph   
,,ii41 to accept the place of his court 
painter2 an honour which ,leandro       
thought fit to refuse4 ,he was more     
ambitious of enjoying fame at ,venice   
than at ,vienna2 for the ,doge ,grimani1
 the better to obtain a noble portrait  
of himself1 had already created him his 
cavalier4 ,and ,leandro supported his   
dignity with an imposing demeanour3 he  
lodged1 dressed1 and maintained his     
table in a noble manner4 ,he appeared in
 public ornamented with a collar of     
gold1 and with the insignia of ,st4     
,mark1 accompanied by a train of        
disciples1 who dwelt at his house4 ,one 
of these bore his gold cane1 another the

 repertory1 in which he noted down all  
that was to be done during the day4 ,the
 same were bound to attend upon him at  
table2 and as he was suspicious of      
poison1 he was accustomed1 like the     
great1 to have his tasters1 who took    
something of every dish he eat2 but they
 were ordered not to taste much1 as in  
such case the great man became little1  
and gave rise to much mirth4 ,like his  
brother1 he was subject to fits of      
melancholy1 but he contrived to manage  
them so well1 as only to give birth to  
comic1 never to tragic scenes4          
,giambatista da ,ponte1 is a name almost
 unmentioned in history2 nor is there   
any production attributed to him1       
besides an altarpiece in ,gallio1 with  
his name1 and which by some writer has  
been given1 from its style1 to ,leandro4
 ,girolamo1 the last of the family1 is  
better known by an altarpiece which he  
conducted in ,venice1 after the         
composition of ,leandro1 as well as for 
others executed in ,bassano and its     

vicinity4 ,he cannot be denied a certain
 graceful air in his countenances2 and  
in some of his works1 displaying the    
simplest composition1 very graceful     
colouring4 ,such is his picture of ,s4  
,barbara1 adorning the church of ,s4    
,giovanni1 at ,bassano1 where the saint 
is seen between two upright virgin      
figures1 with their eyes fixed upon     
heaven1 where the holy virgin is        
represented in the usual manner of the  
times4  ,not only was ,jacopo attached  
to the soil and very walls of his native
 country1 from which no prospects of    
honour or of profit could tempt him     
away2 but he liberally granted his      
instructions to his fellow citizens1    
which both his sons and their family    
continued after his decease4 ,the best  
disciple whom they produced1 was ,jacopo
 ,apollonio1 the offspring of ,jacopo's 
daughter4 ,though only acquainted with  
the two least celebrated of his uncles1 
he made rapid progress in his art1 a    
case in which he may be compared to     

certain writers1 who have wholly made   
use of their native dialect1 without    
mingling it with any of a foreign       
growth4 ,in like manner he is ,bassanese
 in his ideas1 in his draperies1 in his 
architecture1 and more than all1 in his 
landscape1 which he touched with a      
master's hand4 ,he might easily at times
 be mistaken for the real ,bassani1 were
 he not inferior to them in the vigour  
of his tints1 in the delicacy of his    
contours1 and in the strokes of his     
pencil4 ,some of his best works consist 
of a ,magdalen1 seen in the ,dome of    
,bassano1 a ,san ,francesco at the      
,riformati1 which present fair examples 
by which to judge of his style4 ,yet    
above all1 his picture of the ,titular  
with various other saints at ,san       
,sebastiano1 is one of the most         
exquisite finish1 and possesses every   
estimable quality in the art1 except    
that of softness4 ,some have considered 
him the only artist among the disciples 
of this school worthy of commemoration4 

,yet the natives of ,bassano set some   
store by two brothers named ,giulio and 
,luca ,martinelli1 very estimable       
scholars of ,jacopo4 ,they also hold in 
some esteem ,antonio ,scaiario1         
son-in-law to ,giambatista da ,ponte1 as
 well as his heir1 owing to which he    
sometimes signs himself ,antonio da     
,ponte1 ,antonio ,bassano4 ,nor do they 
omit the name of ,jacopo ,guadagnini1   
the offspring of a daughter of          
,francesco da ,ponte1 who acquired some 
merit in face painting1 and in copying1 
however feebly1 the works of his        
ancestors4 ,upon his decease in #afcc1  
every vestige of the manner and of the  
school of ,jacopo became extinct in     
,bassano4 ,there nevertheless arose     
about the same period in ,cittadella1 a 
place adjacent to ,bassano1 a young     
genius of the name of ,gio4 ,batista    
,zampezzo1 who1 directed by ,apollonio1 
and having concluded his studies at     
,venice1 devoted himself to copying the 
works of ,jacopo4 ,so well did he       

imitate his ,santa ,lucilla baptized by 
,san ,valentino1 a piece at the ,grazie 
in ,bassano1 that ,bartolommeo          
,scaligero pronounced it comparable with
 the original4 ,he flourished about     
#affj2ff and subsequent to him appeared 
the noble ,gio4 ,antonio ,lazzari1 a    
,venetian1 who succeeded in deceiving   
the most skilful artists1 says          
,melchiori1 by dint of copying ,jacopo1 
and passing for him4 ,it will not have  
been irksome1 ,i trust1 to my readers1  
thus to have connected together a series
 of the school of ,bassano1 by aid of   
which the copies taken by so many       
artists1 at different periods1 and with 
various degrees of merit1 may be better 
distinguished4#fg  ,whilst the          
,bassanese school employed itself in    
drawing the simplest objects of rural   
nature upon a small scale1 a different  
one sprung up in ,verona1 which         
surpassed all others by copying1 upon   
the most ample grounds1 every thing most
 beautiful in art2 such as architecture1

 costume1 ornaments1 the splendour of   
trains of servants1 and luxury worthy of
 kings4 ,this then remained still to be 
completed1 and it was reserved for the  
genius of ,paul ,caliari to accomplish4 
,the son of ,gabriele1 a sculptor at    
,verona1 he was destined by his father  
for the same art4 ,instructed in a      
knowledge of design1 and modelling in   
clay1 he nevertheless evinced so strong 
a genius for painting1 as to induce his 
father to give him as a pupil to        
,badile1 under whom1 in a short time1 he
 made an astonishing progress4 ,he had1 
however1 appeared in an age that made it
 incumbent on him to exert himself      
greatly1 such were the splendid talents 
that distinguished the ,veronese        
,school4 ,it is deserving1 indeed1 of   
separate mention1 inasmuch as it might  
of itself form a school apart1 were it  
not that its principal masters had      
acquired a knowledge of their art1      
either from ,mantegna of ,padua1 or from
 the ,venetian ,bellini2 from           

,giorgione1 or as we shall have occasion
 to see1 from ,titian4 ,it was thus     
derived rather from the artists of the  
state1 than from its own or from foreign
 sources2 though it flourished by its   
own industry1 and produced as many      
various styles as any other place in the
 terra firma4 ,i have already alluded to
 the remark of ,vasari1 that ,verona    
having constantly devoted itself1 after 
the death of ,f4 ,giocondo1 to the study
 of design1 produced at all times       
excellent artists1 c4 such praise as he 
bestowed on no other city of the        
,venetian state4 ,i noticed also its    
superiority in force of expression1 and 
its very general taste1 in animating and
 giving an air of liveliness to its     
heads1 so general indeed as to be almost
 characteristic of the nation4 ,to these
 it added a beauty peculiar to itself2  
more light and elegant1 and less full   
than in the ,venetian paintings1 though 
not so fresh and rubicund in the fleshy 
parts4 ,it is also equally happy with   

any other in its inventions1 availing   
itself of mythology and history to form 
fanciful compositions1 and for the      
ornament of palaces and villas4 ,the    
national genius so well adapted for     
poetry1 aided the artists in the        
conception of such compositions2 while  
the advice of able men1 always abounding
 in the city1 helped to perfect them4   
,the climate too was favourable for the 
production1 as well as for the          
preservation of paintings2 for while at 
,venice the saltness of the air         
destroyed many beautiful pieces in      
fresco1 in ,verona and its adjacent     
towns a great number remained entire4   
,we have already alluded to its leading 
masters of the preceding epoch1         
observing that many were entitled from  
their works to rank in this brighter    
period4 ,to these ,i add ,paolo         
,cavazzola1 pupil to ,moroni1 and in the
 opinion of ,vasari1 much superior to   
him4 ,he died at the age of thirty-one1 
leaving many fine specimens of a mature 

judgment in different churches4 ,the two
 ,falconetti were also worthy of some   
notice4 ,gio4 ,antonio1 an excellent    
draughtsman of fruits and animals2 and  
,gio4 ,maria1 a scholar of ,melozzo     
7,notizia1 p4 #aj17 and a celebrated    
architect and painter1 though not one of
 the most copious1 more especially in   
fresco4 ,these two brothers were        
descendants of old ,stefano da ,verona1 
or da ,sevio1 whichever he is to be     
called4 ,nor less worthy in the opinion 
of ,vasari was one ,tullio1 or ,india il
 ,vecchio1 an able artist in fresco1 a  
portrait painter1 and a celebrated      
copyist4 ,his son ,bernardino appears to
 advantage1 no less in a bold than a    
delicate style2 in which last1 if ,i    
mistake not1 he is superior1 as we      
perceive from specimens in the churches1
 and other collections in ,verona4 ,many
 of his pictures betray a style         
approaching that of ,giulio ,romano4 ,he
 is recorded by ,vasari1 together with  
,eliodoro ,forbicini1 famous for his    

grotesques1 and assistant in many of his
 labours to ,india1 as well as to       
various other artists of no mean fame4  
,dionisio ,battaglia distinguished      
himself by an altarpiece of ,santa      
,barbara1 mentioned by ,pozzo as being  
at ,santa ,eufemia2 no less than did    
,scalabrino by his two scriptural       
histories placed at ,san ,zeno4 ,two    
other artists of the same period are    
very deserving of mention1 both on      
account of their productions and their  
pupils2 ,niccolo ,giolfino 7in ,vasari  
called ,ursino7 the master of ,farinato2
 and ,antonio ,badile1 the tutor and the
 uncle of ,caliari4 ,giolfino1 or       
,golfino1 according to ,ridolfi1        
partakes something of the dryness of the
 ,quattrocentisti1 less select and      
animated than the best of his           
contemporaries1 his colours not very    
vivid1 but pleasing and harmonious4     
,most probably educated by some one of  
these miniaturists1 he succeeded better 
in pictures upon a small than upon a    

large scale1 such as in his             
,resurrection of ,lazarus1 to be seen in
 the church of ,nazareth4 ,born in      
#adhj1 ,badile flourished during another
 eighty years1 and was the first1       
perhaps1 of any in ,verona1 to exhibit  
painting altogether free from traces of 
antiquity1 while he excelled no less in 
external forms than in depicting the    
inward affections and passions of the   
mind4 ,he was moreover the author1 at   
the same time1 of a peculiar softness1  
yet freedom of hand2 though it is not   
known from whom he acquired it4 ,he     
affixed to his works only the first     
syllable of his name1 formed in a       
cypher4 ,his picture of the raising of  
,lazarus1 painted for ,san ,bernardino1 
and another with some holy bishops at   
,san ,nazaro1 both so much commended by 
,ridolfi1 serve to shew from what source
 his two pupils1 ,paolo and ,zelotti1   
derived that elegant manner1 which they 
mutually improved by assisting one      
another4 ,a similar style was for some  

years displayed by ,orlando ,fiacco1 or 
,flacco1 from which he is supposed to   
have been a scholar of ,badile1 though  
,vasari1 who extols him particularly in 
portrait1 gives him to another school4  
,however this may be1 it is certain he  
inclined to a boldness of style1        
approaching that of ,caravaggio4 ,he    
flourished but a short period1 during   
which he acquired more merit than       
fortune4  ,this resulted from the too   
great abundance of good artists in      
,verona1 a circumstance that induced    
many to seek better fortune in foreign  
parts4 ,orlandi1 on the authority of    
,vasari1 has inserted in the ,abecedario
 a professor of the name of ,zeno1 or   
,donato1 a native of ,verona1 who in the
 church of ,san ,marino at ,rimino1     
painted the titular saint with singular 
care4 ,i saw it1 and it displayed great 
simplicity of composition1 good design1 
and still better colouring1 more        
particularly in the dress of the bishop1
 which he laboriously ornamented with   

little figures of saints4 ,he seems to  
have belonged to the golden period of   
art2 and it is known that he left other 
works at the same place1 and most       
probably never changed his residence1 or
 at least did not return1 so far as we  
know1 to ,verona4 ,two other artists1   
named ,batista ,fontana1 much engaged at
 the imperial court of ,vienna2 and     
,jacopo ,ligozzi1 who long flourished at
 the court of ,tuscany1 as ,i have      
observed in its place1 also adopted the 
resolution of quitting their native     
city4 ,of the former scarcely any thing 
remains there2 though there are a few   
pieces by the hand of the second1 among 
which at ,s4 ,luca a ,saint ,helena1    
who1 surrounded by her court ladies1    
assists in the discovery of the ,holy   
,cross1 a picture displaying the best   
,venetian taste in its tints1 and in the
 richness of its draperies2 but         
certainly all the worst1 in regard to   
transferring our own customs to more    
ancient times4 ,giovanni ,ermanno had   

either a brother or other relation who  
approached him very nearly in point of  
merit1 as may clearly be seen at the    
,santi ,apostoli in ,verona4  ,but those
 who had there obtained the ascendancy1 
when ,paul ,veronese first began to make
 himself known1 were three fellow       
citizens1 who still maintain a high     
character in their native place1        
inferior only to that of ,paul himself4 
,their names are ,batista d',angelo1    
surnamed del ,moro1 as the son-in-law   
and pupil of ,torbido2 ,domenico ,ricci1
 called il ,brusasorci1 from his        
father's custom of burning rats2 and    
,paul ,farinato1 likewise called degli  
,uberti4 ,all three were invited by the 
,cardinal ,ercole ,gonzaga to ,mantua1  
in order that each might exhibit in the 
cathedral an altarpiece2 while together 
with these appeared ,paul1 the youngest 
of the whole2 but who according to      
,vasari and ,ridolfi1 surpassed them in 
the competition4 ,but it is not yet time
 to enter upon his merits1 having first 

to treat of his rivals1 before we       
venture upon him and his followers1 so  
as not to have occasion for interrupting
 the remainder of this history1 until we
 arrive at a new epoch4  ,giambatista   
was the least celebrated of the three1  
though each of his works obtained so    
much credit1 that when ,santa ,eufemia  
had one of its walls demolished to make 
way for a new edifice1 his picture of   
,st4 ,paul before ,ananias1 that adorned
 it1 was carefully preserved at         
considerable expense1 and replaced over 
the door of the church2 yet this was one
 of his earliest productions4 ,he       
produced a great many others1 both in   
oil and in fresco1 not unfrequently in  
competition with ,paul4 ,he follows     
,torbido in point of diligence1 and in  
his strong and unctuous colouring4 ,he  
has more softness1 however1 of design2  
and1 if ,i mistake not1 more grace2 of  
which he gave a distinguished specimen  
in an ,angiolo at ,san ,stefano1 in the 
act of distributing the palms to the    

,,ss4 ,innocenti4 ,he was employed1     
also1 in ,venice1 where the most studied
 and animated production1 going by his  
name1 is not positively pronounced his  
by ,ridolfi1 but only esteemed to be    
his1 while it is ascribed by ,boschini  
to ,francesco ,alberti1 a ,venetian1    
known merely by this single production4 
,it is an altarpiece in ,santa ,maria   
,maggiore1 representing the ,virgin     
between ,st4 ,john and ,st4 ,mark1 and  
several lords in ducal robes1 with their
 sons1 in the act of adoring her2 very  
lively portraits of the ,marcello       
family1 for whom the altar was painted4 
,vasari gives a brief account both of   
him and his son ,marco1 his pupil and   
assistant1 though he did not mention    
,giulio1 brother to ,batista1 who       
distinguished himself alike in all the  
arts1 and is called by ,zanetti dotto   
pittore4 ,both1 like ,batista1 exercised
 their talents in ,venice1 and whoever  
compares the four ,coronati of ,giulio1 
placed at ,san ,apollinare1 with the    

,paradiso of ,marco at ,san             
,bartolommeo1 will discover an elegance1
 a precision1 and an arrangement of     
style1 sufficient to mark them for      
disciples of the same school4           
,brusasorci may be termed the ,titian of
 this school4 ,it is not known that he  
received the instructions of any other  
master besides ,giolfino1 but it is     
certain that he studied the works of    
,giorgione and of ,titian1 in ,venice4  
,he has exhibited the style of the      
latter in a few of his pictures with    
great accuracy1 as we see in his ,san   
,rocco1 in the church of the ,padri     
,agostiniani at ,verona1 and in several 
other pictures for private persons1     
among which he has drawn nymphs and     
,venuses4 ,an eye accustomed to the     
originals of the best ,venetians1       
detects a diversity of tints which in   
the artist of ,verona are less glowing4 
,his genius could not confine itself to 
the imitation of a single model1 like   
some of the ,venetians2 he became fond  

of ,giorgione1 and to judge from one of 
his pieces remaining at ,mantua1 also of
 ,parmigianino4 ,there in the ducal     
palace we meet with the ,fable of       
,phaeton exhibited in different pieces1 
which1 however much defaced by time1 are
 still admired for the fancy and        
vivacity they display1 no less than for 
their abundance of figures1 and the     
difficult foreshortenings he has        
inserted4 ,but his chief merit was shewn
 in his frescos1 with which he decorated
 villas and palaces with the erudition  
of a fine poet and the execution of a   
fine painter4 ,he produced1 likewise1   
his histories2 and the masterpiece of   
all ,i have seen is the procession of   
,clement ,,viii4 and of ,charles ,v4    
through ,bologna1 a picture exhibited in
 a hall of the noble casa ,ridolfi1 and 
which has been engraved4 ,a nobler      
spectacle cannot well be imagined2 and  
although other specimens1 both of this  
and similar subjects are met with very  
generally at ,rome1 in ,venice1 and in  

,florence1 none produce equal effect2   
combining in one piece1 a large         
concourse1 fine distribution of figures1
 vivacity of countenances1 noble        
attitudes in the men and horses2 variety
 of costume1 pomp1 and splendour and    
dignity1 all bearing an expression of   
pleasure adapted to such a day4 ,this   
piece may compete with another in the   
palazzo ,murari at ,ponte ,nuovo1 also  
in fresco1 though this last is preferred
 in the estimation of many before that  
of the casa ,ridolfi1 as ,i have been   
informed by the learned ,signor dalla   
,rosa4  ,felice ,riccio1 otherwise      
,brusasorci the younger1 and the son of 
,domenico1 became an orphan before he   
had completed his studies with his      
father1 which he continued under the    
care of ,ligozzi1 at ,florence4 ,on     
returning thence to ,verona1 he         
introduced a style very different to the
 manner of his father4 ,it is extremely 
elegant and refined1 as displayed in his
 ,madonnas1 with boys and beautiful     

cherubs1 adorning various collections2  
and with features something resembling  
those of ,paul ,veronese1 if not a      
little more spare4 ,nor is he deficient 
in strength where his subject requires  
it1 as ,i remarked in a picture         
belonging to the ,conti ,gazzola1       
representing the forge of ,vulcan1 with 
,cyclops1 designed in good ,florentine  
taste1 and powerfully coloured4 ,many of
 ,felice's works are interspersed       
through the churches of ,verona1 among  
which his ,santa ,elena1 belonging to   
the church of that name1 is extremely   
beautiful4 ,he did not exercise his     
talents1 like his father1 in fresco1 nor
 had he equal genius2 though he produced
 pieces on a large scale1 the extreme of
 which was the ,fall of ,manna1 painted 
for the church of ,s4 ,giorgio1 a       
picture both vast and well conceived1   
and which received its last touches from
 ,ottini and ,orbetto1 two of his best  
disciples1 whose names ,i reserve to    
another epoch4 ,several little pictures1

 likewise1 both on sacred and other     
subjects1 executed on stone or marble1  
which he coloured with great skill1     
availing himself for his shades of the  
marble itself1 are attributed to his    
hand4 ,even his portraits are in high   
esteem2 though nearly equalled by those 
of his sister ,cecilia1 who acquired    
skill in the art from her father4 ,gio4 
,batista ,brusasorci1 brother of the    
preceding artists1 and a scholar of     
,paul ,veronese1 presented ,verona with 
several highly esteemed pictures2 but   
passing into ,germany he became painter 
to the emperor1 in whose service he     
died4  ,surviving the whole of these1   
and almost all the ,caliari family1 we  
meet with the name of ,paolo ,farinato1 
as grand an artist perhaps as his       
namesake was beautiful4 ,after leaving  
the school of ,giolfino1 he is supposed 
to have studied the works of ,titian and
 ,giorgione1 at ,venice2 and if we may  
judge also from his style1 he must have 
received the instructions of ,giulio    

,romano in design2 though he made use of
 the ,venetian tints1 out of which he   
formed a system of his own4 ,he survived
 till his eighty-first year1 still      
preserving his natural good humour2 and 
as is customary with men of so advanced 
an age1 he prided himself upon it1      
affixing his name to a picture he       
produced at ,san ,giorgio1 placed       
opposite to one by ,felice1 stating he  
had painted it in his seventy-ninth     
year4 ,it is a representation of the    
multiplication of loaves in the desert1 
abounding with very numerous figures1 in
 part portraits of his own family1 and  
in part ideal heads4 ,he is one of the  
few painters whose merit did not        
deteriorate in advanced age1 for though 
in some early pieces he betrays a       
certain dryness of manner1 in this last 
he left nothing imperfect1 neither in   
fulness of contours1 in the fancy of his
 draperies and embellishments1 nor in   
the study of his figures and landscape4 
,his design has been much commended1    

which was the case with few others of   
his school2 and even in the time of     
,ridolfi his sketches1 the cartoons of  
his first studies1 and his models of    
figures in wax1 were all eagerly sought 
after for ornamental cabinets4 ,a ,san  
,onofrio is pointed out at the church of
 ,san ,tommaso1 in a sitting posture1   
taken from the celebrated torso di      
,belvedere2 which1 as well as many other
 of his attitudes1 and subjects where he
 introduced naked figures1 discovers an 
acquaintance with the ancient style not 
common among the ,venetians4 ,to his    
fleshes he gives a bronze colour1 which 
produces a pleasing effect1 and         
harmonizes well with his tints1 for the 
most part sober and even flat in his    
grounds2 giving a repose to the eye     
which attracts without dazzling it4 ,he 
is generally esteemed1 however1 a weak  
colourist1 and better in his frescos    
than in oil4 ,i know not whether it may 
be owing to partiality1 or to the merit 
of this great man1 but certain it is1   

that on my quitting ,bologna he was the 
only artist1 the whole of whose works ,i
 regretted not having seen2 so much of  
all that is rare and beautiful did ,i   
meet with in those ,i saw4 ,more        
likewise ,i beheld in ,mantua1 in ,san  
,sisto at ,piacenza1 in the ,ducal      
,gallery at ,modena1 in ,padua1 and     
other places4 ,i have sometimes observed
 a kind of snail that ,paolo is said to 
have chosen for his device1 remarking   
that he likewise bore his house upon his
 head4  ,his son ,orazio practised the  
art only for a few years4 ,his best     
praise is1 that during that short period
 he made approaches towards the style   
and merit of his father4 ,there is one  
of his pieces at ,san ,stefano1         
representing the ,faithful receiving the
 ,holy ,spirit from the ,apostles2#fh   
and1 if we except only ,paul ,veronese1 
it makes a distinguished figure1 placed 
near some of the best artists of        
,verona4  ,resuming here the thread of  
our former discourse1 we must observe   

that ,paul ,caliari found the public    
prepossessed in favour of the three     
foregoing artists1 and obtained little  
consideration in his own district while 
young4 ,the world1 ever disinclined to  
admit the claims of rising reputation1  
either knew not1 or believed not1 that  
in his competition with the ,mantuan    
artists he had surpassed them all2      
insomuch that this youthful genius was  
compelled by penury to quit ,verona1    
leaving behind him1 upon an altar at    
,san ,fermo1 a ,madonna between two     
,saints1 with a few other proofs of his 
early powers4 ,he first went to         
,vicenza1 and thence passed on to       
,venice4 ,his genius was naturally      
noble1 and even magnificent and vast1 as
 well as pleasing2 and no provincial    
city was capable of supplying him with  
ideas proportionate to his genius1 like 
,venice4 ,there he aimed at improving   
his style of colouring1 upon the models 
of ,titian and ,tintoretto1 as well as  
to surpass them1 as it would appear1 in 

elegance and variety of ornament4 ,hence
 his pupils were accustomed to say1 that
 at that time he devoted himself to the 
study of casts taken from ancient       
statues1 to the engravings of           
,parmigiano1 and to those of ,albert    
,durer4 ,the first works that he        
produced for the sacristy of ,s4        
,sebastiano in ,venice1 present us only 
with the elements of that style he      
subsequently acquired1 in the air of the
 heads1 and in the variety of drapery   
and of attitudes4 ,for the rest his     
pencil was still timid1 inclined rather 
to unite his tints with care1 than to a 
bold and free manner of handling4 ,but  
it was not long before he displayed more
 freedom1 and more attraction1 in       
painting the ceilings of the same       
church1 where he represented the history
 of ,esther1 a work whose novelty       
conciliated public admiration and became
 a stepping stone to very honourable    
commissions from the senate4  ,in the   
meanwhile he enjoyed an opportunity of  

visiting ,rome1 in company with the     
ambassador ,grimani1 where1 surrounded  
by its grand ancient and modern         
productions1 al volo suo senti crescer  
le penne1 he felt his wings enlarging as
 he rose1 of which he soon gave proofs  
in the ,palazzo ,pubblico1 at ,venice4  
,here his imagination seems to revel in 
every piece coloured by his hand2 but   
particularly in that which may be called
 the apotheosis of ,venice1 in regal    
costume1 seated on high1 crowned by     
,glory1 celebrated by ,fame1 attended by
 ,honour1 ,liberty1 and ,peace4 ,juno   
and ,ceres are seen assisting at the    
spectacle1 as symbols of grandeur and   
felicity4 ,the summit is decorated with 
specimens of magnificent architecture1  
and with columns2 while lower down      
appears a great concourse of ladies with
 their lords and sons1 in various       
splendid habits1 all represented in a   
gallery2 and on the ground are          
represented warriors upon their         
chargers1 arms1 ensigns1 prisoners1 and 

trophies of war4 ,this oval picture     
presents us with an union of those      
powers1 with which ,paul so much        
fascinates the eye1 producing a general 
effect altogether enchanting1 and       
includes numerous parts all equally     
beautiful2 bright aerial spaces1        
sumptuous edifices1 which seem to invite
 the foot of the spectator2 lively      
features1 dignified1 selected for the   
most part from nature1 and embellished  
by art4 ,add to these1 very graceful    
motions1 fine contrasts and expressions2
 noble vestments1 both for their shape  
and materials2 with crowns and sceptres1
 magnificence worthy of so august a     
scene2 perspective that gives distance  
to objects1 without displeasing us when 
near2#fi the most lively colours1#gj    
whether similar or contrasted1 and      
harmonized with a peculiar degree of    
art1 such as is not to be taught4 ,not  
inferior to these was the handling of   
his pencil1 which to the utmost rapidity
 unites the greatest judgment1 that     

effects1 decides1 and achieves something
 in every stroke2 gifts which he had at 
that age rendered familiar to him1 and  
which form the character of his genius4 
,whoever has resolution enough to read  
,boschini 7for it is not every one in   
,italy that can boast as much7 will find
 at p4 #fdc and further1 in addition to 
the description of this picture1 the    
commendations he bestowed on it1 along  
with ,strozza1 ,mignard1 and other able 
artists1 as one of the rarest specimens 
in the world4 ,yet this did not obtain  
for him so high a reputation as his     
,suppers4 ,whoever undertakes to        
describe his style1 ought by no means to
 pass over a representation1 perhaps the
 most familiar to him of all1 having    
repeated it so many times1 until by     
force of exercising his powers and      
varying it in different ways1 the first 
sovereigns in the world became desirous 
of obtaining copies4 ,several ,i have   
seen upon a small scale1 but always     
beautiful2 one1 the ,supper of the      

,eucharist1 at ,santa ,sofia1 in        
,venice2 another1 upon the same subject1
 and of exquisite workmanship1 at the   
,casa ,borghese1 in ,rome2 and the feast
 given by ,san ,gregorio to the poor1   
belonging to the ,serviti1 in ,vicenza2 
besides others in different collections4
 ,in ,venice he painted four ,suppers   
for the same number of refectories in   
religious houses1 both large and rich in
 point of invention4 ,the first         
representing the ,marriage of ,cana1 is 
still preserved at ,san ,giorgio        
,maggiore1 thirty palms in length1      
copies of which every where abound1 and 
which is highly estimable on account of 
the great number of the figures1        
amounting to one hundred and thirty1 as 
well as for its portraits of princes and
 illustrious men1 who flourished at the 
period4 ,it was nevertheless executed   
for the price of only ninety ducats4    
,the second is in better preservation1  
placed at ,san ,giovanni and ,san       
,paolo1 representing the supper prepared

 by ,matthew for our ,lord2 and is very 
highly extolled for its heads1 all of   
which ,ricci1 at a mature age1 copied   
for his studio4 ,the third is at ,san   
,sebastiano1 consisting of the ,feast of
 ,simon4 ,the fourth1 along with the    
same ,feast1 formerly placed at the     
,refectory of the ,servi1 was presented 
to ,louis ,,xiv4 of ,france1 and        
deposited at ,versailles2 and this was  
preferred by ,venetian professors to all
 the rest4 ,for this reason numerous    
copies were presented by them to the    
world2 although the artist himself took 
one for the refectory of the monks of   
,,ss4 ,nazario and ,celso1 along with   
the same ,supper1 now in the fine ,doria
 collection at ,genoa2 and which1       
however inferior in size to the rest1 is
 considered equal to any of the         
preceding1 and has been engraved by the 
hand of the celebrated ,volpato4        
,another1 likewise of ,simon1 was sent  
from ,venice to ,genoa1 which ,i saw in 
possession of the ,durazzo family2 with 

a ,magdalen that may be esteemed a      
miracle of art2 and ,i also met with an 
old copy in the ,casa ,paolucci1 at     
,pesaro4 ,what novel methods he adopted 
in all these to decorate the place with 
architecture1 and how well he availed   
himself of them to add to the spectators
 at the festival6 ,what passions        
depicted in each of the principal       
actors1 and how appropriate to the      
period6 ,what splendour in the          
preparation1 luxury of dishes1 and pomp 
of guests6 ,whoever considers these1    
will easily excuse such an artist for   
some occasional imperfection of design1 
and for inattention to ancient costume1 
in which he is always faulty4#ga ,even  
,guido1 an artist so highly celebrated1 
so far excused them1 that he was        
accustomed to say1 were it given me to  
choose what painter ,i would be1 ,i     
should prefer being ,paul ,veronese2 for
 in others every thing appears the      
effect of art1 but he alone seems all   
nature4  ,he continued to produce       

specimens until he was sixty years of   
age1 though he cannot1 like many others1
 be accused of having painted too much2 
each piece is worthy of ,paul ,veronese1
 and each has been multiplied by some   
copyist2 an honour that artists have not
 bestowed upon the works of ,tintoretto1
 or those of many others4 ,his method of
 making use of clear grounds1 and as    
much as possible of virgin colours1 has 
greatly contributed to the preservation 
and freshness of his colouring4 ,in     
,venice we meet with several of his     
pictures yet glowing with the peculiar  
grace he shed over them4 ,a remarkable  
specimen is seen in that belonging to   
the noble house of ,pisani1 exhibiting  
the family of ,darius presented to      
,alexander1 which surprises as much by  
its splendour as it affects us by its   
expression4 ,equal admiration was at one
 time evinced for his ,rape of ,europa1 
which he drew upon a large scale1 in    
various groups1 much in the same manner 
as ,coreggio1 in his ,leda4 ,in the     

first she appears among her virgins in  
the act of caressing the animal1 and    
desirous of being borne upon him3 in the
 second1 she is seen carried along1     
applauded by her companions1 as she     
enjoys the scene riding along the shore4
 ,in the third1 7the only one in grand  
dimensions7 she cleaves the sea in      
terror1 in vain desired and lamented by 
her virgin train4 ,this work1           
ornamenting the ,ducal ,palace1 suffered
 much from the effects of time1 and has 
subsequently been restored4  ,in        
,verona1 boasting a clime more          
favourable to paintings1 we more        
frequently meet with his pictures in    
complete preservation4 ,many noble      
houses1 in particular that of           
,bevilacqua1 at one period his patrons1 
are in possession of several4 ,as an    
expression of his gratitude1 he         
represented in a portrait of one of the 
,bevilacqua family1 his own figure      
standing upright1 with the air of his   
attendant4 ,but his ,san ,giorgio1      

surrounded by the two grand histories of
 ,farinato and of ,brusasorci already   
described1 by some esteemed to be the   
best painting in ,verona1 is1 perhaps1  
in the most perfect state of any that   
remain4 ,the ,san ,giuliano of ,rimini  
is likewise a valuable piece1 which may1
 perhaps1 compete with the ,san         
,giorgio4 ,the ,san ,afra1 at ,brescia1 
and the ,s4 ,giustina1 at ,padua1 placed
 in their respective churches1 have also
 suffered little2 but the last1 indeed1 
is in too lofty a situation4 ,his       
labours for different collections were  
very great1 consisting of portraits1    
,venus1 ,adonis1 ,cupids1 ,nymphs1 and  
similar figures1 in which he displayed  
the most rich and varied beauty of      
forms1 fancy in their embellishment1 and
 novelty in his inventions2 all subjects
 indeed familiar to his pencil1 and     
which are to be seen in different       
galleries1 not omitting even the        
imperial one4 ,among his sacred subjects
 he was more particularly attached to   

the marriage of ,st4 ,catherine1 one of 
the most laboured of which fell to the  
share of the royal collection of ,pitti4
 ,he produced1 also1 several ,holy      
,families1 in which the better to depart
 from the common practice1 he gave birth
 to new inventions4 ,they are to be met 
with in ,ridolfi 7p4 #cjg71 copied from 
one of his own ,,mss4 ,but his          
devotional pieces were also1 for the    
most part1 copious histories2 such as   
the ,slaughter of the ,innocents1       
laboured in the miniature style1 at the 
,palazzo ,borghese2 the ,esther1 at     
,turin1 in possession of the ,king of   
,sardinia4 ,the ,queen of ,sheba1 among 
a troop of handmaids at the throne of   
,solomon1 a picture lately acquired by  
the reigning sovereign at ,florence4    
,halls1 chambers1 and facades likewise1 
decorated by him in fresco with         
allegorical poems and representations of
 histories1 are frequently met with in  
,venice1 and in the palaces and seats   
belonging to the state4 ,highly meriting

 notice is the palace of ,his ,serene   
,highness ,manin1 ,doge of ,venice1 to  
be seen in the territory of ,asolo2 the 
architecture is that of ,palladio2 the  
stuccoes1 of ,vittoria2 while the       
pictures of the ,muses1 and of many     
other ,pagan deities1 are from the hand 
of ,paul2 forming an union of artists   
sufficient to render the place as       
celebrated among modern villas1 as was  
that of ,lucullus among the ancients4   
,the school of ,paul ,veronese commences
 like those already described1 with his 
own family2 in the first place1 with    
,benedetto1 his younger brother1 and    
with his two sons1 ,carlo and ,gabriele4
 ,benedetto was remarkable for the      
fraternal affection he displayed towards
 ,paul1 assisting him in the ornamental 
part of his labours1 particularly in his
 perspectives1 in which he possessed    
considerable skill4 ,and1 after his     
death1 he shewed the same affection to  
the two sons1 directing them by his     
advice1 supporting them in their        

undertakings1 and leaving his           
inheritance to their family4 ,his genius
 for the art was not very great1 and in 
the pieces conducted by his own hand1 he
 appears only as an imitator of ,paul1  
occasionally happy however in a few     
heads1 or in his drapery1 but by no     
means equal with himself4 ,there is     
hardly a work in which the connoisseur  
may not easily detect something weak or 
faulty1 as in the ,last ,supper1 in the 
,flagellation1 in the ,appearance of the
 ,saviour before the ,tribunal of       
,pilate1 which he painted for the church
 of ,san ,niccolo1 and which are some of
 his best productions4 ,if he ever      
appears to have surpassed himself1 as in
 the instance of his picture of ,st4    
,agatha1 placed at the ,angeli1 in      
,murano1 the work has been ascribed to  
,paul1 and has even been engraved under 
his name4 ,according to ,ridolfi he     
succeeded better in fresco than in oils2
 and both he and ,boschini1 who examined
 his ,roman histories1 and his          

mythological fables1 painted in stone   
colour1 in the ,cortile of the          
,mocenighi1 give us a very favourable   
idea of them2 and the same where they   
speak of his ornamental work1 in halls  
and other places1 which admitted of his 
introducing a display of architecture   
and embellishments1 rather than of      
figures4  ,carlo ,caliari1 generally    
entitled ,carletto1 the diminutive of   
his name1 from the circumstance of his  
dying at the early age of               
twenty-four1#gb as we find in the       
register of his parish1 owing to his    
excessive application to study1 was     
gifted with a genius like that of his   
father4 ,his disposition was            
particularly docile and attentive1 and  
he was the boast of his parent1 whose   
style he emulated better than any other 
artist4 ,but ,paul1 ambitious that he   
should even excel him1 was unwilling1   
that by forming himself upon a single   
model1 he should succeed only in        
becoming a feeble sectarist4 ,he sent   

him1 therefore1 to study the school of  
,bassano1 the robustness of which       
blended with his own elegance1 would1 he
 expected1 produce an original manner   
superior to either of the other two4 ,at
 the period when ,carletto closed the   
eyes of his beloved father1 he was only 
in his sixteenth1 or at farthest his    
eighteenth year1 though he had attained 
such progress and reputation in the art 
as to be enabled to complete several    
pictures left unfinished by his parent1 
nor was he ever in want of commissions4 
,his productions often appear by the    
hand of ,paul2 whether at that time he  
did not wholly depend upon his own      
resources1 or that his father1 at least1
 might have retouched his pieces1 is not
 certain4 ,skilful judges1 indeed1 have 
pretended to discern1 or rather to count
 the number1 of the strokes traced by   
the paternal pencil1 from their         
inimitable ease1 lightness1 and         
rapidity4 ,thus it has occurred in an   
altarpiece of ,san ,frediano ,vescovo1  

to which is added ,st4 ,catherine1 and  
some other saint1 placed in the         
,medicean ,museum1 and bearing the son's
 name1 though boasting at the same time 
all the grace of his father4 ,but1      
wherever ,carlo executed his pieces     
alone1 he is easily distinguishable2 his
 pencil is somewhat more full and heavy1
 while his tints are stronger and deeper
 than those of his father4 ,we have an  
instance in his ,san ,agostino1 at the  
church of ,la ,carita1 whose colouring  
betrays that union of the two schools so
 much desired by ,paul4  ,gabriele      
executed little in which he was not     
assisted by his brother4 ,in several    
altarpieces we read as follows3 ,heredes
 ,pauli ,caliari ,veronensis fecerunt2  
which alludes to such pieces as ,paul   
himself left imperfect1 the completion  
of which became a joint labour2 a system
 they continued1 likewise1 in others1   
which they produced for churches1 and   
for the public palace4 ,ridolfi awards  
the chief merit to ,carlo1 placing      

,gabriele second1 and adding1 that      
,benedetto had1 likewise1 his share1    
more especially in the architectural    
parts4 ,probably too some other pupil of
 ,paul assisted them4 ,for1 in these1 we
 find represented the maxims of the     
master1 even his studies1 and the same  
figures as his4 ,still there is         
occasionally some diversity of hand     
perceptible1 as in the martyrdom of an  
,apostle at ,s4 ,giustina of ,padua1    
where one of the figures appears so much
 loaded with shade1 as not merely to    
betray a difference of hand1 but of     
schools4 ,gabriele survived the other   
artists of his family2 residing         
subsequently in ,venice1 more in the    
character of a merchant than a painter4 
,still he continued occasionally to     
produce a few portraits in crayons1     
extremely rare1 or some picture of a    
cavalcade2 nor did he desist from       
visiting the studio of the artists1     
where he assisted them1 when agreeable1 
with his advice4 ,arriving at the period

 of #aeca1 memorable for the great      
pestilence in ,italy1 and impelled by   
those noble precepts of humanity        
inculcated in the gospel1 he generously 
exposed his life in the service of his  
afflicted fellow citizens1 and fell a   
sacrifice to the task4  ,proceeding to  
the other disciples of ,paul1 and to his
 imitators1 it will not be found easy to
 enumerate them4 ,for having been       
interested beyond any other painter in  
the cultivation of an art1 whose object 
is to give pleasure1 so he excelled all 
others in the number of his followers4  
,we are told by ,zanetti1 that many of  
them were also very successful1 owing to
 which1 less accurate judges are apt to 
confound the master with those of his   
school1 if they do not cautiously attend
 to the two following points1 in which  
none will be found to equal him4 ,these 
are1 #ast1 the fineness and peculiar    
lightness of his pencil combined with   
sound judgment2 #b;d1 a very ready and  
spirited expression of grace1 and a     

dignity in his forms1 particularly in   
the air of his heads4 ,it must1 however1
 be observed1 that his scholars1 in the 
progress of time1 for the most part     
varied the grounds and the colouring1 as
 they approached the style of the       
succeeding epoch4 ,among the ,venetians1
 there is only enumerated by ,zanetti   
the name of ,parrasio ,michele1#gc an   
artist who enriched with the designs of 
,paul1 and experienced in the art of    
colouring them1 produced several works  
worthy of him1 more especially that of a
 ,pieta1 adorning a chapel within the   
church of ,san ,giuseppe1 a piece in    
which he added a portrait of himself4   
,the people of ,coneglia have preserved 
the recollection of one of their        
citizens named ,ciro1 to whom they      
attribute an altarpiece of the ,nativity
 of ,christ1 as nearly resembling the   
style of ,paul as possible1 for which   
reason it was transferred from the      
church of the ,riformati in that city to
 ,rome2 and they add1 that its author   

was a youth1 who never attained to      
mature age4 ,castelfranco boasts one    
,cesare ,castagnoli as a pupil of ,paul2
 though in his numerous paintings in    
fresco he cannot be said to display much
 power1 at least beyond a certain degree
 of spirit1 promptness1 and copiousness 
of ideas4 ,a few less shewy and fanciful
 productions from the hand of ,bartolo1 
his brother1 executed in oil1 acquired  
for him higher reputation than that of  
,cesare4 ,angelo ,naudi1 an ,italian1 is
 much commended by ,palamino for his    
labours in the royal palaces1 and in    
various churches in ,spain1 when painter
 to the court of king ,philip4 ,there is
 reason to doubt whether he really      
received the instructions of ,paul1     
instead of imbibing his manner by dint  
of study and copying1 like ,bombelli and
 many others2 it being recorded of this 
writer1 otherwise very estimable1 that  
in regard to masters he was apt to      
embrace opinions by no means always     
true4 ,omitting the names of a great    

number of foreigners1 we make mention   
here only of the ,veronese1 in order    
that their master should not appear     
unaccompanied by the noble train of     
disciples bestowed by him upon his      
country4  ,luigi ,benfatto1 known by the
 name of dal ,friso1 a sister's son1 and
 for many years the guest of ,paul1     
copied him in the outset even to        
servility2 though he afterwards gave    
himself up to an easy and rapid style of
 composition1 little short of the       
licence of the mannerists4 ,it has been 
supposed that he only availed himself of
 this facility in such commissions as   
were of small value4 ,he approaches     
nearest to ,paul in the church of ,san  
,raffaello2 in other places he resembles
 ,palma4 ,a more free and spirited      
imitator of ,paul was found in ,maffeo  
,verona1 a pupil and son-in-law to      
,luigi2 but the quantity of vermilion   
with which he heightened the colour of  
his fleshes1 detracts from his worth4   
,francesco ,montemezzano1 a ,veronese1  

approached still more frequently than   
either of the preceding to the character
 of the head of his school4 ,he acquired
 great reputation by a picture of the   
,annunciation1 painted for the church of
 the ,osservanti alla ,vigna2 and he was
 employed1 also1 in the ,ducal ,palace4 
,he partakes of ,caliari in his         
countenances1 in his costume1 and in the
 beauty of his figures3 as to the rest1 
he was slow of hand1 and feeble in his  
colouring4 ,his picture at ,san         
,giorgio1 in ,verona1 consisting of the 
,apparition of ,christ to the ,magdalen1
 appears extremely languid in           
competition with that of ,paul1 which is
 one of the most brilliant productions  
remaining of that period4 ,to these we  
might add the names of other ,veronese1 
as ,aliprando1 and ,anselmo ,canneri1   
characterised by ,vasari as an able     
assistant to ,paul his master4  ,among  
all the ,veronese artists most          
resembling ,paul1 when ambitious of     
doing so1 was his friend and companion1 

though his rival1 ,batista ,zelotti4    
,instructed in the same academy1 he was 
occasionally the companion of his       
labours1 and occasionally taught and    
executed works himself--always however  
observing the same rules4 ,vasari       
mentions him with commendation in his   
,life of ,san ,micheli1 where he        
entitles him ,batista da ,verona1 and   
includes him among the disciples of     
,titian4 ,i have seen a ,holy ,family by
 this artist in ,titian's style in the  
,carrara collection1 frequently extolled
 by us before2 and from such a studio it
 would appear we are to look for that   
warmth of tints1 in which1 for the most 
part1 he excels ,caliari2 as well as    
that power of design in which ,zanetti  
is of opinion that he also surpassed    
him1 although others think very         
differently4 ,he often surpasses him1   
likewise1 in grandeur1 and in what      
appertains to painting in fresco2 a     
circumstance ,paul was aware of1 and for
 that reason sought to obtain his       

assistance in works of that kind4 ,he   
possessed great fertility of ideas1 and 
a rapid hand1 while he was profound and 
judicious in his compositions4 ,indeed1 
he might have been esteemed another     
,paul1 had he been able to compete with 
him in the beauty of his heads1 in      
variety1 and in grace4 ,in truth1 his   
productions were frequently given to    
,paul1 even those he painted for the    
,council of ,ten having been engraved   
under the latter name by ,valentino le  
,febre4 ,he was doubtless one of the    
first artists of his time1 though not   
estimated according to his deserts1 from
 having worked chiefly in fresco1 and at
 a distance from capital cities2 in     
villages1 in country seats1 and palaces4
 ,one of his grandest works is seen at  
,cataio1 a villa belonging to the       
,marchese ,tommaso ,obizzi1 where1 about
 #aegj1 he represented in different     
rooms1 the history of that very ancient 
family1 distinguished no less in council
 than in arms4 ,the place is continually

 sought by foreigners1 attracted thither
 by its splendour1 by the fame of these 
pictures1 and by the valuable museum of 
antiquities1 collected by the hand of   
the ,marchese2 a task of few years1 but 
in point of taste1 abundance1 and rarity
 of specimens1 calculated to confer     
honour upon the state4 ,in his oil      
paintings ,zelotti could not compete    
with ,caliari1 though he approached him 
near enough1 in his ,fall of ,st4 ,paul1
 and his ,fishing of the ,apostles1     
which he executed for the dome of       
,vicenza1 to merit the honour of having 
them attributed to the pencil of        
,caliari4  ,this city was his chief     
theatre of action2 he remained there    
during some time1 and initiated one     
,antonio1 a youth called ,tognone1 in   
the art1 from whose hand a few works in 
fresco are pointed out in the city1     
while he is honoured by ,ridolfi both   
with a ,life and ,eulogy4 ,zelotti was  
in ,vicenza1 both alone and together    
with ,paul2 where with the help of one  

of his best pupils he established a     
school1 which partook of the taste of   
both these masters4 ,i reserve a list of
 his followers for the succeeding epoch4
  ,it is here the place to inform our   
readers1 that the various styles1       
hitherto described as attaching to the  
,venetian ,school1 do not comprehend all
 that flourished in the state4 ,ridolfi 
remarks this in his preface1 and        
laments1 that owing to the              
conflagrations occurring in the city1 or
 by the neglect of writers1 not a few   
materials had perished1 that might have 
added interest to his history4 ,in      
truth1 he was not merely ignorant of    
several of the more ancient artists1 but
 in the period we are describing omitted
 the names of ,jacopo ,fallaro and      
,jacopo ,pisbolica1 whom ,vasari1 in his
 ,life of ,sansovino1 records with      
praise1 citing from the hand of the     
former a picture of ,san ,gio4          
,colombino1 at the ,domenicani delle    
,zattere2 and of the latter1 his        

,ascension of ,christ at ,santa ,maria  
,maggiore4 ,he likewise passed over     
,vitrulio1 several of whose productions 
are the ornament of ,monte ,novissimo1  
bearing his name4 ,these artists1       
judging from their manner and other     
points1 are to be referred to the age of
 ,titian4 ,ridolfi made mention1 and    
more at length1 of another1 who1 exactly
 contemporary with ,paul1 continued to  
flourish many years after him1 but      
always assailed by fortune2 and though a
 good colourist1 being greatly deficient
 in point of invention and design4 ,his 
name was ,antonio ,foler2 and1 as a     
convincing proof of his mediocrity1 it  
will be sufficient to allude to his     
,martyrdom of ,st4 ,stephen1 at the     
church of that name2 it is nevertheless1
 one of his best altarpieces4 ,in small 
figures1 however1 he appears to have had
 merit4  ,before concluding the present 
epoch1 it will be proper to mention two 
painters2 one a foreigner1 the other a  
,venetian1 both of whom followed a style

 altogether different from such as we   
have already described4 ,the artist of  
,venice is ,batista ,franco1 called     
,semolei4 ,he has been treated of in the
 first volume in several parts1 and     
especially in what relates to ,baroccio1
 to whom he was master4 ,he pursued his 
studies in ,rome1 and so great was his  
progress in the art of design1 that he  
was accounted one of the best imitators 
of ,michel ,angiolo4 ,in ornamenting    
,san ,gio4 ,decollato1 a church         
belonging to the ,florentines in ,rome1 
he appears to have been ambitious of    
making a parade of his powers1 and his  
style became somewhat loaded in the     
attempt4 ,in his other pictures which ,i
 have seen in the dome at ,urbino1 and  
in that of ,osimo1 where he painted in  
#aedg1 in ,bologna1 and in ,venice1 ,i  
have not met with any thing similar4 ,he
 invariably appears to have been an able
 follower of ,michel ,angiolo1 and a    
more powerful colourist than the chief  
part of the ,florentine artists4 ,it is 

easier to become acquainted with him in 
the ,states of the ,church than in his  
native city of ,venice1 whither he seems
 to have retired towards the close of   
his days1 since1 in #aeef1 he was among 
the artists selected to adorn the       
library of ,st4 ,mark4 ,there he        
represented his fable of ,actaeon1 along
 with several symbolical inventions2 and
 a few other of his pictures are        
exhibited there in public4 ,he died not 
long subsequently in the year #aefa4    
,the foreign artist is ,giuseppe ,porta 
della ,garfagnana1 already mentioned1   
likewise1 under the ,roman ,school1 in  
which he was instructed by ,francesco   
,salviati1 whose surname he assumed4    
,for this reason he is sometimes        
entitled in history ,salviati the       
younger4 ,he accompanied his master to  
,venice1 on the latter being invited by 
the ,patriarch ,grimani to embellish his
 palace1 where he produced his          
celebrated ,psyche1 still to be seen    
there1 near two pictures by the hand of 

,porta4 ,francesco1 however1 soon left  
,venice2 ,vasari adducing as a very     
sufficient reason1 that it was no place 
for the residence of artists            
distinguished for excellence in design4 
,but the success of ,porta1 who became  
established and died at ,venice1 clearly
 proves the contrary4 ,initiated in a   
knowledge of design by ,francesco1 he   
wholly retained the character of the    
,florentine ,school1 only enlivening it 
with tints in the ,venetian taste4      
,nevertheless1 he was approved by       
,titian1 and selected along with ,paul  
and other leading names to paint in the 
library of ,st4 ,mark2 he was           
continually engaged to work in fresco   
and in oil1 both in public and in       
private2 and was always distinguished   
there as one of the most able masters of
 his age4#gd ,several of his altarpieces
 remain1 and among others one of the    
,assumption2 a beautiful piece1 at the  
,servi1 in ,venice1 besides a ,christ   
taken from the ,cross1 at ,murano1      

displaying powers of invention wholly   
original1 full of expression1 and an air
 of majesty not very usual in this      
school4 ,he repeated the same subject   
frequently2 and there was a duplicate in
 the ,ducal collection at ,modena1      
subsequently transferred to ,dresden4   
,following these artists1 the reader    
must not be surprised to meet with the  
name of ,jacopo ,sansovino1 who1 as will
 appear from the index1 derived his     
surname also from his master4 ,he was   
much courted in ,venice1 owing to his   
excellence in the art of statuary1 as   
well as in that of an architect1 with   
which he ornamented public places4      
,still he failed not to exercise some   
influence over that of painting1 at     
least of design2 in which he had been   
well instructed by ,andrea del ,sarto1  
in ,florence4 ,indeed1 as the director  
of the edifice of ,st4 ,mark1 numerous  
artists were dependent upon him2 and it 
is known1 that he received some         
commissions for designs in mosaic work1 

which ,i do not1 however1 find          
particularized2 as well as others1 most 
probably1 in tapestry1 for the altar of 
the sacrament1 as it has been           
conjectured from their style1 by ,signor
 ,zanetti4 ,in regard to foreign styles1
 we must proceed1 without dwelling upon 
the ,cavalier ,zuccaro1 ,passignano1 and
 others already treated in their        
respective schools1 to make brief       
mention of ,giuseppe ,calimberg1 or     
,calimperg1 by birth a ,german1 who     
flourished a considerable time at       
,venice1 where he died about #aegj4     
,there is the ,battle of ,constantine1  
by his hand1 still preserved at the     
,servi2 and had he always displayed the 
same taste1 ,i should not scruple to    
pronounce him excellent1 though somewhat
 heavy1 in the practice of his art4     
,subsequent to him appears to have      
flourished ,gio4 de ,chere ,loranese1   
who ought to be mentioned1 before we    
proceed to treat of the sect of         
mannerists1 and of the ,tenebrosi4#ge   

,ranking among the scholars of the best 
,venetian masters1 he produced a history
 piece for the grand council hall4      
,other names of foreign artists are to  
be looked for in the ,guida3 it is my   
object in this school1 as in the rest1  
to record only such as are most         
deserving of commemoration4  ,in the    
progress of the present history1 the    
reader may probably have observed1 that 
no distinction had yet been made between
 certain species of painting1 previous  
to the sixteenth century4 ,the figurist 
copied every thing1 and availed himself 
of every thing to adorn his             
compositions2 landscapes1 animals1      
fruits1 flowers1 and perspective1 were  
all employed as accessaries in favour of
 the leading art2 the execution of which
 was about as difficult to the great    
masters as the throne of ,jupiter to    
,phidias1 after having completed the    
figure of the god4 ,by degrees1 however1
 they began to separate1 and to treat   
these parts of painting severally4 ,the 

,flemish were among the first1 who1     
pursuing the bent of their genius1      
selected the respective branches1 and   
composed pictures1 in which1 landscape  
for example1 became the principal       
object1 while the figure in its turn    
became an accessary4 ,and we may here   
remark1 with ,bellori1 that the best of 
these artists dipped their pencil in    
those fine ,venetian colours2 by no     
means one of the least boasts of the    
,venetian ,school4 ,the ,italians1      
likewise1 attended severally to these   
branches of the art1 and in particular  
to landscapes4 ,it was ,titian who      
opened the true path to our landscape   
painters2 although nearly the whole of  
his champaign scenery was introduced in 
aid of his figures2 never the contrary4 
,one of these1 consisting of a ,holy    
,family1 was in possession of the       
,duchess of ,massa and ,carrara1 lately 
deceased1 who left it as a legacy to the
 ,prince ,carlo ,albani1 of ,milan4 ,it 
is one of the most beautiful of the kind

 ,i ever saw4 ,titian was imitated by   
many ,flemish artists2 and among the    
,venetians by ,gio4 ,maria ,verdizzotti1
 one of his literary friends1 who       
painted under his direction several     
landscapes1 much esteemed in different  
collections1 where they are rarely to be
 seen4  ,the ,bassani produced examples 
of small pictures of quadrupeds and     
birds1 which consisting of copies taken 
from those seen in their histories1 are 
easily recognized4 ,they are not so     
numerous1 however1 as their history     
pieces2 nor do ,i recollect having seen 
specimens of them except in the         
,venetian state4 ,in drawing fish1 an   
artist of the name of ,genzio or        
,gennesio ,liberale1 a native of        
,friuli1 has been mentioned with praise 
by ,vasari1 and afterwards by ,ridolfi4 
,a taste for grotesque1 was introduced  
into ,venice from ,rome1 by a citizen of
 the republic1 recorded by me elsewhere 
as the master of this kind of art4 ,his 
name was ,morto da ,feltro1 who1 in the 

company of ,giorgione1 employed himself 
in ,venice1 though without leaving any  
traces of his hand4 ,there are specimens
 of grotesque1 in the ,ducal ,palace1   
painted by ,batista ,franco1 who had    
likewise beheld ancient examples of them
 at ,rome4 ,there were others painted   
for the ,patriarch of ,aquileja1 his    
patron1 by ,giovanni di ,udine1         
mentioned by ,vasari under the names of 
,manni and ,ricamatore2 an artist very  
celebrated in his line1 and almost      
unique in drawing every kind of birds1  
quadrupeds1 fruits1 and flowers4 ,i have
 included him in the school of          
,giorgione2 and he is stated more at    
length in that of ,raffaello2 for he    
remained but little while with his first
 master1 and in ,upper ,italy2 but      
longer in ,rome1 and during some time in
 ,florence4 ,his pictures of birds1 or  
fruits1 executed in oil1 are pointed out
 in different collections1 though1 if ,i
 mistake not1 they are not all genuine4 
,it is not1 indeed1 that he produced no 

specimens in oil1 although it is        
extremely difficult to discover any that
 are certain2 nor that he was incapable 
of drawing larger figures than such as  
we see in his satyrs1 in his boys1 and  
nymphs1 with which he diversified the   
little landscapes and the tracery of his
 grotesques4 ,vasari mentions some of   
his standards1 one of which1 executed in
 ,udine1 for the ,fraternity of         
,castello1 presents in rather large     
proportions1 a blessed virgin with the  
divine child1 and an angel making her an
 offering of the same castle4 ,the      
original1 though much defaced1 still    
exists1 and there is also a copy in the 
chapel1 executed by ,pini in #afec4     
,there likewise remains in the          
archiepiscopal palace1 a chamber        
containing1 among some grotesques1 two  
scriptural histories1 drawn in          
half-length figures1 not so perfect as  
the ornamental part1 but valuable from  
their rarity4 ,his other productions1   
both in ,udine and the state1 have been 

enumerated in a learned letter written  
by the ,ab4 ,boni1 upon the standard or 
gonfalone1 just described4 ,if we might 
hazard a conjecture relative to the     
school of ,giovanni and of ,feltro1 we  
should be inclined to give for a pupil  
to one of these1 ,giorgio ,bellunese1 an
 artist1 as we are informed by          
,cesarini1 very excellent in friezes and
 in minute ornaments1 and moreover an   
able portrait painter4 ,he flourished at
 ,san ,vito1 a place in the ,friuli1    
about the middle of the sixteenth       
century2 so that the time1 the place1   
and his employment in ornamental work1  
seem equally to favour our opinion4     
,the art of architectural design        
received great assistance in ,venice    
during this period1 from the works of   
,sansovino1 ,palladio1 and other        
consummate architects1 who gave finished
 examples of magnificent edifices2 while
 ,daniel ,barbaro composed very useful  
treatises upon perspective2 and it      
became an attribute of the art to feign 

colonnades1 galleries1 and rich         
cornices1 for those halls in which real 
architecture would not admit of them4   
,in this1 ,cristoforo and ,stefano ,rosa
 more particularly distinguished        
themselves4 ,they were from ,brescia1   
very intimate with ,titian1 and merited 
the honour of being employed by him1 in 
his architectural ornaments for several 
of his pieces4 ,in ,brescia1 in ,venice1
 and particularly in the anti-chamber to
 the library of ,s4 ,mark1 we may meet  
with some of their perspectives1 so     
admirably executed as to surprise us by 
their air of majesty1 cheating the eye  
by their relief2 and when beheld in     
different points of view1 always        
producing a good effect4 ,their school  
continued to flourish during many years1
 in their native state2 and was         
subsequently supported by ,bona1        
excellent also in figures1 as well as by
 other artists4 ,boschini bestows many  
commendations upon it in different parts
 of his work in verse2 and in particular

 at p4 #bbe1 where he declares1 that    
,brescia was the source of this art2    
which applies of course to the ,venetian
 state4  ,finally1 the art of mosaic    
work1 in stone and coloured glass1 at   
that time1 attained such a degree of    
perfection in ,venice1 that ,vasari     
observed with surprise1 that it would   
not be possible to effect more with     
colours4#gf ,the church and portico of  
,s4 ,mark remains an invaluable museum  
of the kind2 where1 commencing with the 
eleventh century1 we may trace the      
gradual progress of design belonging to 
each age up to the present1 as exhibited
 in many works in mosaic1 beginning from
 the ,greeks1 and continued by the      
,italians4 ,they chiefly consist of     
histories from the ,old and ,new        
,testament1 and at the same time furnish
 very interesting notices relating to   
civic and ecclesiastical antiquity4 ,a  
portion of the most ancient specimens   
had long either perished1 or fallen into
 decay1 and it had been resolved to     

substitute fresh ones in their place4   
,it is not improbable1 that after the   
year #adjj1 upon the revival of         
painting1 a desire prevailed to banish  
the taste of the ,greeks2 and certain it
 is1 that in the mosaics of that age we 
meet with the modern antique style1 the 
same as in regard to pictures4 ,it will 
be enough to cite the chapel of the     
,mascoli1 decorated by ,michele ,zambono
 with histories of the life of the      
virgin1 executed with extraordinary     
care1 and designed in the best taste of 
the ,vivarini4  ,the same taste         
prevailed in the time of ,titian2 and to
 this he gave a renewed spirit1 and even
 furnished several of these artists with
 designs4 ,marco ,luciano ,rizzo and    
,vincenzo ,bianchini are the first1 who1
 about #aeag1 succeeded in a complete   
reform of the art4 ,to the last is      
referred that celebrated ,judgment of   
,solomon1 which adorns the portico1 or  
vestibule4 ,both these1 however1 were   
surpassed by ,francesco and ,valerio    

,zuccati of ,treviso1 or rather of the  
,valtelline1 sons of the same ,sebastian
 who initiated ,titian in the first     
rudiments of the art4 ,of these1        
likewise1 there appears in the portico a
 ,san ,marco1 among various prophets and
 doctors1 and with two histories that   
may be pronounced the best mosaic works1
 produced during the age of painting4 ,i
 have seen altarpieces for churches1 and
 pictures for private ornament1 in the  
same taste4 ,the ,royal ,gallery at     
,florence possesses a portrait from life
 of ,cardinal ,bembo1 worked by         
,valerio2 and a ,san ,girolamo1 by      
,francesco1 is known to have been       
presented by the republic to the court  
of ,savoy4 ,subsequent to these1 whom   
,vasari erroneously calls sometimes     
,zuccheri1 sometimes ,zuccherini1       
,arminio1 a son of ,valerio1 was in much
 repute4 ,nor did this family only      
possess the art of colouring stone and  
glass with admirable skill2 but they    
understood the principles of design1    

more particularly ,francesco1 who had   
been a painter before entering upon     
mosaic works4 ,the family of ,bianchini1
 and the other artists then employed at 
,s4 ,mark1 were not equally well        
instructed2 and1 stimulated by feelings 
of envy1 they declared open enmity      
against the ,zuccati1 for having        
assisted with the brush to supply some  
parts of the design to be executed in   
mosaic2 nor did they fail to cry down   
the ability of ,valerio1 to whom it     
would appear that ,titian and his son   
afforded succour4 ,it would be tedious  
here to relate the various persecutions1
 litigations1 and losses1 owing to this 
quarrel2 the particulars of which were  
extracted by ,zanetti from authentic    
documents1 and minutely described4      
,enough1 that he concludes with         
extolling the ,zuccati1 together with   
,vincenzio ,bianchini2 to whom1 as being
 acquainted with design1 it was         
sufficient to furnish a rough draught   
for the intended work4 ,others were1 for

 the most part1 in want of cartoons1 and
 complete paintings1 in order to model  
their mosaic works1 and even then they  
conducted them with skill much inferior 
to their predecessors4 ,in this list he 
computes ,domenico1 the brother1 and    
,gio4 ,antonio1 the son of ,vincenzio   
,bianchini1 as well as ,bartolommeo     
,bozza1 at one time a pupil1 and then an
 accuser along with the rest1 of the    
,zuccati4 ,in the time of these were    
first adopted1 and practically applied1 
the works and designs of ,salviati and  
of ,tintoretto4 ,the names succeeding   
these1 were ,gio4 ,antonio ,marini1 a   
pupil of ,bozza1 and ,lorenzo ,ceccato1 
both admirable artificers2 ,luigi       
,gaetano and ,jacopo ,pasterini1 with   
,francesco ,turestio1 notices of whom   
are brought up to the year #afah4 ,they 
worked after the cartoons of the two    
,tintoretti1 of ,palma the younger1 of  
,maffeo ,verona1 of ,leandro ,bassano1  
of ,aliense1 of ,padovanino1 of         
,tizianello1 besides several others4    

,about the year #afjj commenced a series
 of artists less generally known2 a list
 of whose works may be consulted at the 
close of that very valuable publication1
 ,della ,pittura ,veneziana4 ,these     
last1 however1 have confined their      
labours to the decoration of new walls1 
from modern designs2 as since #afaj1 a  
decree has been in force against the    
destruction of ancient mosaic works1 in 
however rude or ,greekish a taste2 but  
in case of impending destruction1 they  
were to be removed and restored with    
care1 and afterwards refixed in the same
 place4 ,by this measure a series of    
monuments is preserved to posterity1    
which1 in its kind1 is quite unique in  
,italy1 and the world4   ,footnote #da3 
,it is related by ,vasari1 that ,titian 
was in the habit of painting natural    
objects from the life1 without making   
any previous design1 a practice adopted 
for many years by the ,venetian         
painters1 by ,giorgione1 by ,palma1 by  
,pordenone1 and others who never visited

 ,rome1 nor studied other specimens of  
greater perfection than their own4 ,i   
know not how far the above writer was   
acquainted with their method4 ,but their
 designs are still extant in various    
collections2 and the ,cartoon of the    
celebrated ,s4 ,agostino1 painted by    
,pordenone in that city1 is now in      
possession of the ,count ,chiappini in  
,piacenza1 in good condition4  ,footnote
 #db3 ,i made mention elsewhere of ,p4  
,federici's supposition1 as being at    
least probable1 that ,f4 ,sebastiano was
 the same person as ,f4 ,marco          
,pensaben1 a ,dominican4 ,the year of   
their birth is certainly the same4 ,but 
other dates are too discordant2 if1     
indeed1 we are not to suppose that the  
whole of what ,vasari has written of    
,sebastiano1 in his life of him1 as well
 as in those of ,sanzio and ,peruzzi1 is
 merely fanciful4 ,it is by no means    
worth our while to draw minute          
comparisons between the epochs of these 
two painters4 ,in #aebj1 we found       

,pensaben in ,venice2 next at ,trevigi1 
where he remained till ,july1 #aeba4    
,now ,sebastiano1 the ,venetian1 was1 at
 this very period1 at ,rome4 ,the ,car4 
,giulio de',medici had committed to     
,raffaello the picture of the           
,transfiguration1 which having hardly   
completed1 that artist died on ,good    
,friday1 #aebj2 and during the same     
time1 as if in competition with         
,raffaello1 ,sebastiano was employed in 
painting the ,resurrection of ,lazarus1 
for the same ,cardinal1 which1 soon     
after1 was exhibited along with the     
,transfiguration1 and then sent into    
,france4 ,more still--he likewise drew  
the ,martyrdom of ,santa ,agata1 for the
 ,cardinal of ,aragona2 a piece which1  
in the time of ,vasari1 was in          
possession of the ,duke of ,urbino2 then
 in the ,palazzo ,pitti at ,florence1   
whence it passed into ,france4 ,there is
 the name of ,sebastianus ,venetus1 and 
the year #aebj affixed to it4 ,this     
artist therefore can1 by no means1 be   

confounded with ,f4 ,marco1 nor the     
painting of this last at ,trevigi be    
ascribed to the former4 ,such a mistaken
 opinion has been attributed to me by   
the learned ,p4 ,federici2 7vol4 i4 p4  
#abj7 but on what ground ,i know not4   
,footnote #dc3 ,we confess our          
obligations to ,sig4 ,giuseppe          
,beltramelli1 who informs us1 in a work 
published in #ahjf1 that this painter1  
generally supposed from ,bergamo1 was   
really a ,venetian1 being thus mentioned
 in a public contract3 ,m4 ,laurentius  
,lottus de ,venetiis nunc habitator     
,bergomi4 ,father ,federici1 who1 on the
 strength of some historian1 pronounces 
him of ,trevigi1 brings forward another 
document in which ,lotto is called3 ,d4 
,laurentii ,lotti pictoris1 et de       
presenti ,tarvisii commorantis4 ,if1    
therefore1 habitator ,bergomi does not  
prove him a native of ,bergamo1 will the
 words ,tarvisii commorantis make him a 
native of ,trevigi8 ,but ,father ,affo1 
in one of his earliest pictures1 found  

him entitled ,tarvisinus4 ,who1 however1
 can assure us that it is in fact the   
handwriting of ,lotto1 which he there   
found written8  ,footnote #dd3 ,thus    
called by the oldest writers1 though1   
from his father's testament1 recently   
brought to light1 it appears to be      
erroneous4 ,here his father is entitled1
 ,angelus de ,lodesanis de ,corticellis1
 7or in a ,,ms4 of the ,signori         
,mottensi of ,pordenone de ,corticelsis 
,brixiensis74  ,footnote #de3 ,it is    
inserted in a ,transunto of ,,mss4      
belonging to the noble ,ernesto         
,mottensi of ,pordenone1 communicated to
 me by the ,p4 ,d4 ,michele ,turriani   
,barnabita1 extremely skilled in the    
parchments and ancient memorials of     
,friuli4  ,footnote #df3 ,see his work  
on ,venetian ,painting1 p4 #bej4        
,footnote #dg3 ,by means of ,sig4 ,ab4  
,gei1 of ,cadore1 a young man of the    
most promising abilities1 ,i have       
obtained notice of an artist belonging  
to that place1 who1 from various        

authorities1 is supposed to have been   
the instructor of the great ,titian4 ,it
 is certain he flourished towards the   
close of the fifteenth century2 nor does
 there exist accounts of any other      
artist of ,cadore1 capable of initiating
 his countrymen in a knowledge of the   
art4 ,three of his pictures in water    
colours1 in the usual style of          
composition at that time1 so frequently 
described1 are yet extant2 the first1 a 
fine altarpiece1 adorning the parish    
church at ,selva1 in which the titular  
,s4 ,lorenzo1 with others1 in an upright
 posture1 are seen surrounding the      
throne of the ,virgin2 a second1 of     
smaller size1 is in the ,oratory of     
,sig4 ,antonio ,zamberlani1 in the      
parish church of ,cadore1 where the     
throne appears encompassed with cherubs 
playing upon instruments2 the third1    
placed at ,san ,bartolommeo of ,nabiu1  
is divided into six compartments2 the   
best1 or at least the most free from    
harshness of manner of the whole4 ,it is

 inferior1 however1 in design to ,jacopo
 ,bellini1 though equal1 perhaps1 in    
point of diligence and colouring1 and   
similar in its style4 ,upon the first he
 has inscribed1 ,antonius ,,rubeus de   
,cadubrio pinxit2 upon the second1 ,opus
 ,antonii ,,rubei3 but the letter ,e    
being defaced1 the word looks like      
,,rubli2 upon the third is found        
,antonius ,zaudanus 7da ,zoldo7 pinxit4 
,thus if we combine these inscriptions  
it will appear that this ancient        
painter1 whom we now place at the head  
of the artists belonging to that        
prolific clime1 was ,antonio ,rossi     
,cadorino4  ,footnote #dh3 ,see         
,ridolfi4 ,this picture is now in       
,dresden1 and ,italy abounds with       
copies4 ,one of these ,i saw at ,s4     
,saverio di ,rimini1 inscribed with the 
name of ,titian on the band of the      
,pharisee1 a very beautiful production1 
and believed by many to be a duplicate  
rather than a copy4 ,albert was in      
,italy in #adie and in #aejf4 ,in       

,venice1 one of his pictures1 in the    
council of the ,ten1 is cited by        
,zanetti2 it is ,jesus ,christ shewn to 
the people2 and an altarpiece is also   
mentioned by ,sansovino1 placed at ,s4  
,bartolommeo1 commended both by him and 
by other writers4 7,see the ,sig4       
,morelli's ,annotations on the ,notizia1
 p4 #bbc47  ,footnote #di3 ,opere1 tome 
i4 p4 #agg4  ,footnote #ej3 ,see his    
,life of ,titian4  ,footnote #ea3 ,see  
,bottari1 ,notes to ,vasari1 in the     
,life of ,titian4  ,footnote #eb3 ,see  
,idea della ,pittura1 ,edizione ,rom4 p4
 #bhg4  ,footnote #ec3 ,see ,passeri4   
,footnote #ed3 ,on the ,arts of ,design1
 ,discourse1 c4  ,footnote #ee3 ,he drew
 his head of ,san ,niccolo a' ,frari    
from a cast of the ,laocoon2 and from   
other models of the antique1 that of ,s4
 ,john the ,baptist1 and of the         
,magdalen of ,spain4 ,from a ,greek     
basso relievo he likewise copied the    
angels of his ,s4 ,peter ,martyr4 ,the  
same artist drew the ,cesars1 at        

,mantua1 a work very highly commended1  
and impossible to have been so well     
executed without a knowledge of ancient 
sculpture1 of which there yet exists a  
fine collection at ,mantua4 ,but what he
 drew from the antique1 he also inspired
 with nature1 the sole method of        
profiting by it1 when a painter aspires 
to a higher character than that of a    
mere statuary4 ,see ,ridolfi1 p4 #aga4  
,footnote #ef3 ,lamberto ,lombardo1 of  
,liege1 is the artist whose life was    
written in ,latin1 by his disciple      
,golzio1 a work edited in ,bruges in    
#aefe4 ,in his youth he adopted the     
surname of ,suterman1 or ,susterman1 in 
the ,latin tongue ,suavis1 and having   
likewise been an excellent engraver1 his
 signature was sometimes ,l4 ,l41 at    
others1 ,l4 ,s4 ,the whole of this      
account is to be met with in ,orlandi1  
and other books4 ,yet ,orlandi and the  
new ,guide of ,padua1 acknowledge       
another ,lamberti1 also surnamed        
,suster1 upon the authority of          

,sandrart1 who mentions him1 p4 #bbd4   
,according to ,orlandi1 this artist was 
the assistant to ,titian and ,tintoret1 
by whom he is first recorded as         
,lamberto ,suster1 and again as         
,lamberto ,tedesco4 ,the same author    
mentions a ,federigo di ,lamberto1 whose
 name occurs in our first volume1 7p4   
#bfh71 likewise called del ,padovano and
 ,sustris1 certainly from ,suster1 for  
which see ,vasari and his annotators4   
,these ,lamberti1 founded upon the      
diversity between the ,liege and ,german
 names of ,susterman and ,suster1       
received upon the authority of          
,sandrart1 not always very critical1    
are1 ,i have reason to think1 one and   
the same artist4 ,for in ,venice one    
,lamberto only is alluded to by         
,ridolfi1 ,boschini1 and ,zanetti1      
without a surname1 but by the last held 
to be the same as ,lombardo2 and what   
signifies it1 whether he was called     
,suster or ,susterman1 of ,germany1 or  
of ,liege1 in ,italy4  ,footnote #eg3   

,he is called by ,vasari1 ,zanetti1 and 
,guarienti1 ,bazzacco and ,brazzacco da 
,castelfranco1 and ,guarienti makes him 
a scholar of ,badile4  ,footnote #eh3   
,they consist only of a few pages       
relating to the painters of             
,castelfranco4 ,i cannot explain why    
,padre ,federici 7,pref4 p4 #ag7        
supposes that ,i should have announced  
this as the ,,ms4 ,melchiori1 although  
,sig4 ,trevisani may have drawn various 
notices from that quarter4  ,footnote   
#ei3 ,padre ,coronelli1 in his ,travels 
in ,england1 7part i4 p4 #ff71 ascribes 
this picture to ,paul ,veronese1 a      
mistake that is cleared up by the tenor 
of the contract1 preserved in the       
archives of ,san ,liberale4 ,he adds    
that the picture contained a number of  
naked figures1 to which draperies were  
afterwards adapted by another hand--an  
assertion wholly groundless4  ,footnote 
#fj3 ,in a ,,ms4 by a contemporary      
author cited in the new ,guide of       
,padua1 he is called ,domenico          

,veneziano1 educated by ,julio          
,campagnola4  ,footnote #fa3 ,thus      
stated in the ,lettere ,pittoriche1 vol4
 i4 p4 #bdh4 ,recent writers of ,friuli 
make him a native of ,udine1 a modern   
supposition1 inasmuch as ,grassi1 a very
 diligent correspondent of ,vasari1     
would hardly have been silent upon such 
a name4 ,it took its rise1 most likely1 
from the existence of a noble family of 
the same surname1 in ,udine1 and from   
three of the artist's pictures having   
been discovered in the same place1 one  
with the date #aeie4 ,yet none are to be
 seen at ,casa ,frangipane1 a           
circumstance very unusual in regard to  
excellent artists4 ,we must look1       
therefore1 for other proofs before we   
can pronounce him a native of ,udine1   
and before we can assent to the         
conjecture of ,rinaldis1 who would admit
 two artists of the name of ,niccolo    
,frangipane1 the one a painter by       
profession1 and the other a dilettante2 
and yet contemporaries1 as appears from 

the authority of the dates of the       
pictures1 already referred to4          
,footnote #fb3 ,this fact cannot easily 
be refuted1 in the manner attempted by  
,zaist1 in his ,historical ,notices of  
the ,cremonese ,painters1 with true     
party zeal1 p4 #afb4 7,see the ,new     
,guide of ,milan1 p4 #aci47  ,footnote  
#fc3 ,to these the name of ,francesco da
 ,milano has recently been added1 on the
 strength of an altarpiece1 quite       
,titianesque1 exhibited with his name in
 the parish church of ,soligo1 to which 
is added the date of #aedj3--time may   
probably clear up the mystery of this4  
,footnote #fd3 ,he flourished several   
years subsequent1 as appears from the   
,new ,milan ,guide1 with ,,ms4          
corrections1 by ,signor ,bianconi1 of   
which the ,cavalier ,lazara has a copy4 
,he there remarks that he had seen in   
the greater monastery1 now suppressed1  
belonging to the nuns of ,san ,maurizio1
 other paintings by ,piazza2 as ,washing
 the ,disciples' feet1 in the           

,refectory1 and the ,multiplication of  
,loaves1 upon canvass4 ,also within the 
interior church1 among other scriptural 
stories in fresco1 is found1 the        
,adoration of the ,magi1 the ,marriage  
of ,cana1 and the ,baptism of ,christ1  
bearing the date of #aeef4  ,footnote   
#fe3 ,zanetti1 p4 #adg4 ,see also       
,ridolfi1 parte ii4 p4 #aj1 where he    
informs us that ,tintoret1 in the       
maturity of his powers1 being employed  
in painting for the church of ,la       
,trinita1 ,adam and ,eve seduced by the 
,serpent1 and the ,death of ,abel1      
designed the figures from nature1       
placing over them a thin veil4 ,to which
 figures he added a peculiar grace of   
contours1 which he acquired from        
studying relievi4  ,footnote #ff3 ,this 
date is pointed out by ,boschini1 and   
corresponds with the fortieth year of   
the artist1 who1 on the authority of    
,melchiori1 made a noble copy of        
,giorgione's ,san ,liberale1 at         
,castelfranco1 besides producing several

 original works in his native place and 
the vicinity4 ,specimens of his labours 
exist in water colours1 taken from      
pictures in fresco executed by ,paolo   
and by ,zelotti1 in different palaces   
belonging to ,venetian noblemen4 ,the   
cavalier ,liberi1 his ,venetian master1 
aware of his singular talent for such   
species of painting1 often employed him1
 to the no small advantage both of his  
art and his fortune4  ,footnote #fg3 ,it
 would be too difficult to attempt to   
enumerate the names of his foreign      
imitators1 particularly the ,flemish1   
who were much devoted to his style1 some
 of whose copies ,i have seen in        
collections believed to be originals4   
,but the handle of their pencil1 the    
clearness of colouring1 and sometimes1  
the diminution of the figures1 not      
common to the ,bassani1 afford means to 
distinguish them2 not however with such 
a degree of certainty1 but that         
connoisseurs themselves are of different
 opinions4 ,this occurred in my own time

 at ,rome1 respecting a fine picture of 
the ,nativity of ,jesus ,christ1 in the 
,rezzonico collection4 ,one of the best 
imitators of that style was ,david      
,teniers1 who1 by his exquisite skill   
acquired the surname of ,bassano4 ,to   
him ,i am happy to add another          
foreigner1 ,pietro ,orrente di ,murcia1 
whom ,spanish writers give as a pupil to
 ,jacopo2 and were there no other       
authority1 we might upon that of ,sig4  
,conca1 receive him as his very exact   
imitator4 ,in his two pictures referred 
to 7vol4 i4 p4 #bff7 he is pronounced   
superior to the ,bassani1 meaning1      
perhaps1 superior to the sons of        
,jacopo2 it would be too absurd a       
proposition to prefer him to the head of
 the school4  ,footnote #fh3 ,it is1 as 
,i am informed by ,signor dalla ,rosa1 a
 picture of the ,pentacost4  ,footnote  
#fi3 ,he attained this effect by drawing
 these figures with rather bold         
contours1 and the other parts after his 
works were completed4 ,owing to his     

knowledge1 as well as his felicity and  
grace of hand1 they are not in the least
 disagreeable to those who observe them 
near4 7,zanetti1 p4 #aha47  ,footnote   
#gj3 ,this was easily produced by his   
rapidity of execution1 by which his     
tints always remained clear and simple4 
,the artist who repeats his touches     
frequently1 and uses much research1 can 
with difficulty preserve freshness1 to  
obtain which another method must        
undoubtedly be pursued4 7,zanetti1 p4   
#afc47  ,footnote #ga3 ,it has been     
stated in his defence1 that had he      
clothed the whole of his figures with   
those tunics and ancient mantles1 he    
would have become monotonous1 and       
consequently uninteresting in his great 
history pieces4 ,but ,i am of opinion1  
that whoever is familiar with ancient   
statues and bassi relievi1 will find    
means of varying his compositions4 ,the 
,cavalier ,canova has recently produced 
two bassi relievi1 on the condemnation  
of ,socrates4 ,the ,greek vests are two1

 the tunic and pallium2 yet these are   
finely varied1 though there are a number
 of spectators4  ,footnote #gb3         
,according to ,ridolfi1 however1 he is  
said to have attained his twenty-sixth  
year2 but certainly not more4  ,footnote
 #gc3 ,father ,federici has1 in the     
course of this year1 #ahjc1 brought to  
light another scholar of ,paul1 and     
afterwards of ,carletto1 born1 like     
,parrasio1 in ,venice4 ,he calls him    
,giacomo ,lauro1 and ,giacomo da        
,trevigi1 because1 having established   
himself in that city1 with his family1  
while still a youth1 no one could       
distinguish him by any other patronymic 
than that of ,trevigiano4 ,thus speak   
several anonymous contemporaries1 from  
whose ,,mss4 the reverend father has    
extracted no slight information relative
 to the pictures executed by ,lauro in  
his new country4 ,there he enjoyed the  
friendship of the fathers of ,san       
,domenico1 for whose church he painted  
his celebrated picture of ,st4 ,rocco1  

in which he exhibited1 with great tragic
 power1 the terrific scourge of the     
plague4 ,it is honourable to this       
artist1 who died young1 that this       
altarpiece1 as well as his other        
pictures1 both in oil and in fresco1    
have1 until lately1 been attributed     
either to ,paul or to ,carlo1 or to some
 less celebrated hands1 but always to   
good and experienced artists4  ,footnote
 #gd3 ,see ,boschini1 ,carta1 p4 #afj4  
,zanetti1 p4 #did4  ,footnote #ge3 ,a   
class of artists so called1 from their  
excessive use of deep shades and dark   
colours4 ,tr4  ,footnote #gf3 ,there was
 an attempt to revive it1 made in       
,florence4 ,roscoe1 in his ,life of     
,lorenzo de' ,medici1 7vol4 ii4 p4 #bbj1
 #fth ed47 relates1 that1 with          
,gherardo1 ,lorenzo associated ,domenico
 ,ghirlandajo to work in mosaic at the  
chapel of ,san ,zenobio3 but that this  
undertaking1 so admirably begun1 was    
interrupted by ,lorenzo's death2        
insomuch that his attempts1 observes the

 historian1 were thus in a great degree 
frustrated4 ,this honour appeared to be 
reserved for ,venice4       ,,venetian  
,,school4    ,,third ,,epoch4           
,innovations of the ,mannerists of the  
,seventeenth ,century4   ,corruption of 
,venetian ,painting4   ,a sort of       
fatality seems to prevail in all human  
things1 rendering their duration in the 
same state of short continuance2 so that
 after attaining their highest          
elevation1 we may assuredly at no       
distant period look for their decline4  
,the glory of precedency1 of whatever   
kind1 will not long remain the boast of 
one place1 or in possession of a single 
nation4 ,it migrates from country to    
country2 and the people that yesterday  
received laws from another1 will        
tomorrow impose them4 ,those who today  
are the instructors of a nation1 will   
tomorrow become ambitious of being      
admitted in the number of its disciples4
 ,numerous examples might be adduced in 
support of this proposition1 but it     

would be quite superfluous4 ,for whoever
 is even slightly acquainted with civil 
or literary history1 whoever has        
observed the passing events of the age  
in which we live1 will easily furnish   
himself with proofs1 without the aid of 
writers to direct him4 ,we have already 
traced the same revolution of affairs in
 the art of painting1 in the two schools
 of ,rome and ,florence1 which1 arriving
 at the zenith of their fame1 fell into 
decay precisely at the period when that 
of ,venice began to exalt itself4 ,and  
we shall now perceive the decline of the
 latter1 during the same age in which   
the ,florentine began to revive1 in     
which the school of ,bologna acquired   
its highest degree of reputation2 and   
what is still more surprising1 seemed to
 rise by studying the models of the     
,venetian4 ,so indeed it was3 the       
,caracci were much devoted to ,titian1  
to ,giorgione1 to ,paul ,veronese1 and  
,tintoretto1 and thence formed styles1  
and produced pupils that conferred      

honour upon the whole of the seventeenth
 century4 ,the ,venetians1 too1 studied 
the same examples1 and derived from them
 a certain mannerism reprehensible      
enough in them1 but much more so in     
their disciples4 ,these1 devoting       
themselves in their first studies to    
more classical artists1 and attaining a 
certain practice both in design and     
colouring1 next aimed at displaying upon
 a grand scale1 figures1 not so much    
taken from life1 as from engravings and 
pictures1 or from their own             
imaginations2 and the more rapidly these
 were executed1 the better did they     
suppose they had succeeded4 ,i am       
inclined to believe1 that the examples  
of ,tintoretto proved1 in this respect1 
more prejudicial than useful4 ,few were 
ambitious of emulating his profound     
knowledge1 which in some measure serves 
to veil his defects2 but his haste1 his 
carelessness1 and his grounds1 they more
 willingly adopted2 while his great name
 was advanced as a shield to cover their

 own faults4 ,and the earliest of these1
 not yet unmindful of the maxims of a   
better age1 did not rush blindly into   
all these errors and excesses2 but by   
their superiority of spirit1 and by     
their tints1 maintained their ground    
better than the mannerists of the ,roman
 and ,florentine styles4 ,but to these  
succeeded others1 whose schools         
degenerated still more from the ancient 
rules of art4 ,we advance this without  
meaning the least imputation upon really
 good artists1 who flourished even      
during this period2 for an age rarely   
occurs in which good sense becomes      
altogether extinct4 ,even during the    
barbarity of the dark ages1 we meet with
 specimens of some marble busts of the  
,caesars1 and some of their medals1     
which approach a better taste2 and thus 
also in the age we are describing       
appeared geniuses1 who either wholly1 or
 in great measure1 kept themselves free 
from the general infection2 et tenuere  
animum contra sua saecula rectum4       

,propert4  ,jacopo ,palma the younger1  
so called to distinguish him from the   
other ,palma1 his great uncle1 was an   
artist who might equally be entitled the
 last of the good age1 and the first of 
the bad4 ,born in #aedd1 after receiving
 the instructions of his father         
,antonio1 a painter of a confined       
genius1 he exercised himself in copying 
from ,titian1 and the best of the       
national artists4 ,at the age of fifteen
 years he was taken under the patronage 
of the ,duke of ,urbino1 and accompanied
 him to his capital4 ,he afterwards     
spent eight years in ,rome1 where he    
laid a good foundation for his          
profession1 by designing from the       
antique1 copying ,michelangiolo and     
,raffaello2 and1 in particular1 by      
studying the chiaroscuros of ,polidoro4 
,this last was his great model1 and next
 to him came ,tintoretto2 he being      
naturally inclined1 like them1 to       
animate his figures with a certain      
freedom of action1 and a spirit         

peculiarly their own4 ,on his return to 
,venice1 he distinguished himself by    
several works1 conducted with singular  
care and diligence2 nor are there       
wanting professors who have bestowed on 
him a very high degree of praise1 for   
displaying the excellent maxims of the  
,roman1 united to what was best in the  
,venetian ,school4 ,it is observed by   
,zanetti1 that some of his productions  
were attributed by professors to the    
hand of ,giuseppe del ,salviati1 whose  
merit1 in point of design and solidity  
of style1 has been already noticed4 ,the
 whole of these are executed with       
peculiar facility1 a dangerous gift both
 in painting and in poetry1 which this  
artist possessed in a remarkable degree4
 ,though he made the greatest exertions 
to bring himself into notice1 he was    
little employed2 the post was already   
occupied by men of consummate ability1  
by ,tintoretto and ,paul ,veronese2 and 
these monopolized all the most lucrative
 commissions4 ,palma1 however1 obtained 

the rank of third2 chiefly by means of  
,vittoria1 a distinguished sculptor and 
architect2 whose opinion was adopted in 
the distribution of the labours even of 
artists themselves4 ,displeased at the  
little deference shewn him by ,robusti  
and ,paul1 he began to encourage ,palma1
 and to assist him also with his advice1
 so that he shortly acquired a name4 ,we
 have related a similar instance in     
regard to ,bernini1 who brought forward 
,cortona against ,sacchi1 at ,rome1     
besides several more1 productive of the 
greatest detriment to the art4 ,so true 
it is that the same passions prevail in 
every age1 every where pursue the same  
track1 and produce the same results4    
,nor was it long before ,palma1         
overwhelmed with commissions1 remitted  
much of his former diligence4 ,in       
progress of time1 he became even yet    
more careless1 until upon the death of  
his eldest rivals1 including ,corona1   
who in his latest works had begun to    
surpass him1 free from competition he   

asserted unquestioned sway1 and         
despatched his pieces rapidly4 ,his     
pictures1 indeed1 might often be        
pronounced rough draughts1 a title      
bestowed upon them in ridicule by the   
,cavalier d',arpino4 ,in order to       
prevail upon him to produce a piece     
worthy of his name1 it became requisite1
 not only to allow him the full time he 
pleased1 but the full price he chose to 
ask1 without further reference1 except  
to his own discretion1 in which truly he
 did not greatly abound4 ,upon such     
terms he executed that fine picture of  
,san ,benedetto1 at the church of ,,ss4 
,cosmo and ,damiano1 for the noble      
family of ,moro4 ,it resembled many of  
those he had produced in his best days  
at ,venice1 and in particular that      
celebrated naval battle of ,francesco   
,bembo1 placed in the ,palazzo          
,pubblico4 ,other valuable specimens are
 found scattered elsewhere1 in part     
mentioned by ,ridolfi1 and in part      
unknown to him4 ,such are his ,santa    

,apollonia1 at ,cremona1 his ,san       
,ubaldo and his ,nunziata1 at ,pesaro1  
and his ,invenzione della ,croce1 at    
,urbino1 a piece abounding in figures1  
and full of beauty1 variety1 and        
expression4 ,his tints are fresh1 sweet1
 and clear1 less splendid than those of 
,paul1 but more pleasing than in        
,tintoretto2 and though scantily        
applied1 they are more durable than     
those of certain foreign pictures more  
heavily laid on4 ,in the animation of   
his figures he approaches the two       
preceding artists1 particularly in his  
more studied works1 as he has shewn in  
his ,chastisement of the ,serpents1 a   
picture that seems embued with horror4  
,in every other instance he has always  
sufficient art to please2 and it is     
surprising how a man who led the way to 
the most corrupt period in ,venice1 as  
it has been observed of ,vasari at      
,florence1 and of ,zuccaro at ,rome1    
could thus exhibit so many attractions1 
both of nature and of art1 calculated to

 feast the eye1 and to fix the soul of  
the spectator4 ,both ,guercino and      
,guido were sensible of the power of his
 pencil2 and when examining one of his  
altarpieces1 at the ,cappucini1 in      
,bologna1 ,what a pity1 they exclaimed1 
that the master of such a pencil should 
be no more4 7,boschini1 p4 #chc47  ,in  
observance of my plan of accompanying   
each master with his train of followers1
 ,i set out with ,marco ,boschini1 a    
,venetian1 who flourished during this   
same deterioration of a nobler age4 ,he 
was a pupil to ,palma1 and has left some
 memorials of the different professors  
of the third epoch1 not to be met with  
in any other work4 ,professing the art  
of engraving1 rather than that of       
painting1 he had1 nevertheless1 so much 
merit in the latter1 as to approach the 
manner of ,palma1 in his picture of the 
,supper of our ,lord1 in the ,sacristy  
of ,san ,girolamo2 as well as that of   
,tintoretto1 as we gather from a few of 
his altarpieces in the territory of     

,padua1 and his pictures for private    
ornament1 remaining at ,venice1 at least
 as far as ,i can learn4 ,he was the    
author of several works recorded in the 
preface to this work1 the most          
remarkable of which is composed in      
,quartine1 with the following title2    
and1 by this production1 he is perhaps  
best known3 ,the ,chart of pictorial    
,navigation1 a ,dialogue between a      
,venetian senator 7a dilettante7 and a  
professor of painting1 under the names  
of ,ecelenza and ,compare1 divided into 
eight venti1 or winds1 with which the   
,venetian vessel is borne into the deep 
,sea of ,painting1 as its ,absolute     
,mistress1 to the confusion of such as  
do not understand the loadstone and the 
compass4  ,thus1 much in the same manner
 as we judge from the facade of the     
style of a whole edifice in the gothic  
taste1 the reader may gather1 from this 
very loaded title1 the exact nature of  
,boschini's work4 ,it is1 indeed1       
written in the most verbose style of the

 ,seicentisti2 a mixture of unsound     
reasoning1 strange allegory1 tame       
allusions1 frivolous conceits invented  
on every name1 and phraseology that     
surpasses even that of ,ciampoli and    
,melosio2 for these at least wrote in   
the ,italian dialect1 whereas ,boschini 
protests that he does not pretend to a  
foreign idiom1 but to speak like the    
,venetian people4 ,from this            
undistinguishing kind of nationality    
arises his malevolence against ,vasari1 
and the methods of the foreign schools1 
as well as his exaggerated praise of the
 ,venetian artists1 whom he prefers1 as 
we learn from his title page1 to all the
 painters in the world1 not merely as   
respects their manner of colouring1 but 
in point of invention and design4 ,what 
is worse1 he makes no distinction       
between the fine old painters and the   
mannerists of his own times1 and speaks 
as if the masters of the former age were
 still flourishing1 and teaching in     
their schools1 or as if the modern      

possessed the same powers and the same  
reputation2 a gross equivocation into   
which the tiresome ,compare1 or gossip1 
is continually falling1 and which his   
credulous ,excellency as frequently     
commends4  ,if1 however1 in treating of 
,vasari1 ,i in some measure excused his 
partialities1 in consideration of the   
prejudices acquired by his education1   
which are afterwards with difficulty    
eradicated2 ,i ought to make use of the 
same liberality in regard to ,boschini1 
more especially as he possessed fewer   
opportunities of ridding himself of     
them1 never having visited ,rome or     
,florence1 and giving his opinions upon 
foreign schools1 from the hearsay       
relations of others4 ,it is true that he
 cites in favour of the ,venetians the  
opinion of many distinguished men2 as   
that of ,velasco1 who protested to      
,salvator ,rosa1 that ,raffaello was no 
longer a favourite with him after having
 seen ,venice2 or that of ,rubens1 who1 
after spending upwards of six years at  

,rome to little purpose1 formed his     
style on the models of ,titian4 ,albano 
likewise regretted that he had not      
commenced his studies in ,venice1       
preferably to ,rome2 and ,pier da       
,cortona having seen the works of the   
,venetian ,school1 cancelled some of his
 labours1 and ornamented afresh two     
chambers of the ,palazzo ,pitti1 and one
 in the ,casa ,barberini4 ,but these    
authorities1 which he adduces along with
 others1 taken chiefly from artists who 
preferred beauty of colouring to        
accuracy of design1 do not prove much1  
and might be opposed by other           
authorities1 even of great painters1    
more particularly ,english and ,french1 
who embraced a contrary opinion4        
,besides1 the panegyrists thus cited by 
him1 did not commend the modern so much 
as the ancient ,venetian painters1 so as
 by no means to possess the weight he   
would attribute to them4 ,moreover1 in  
the present day1 when so much has been  
written upon ,italian painting1 we shall

 not1 on investigating what is to be    
admired and imitated1 and what to be    
shunned or approved in the examples of  
the ,venetians1 appeal to the vain      
boastings of the sixteenth century1 but 
to the critics of our own times4 ,still 
we do not mean to deny1 but that the    
work in question1 however strangely     
written1 contains many valuable         
historical notices1 and many pictorial  
precepts1 particularly useful to such as
 cannot aspire to any thing beyond the  
character of mere naturalists1 incapable
 of drawing a stroke that does not      
appear in their model1 and content with 
portraying the dimensions of any kind of
 head or body1 provided they be of the  
human shape1 inventing with infinite    
difficulty1 slow in resolving1 and quite
 incapable of forming a grand history1  
more especially of battles1 of flights1 
in short of any objects they never saw4 
,this sect1 which at that period boasted
 many followers1 and which is not even  
yet extinct1 is there ridiculed in a    

vein it is impossible to surpass1 and   
would that the party proceeding to the  
opposite extreme of mannerism1 at that  
time triumphant in ,venice1 had not met 
with equal applause6 ,but how difficult 
is it to observe the golden mean6 though
 the artists of ,bologna will point out 
the way in due time4 ,at present we must
 return to those of ,venice4  ,numerous 
other artists very nearly approached the
 style of ,palma4 ,boschini enumerates  
six1 whose manner so extremely resembles
 him1 as to impose upon those who have  
not tact enough to detect the peculiar  
characteristics of each2 7and in ,palma 
there is a mixture of the ,roman and    
,venetian17 consisting of the names of  
,corona1 ,vicentino1 ,peranda1 ,aliense1
 ,malombra1 and ,pilotto4 ,the same     
author extols them as illustrious       
painters2 and truly1 besides the        
splendour of their colouring1 they      
composed upon a magnificent scale1      
emulating1 for the most part1 the fire  
and the striking contrasts that produced

 such an impression after the time of   
,titian1 executing pictures every way   
deserving of a place in good            
collections4  ,leonardo ,corona1 of     
,murano1 who1 from a copyist1 succeeded 
in becoming a painter1 was the rival of 
,palma1 and nevertheless enjoyed the    
patronage of ,vittoria2 whether to keep 
alive the emulation of the former1 or   
for some other reason1 is uncertain4 ,he
 sometimes prepared models in clay1 to  
discover the best distributions of his  
chiaroscuro4 ,by aid of these he painted
 his ,annunciation1 at ,,ss4 ,giovanni  
and ,paolo1 a work very highly          
commended1 as well as his picture at    
,san ,stefano1 displaying a grandeur    
that arrests the eye1 and reminds us    
more of ,titian than any other model4   
,in general1 however1 ,corona exhibited 
more of ,tintoretto1 if not in his      
colouring1 which in the present day     
appears to more advantage1 at least in  
many other points4 ,he produced a       
crucifixion so much in this artist's    

style1 that ,ridolfi has defended him   
with the utmost difficulty from the     
charge of theft4 ,he availed himself    
likewise of the engravings of ,flemish  
artists1 particularly in the composition
 of his landscape4 ,he did not long     
flourish2 but left an excellent imitator
 of his style in ,baldassare d',anna1 an
 artist of ,flemish origin1 who         
completed a few of his master's pieces4 
,he also produced some original pieces  
for the ,servi and other churches1      
which1 though inferior to those of      
,corona in the selection of forms1 yet  
surpass them in the softness1 and       
sometimes in the force of their         
chiaroscuro4  ,andrea ,vicentino was1   
according to some writers1 a ,venetian1 
and pupil to ,palma2 not excelling in   
point of taste1 he was nevertheless very
 skilful in the handling of his colours1
 and shewed great power of invention4   
,being employed in many labours1 both   
within and without the boundaries of    
,venice1 and even in depicting histories

 of the ,republic1 which still continue 
to adorn several halls in the ,palazzo  
,grande1 he was one of the most popular 
artists of his time4 ,he rarely fails to
 exhibit in his works some perspective1 
or some figure borrowed1 according to   
the custom of the plagiarists1 from the 
best masters3 including even ,bassano1  
an artist of few ideas constantly       
repeated1 and so far less easily        
pillaged with impunity4 ,at the same    
time he bestows upon his plagiarisms a  
beauty of composition1 and a general    
effect that does honour to his talents1 
applicable to every variety of subject4 
,he could also employ a very delicate1  
tasteful1 and effective pencil1 when he 
chose to exert himself4 ,in his grounds1
 however1 he must have been less        
successful1 many of his paintings being 
already much defaced4 ,in collections1  
always more favourable to their duration
 than public places1 we may find several
 in good preservation1 and deserving of 
much commendation1 as we gather from his

 ,solomon ,anointed on becoming king of 
,israel1 preserved in the ,royal        
,gallery at ,florence4 ,marco           
,vicentino1 son of ,andrea1 also        
acquired some celebrity by his          
imitations1 and more by the name of his 
father4  ,santo ,peranda1 a scholar of  
,corona and of ,palma1 and tolerably    
well versed in ,roman design1 having    
passed some time at ,rome1 aimed at a   
diversity of styles4 ,his usual manner a
 good deal resembles that of ,palma1    
while1 in his large histories1 which he 
produced at ,venice and at ,mirandola1  
he appears in a more poetical character 
of his own4 ,yet he was naturally of a  
more slow and reflective turn1 and more 
studious of art1 qualities that in the  
decline of age led him to adopt a very  
delicate and laboured manner4 ,he was   
not ambitious of equalling his          
contemporaries in the abundance of his  
works2 his aim was to surpass them in   
correctness2 nor did he any where       
succeed better in his object than in his

 ,christ taken from the ,cross1 painted 
for the church of ,san ,procolo4 ,among 
his disciples1 ,matteo ,ponzone1 from   
,dalmatia1 more particularly            
distinguished himself1 assisting        
,peranda in his great works executed at 
,mirandola4 ,in progress of time he     
formed an original style1 which         
surpasses in softness that of his       
master1 though not equal to it in point 
of elegance4 ,he was fond of copying    
from the life1 without attempting much  
to add to its dignity4 ,his scholar1    
,gio4 ,carboncino1 pursued his studies  
at ,rome also1 where we do not1 however1
 find mention of him1#gg owing probably 
to his speedy return to ,venice4 ,among 
the few pieces produced by him for      
churches1 there is a ,bto4 ,angelo1 at  
the ,carmini1 which has been much       
commended by ,melchiori1 and a ,san     
,antonio1 at ,la ,pieta1 mentioned by   
,guarienti4 ,two others1 named ,maffei1 
of ,vicenza1 and ,zanimberti1 of        
,brescia1 will come under consideration 

in their respective states4  ,antonio   
,vassilacchi1 called ,aliense1 a native 
of the island of ,milo1 inherited from  
the line climate of ,greece a genius    
adapted to confer honour upon the arts1 
and particularly on works of a vast and 
imaginative character4 ,paul ,veronese1 
struck with his first efforts1 banished 
him1 with a feeling of jealousy1 from   
his studio1 advising him at the same    
time to confine himself to small        
pictures4 ,aliense observing ,paul      
engaged in reviving the examples of     
,titian1 renewed as far as lay in his   
power those of ,tintoretto4 ,he studied 
casts taken from the antique1 designing 
from them both day and night2 he        
exercised himself in acquiring a        
knowledge of the human frame1 modelled  
in wax1 copied ,tintoretto with the     
utmost assiduity1 and1 as if wholly to  
forget what he had learnt from ,paul1 he
 sold the designs made at his school4   
,yet he could not so far divest himself 
of them1 but that in his earliest       

productions1 remaining at the church of 
,le ,vergini1 he displayed the manner of
 ,paul4 ,he has been accused by         
historians of having abandoned this     
style for one less adapted to his       
genius2 and moreover of having been     
misled by the innovations of the        
mannerists4 ,sometimes1 however1 he     
painted with extreme care1 as in his    
,epiphany1 for the ,council of ,ten1    
though in general he abused the facility
 of his genius1 without fear of risking 
his credit1 inasmuch as his rivals      
,palma and ,corona pursued the same     
plan4 ,in order better to oppose his    
great enemy ,vittoria1 he attached      
himself to another architect1 who       
possessed much influence1 named         
,girolamo ,campagna1 the disciple of    
,sansovino2 and he moreover enjoyed the 
favour of ,tintoretto4 ,in this manner  
,aliense obtained many commissions1 both
 for the public palace and the ,venetian
 churches1 besides being engaged in many
 works for other cities1 more especially

 for ,perugia1 at ,s4 ,pietro1 all upon 
a magnificent scale2 yet without        
acquiring that degree of estimation     
which the felicity of his genius        
deserved4 ,he was assisted by ,tommaso  
,dolobella1 of ,belluno1 a good         
practitioner1 and well received in      
,poland1 where he long continued in the 
service of ,sigismond ,,iii4 ,in his    
,life of ,aliense1 ,ridolfi makes       
mention also of ,pietro ,mera1 a        
,fleming1 whose portrait ,aliense       
painted1 as being his friend2 but       
neither from history1 nor from his own  
style1 can we gather that he was        
,aliense's disciple4 ,he resided1 and   
employed himself much in ,venice1 at    
,,ss4 ,giovanni and ,paolo1 at ,la      
,madonna dell' ,orto1 and elsewhere3    
while the judgment pronounced upon him  
by ,zanetti is1 that he appeared to have
 greatly attached himself to the        
,venetian artists1 and to have derived  
sufficient profit4  ,pietro ,malombra1 a
 ,venetian by birth1 deserves almost to 

be excluded from the list of ,palma's   
disciples1 and even from that of the    
mannerists4 ,if he sometimes deviated   
from the right path1 it must rather be  
attributed to human error1 than to      
erroneous maxims4 ,born in a degree of  
comparative ease1 he acquired from      
education a sense of the value of that  
excellent axiom1 that honour is better  
than gain4 ,after employing himself in  
the studio of ,salviati1 where he       
obtained a good knowledge of design1 he 
continued to paint for his own pleasure4
 ,but equally intelligent and docile1 he
 never scrupled to bestow the utmost    
pains to bring his works to a higher    
degree of perfection1 than was the usual
 practice of his times4 ,afterwards     
experiencing a reverse of fortune1 he   
entered upon the art as his profession1 
and ornamented parts of the ,ducal      
,palace4 ,in his portraits and pictures 
upon a small scale1 he was also very    
successful4 ,he represented at ,san     
,francesco di ,paola1 various miracles  

of the saint1 in four pictures2 and his 
figures display a precision in their    
contours1 a grace1 and an originality   
which lead us to doubt whether they can 
belong1 not merely to the epoch1 but to 
the school of which we are here         
treating4 ,similar specimens he produced
 for galleries1 sometimes enlivening    
with them his perspective views1 in     
which he possessed equal skill and      
assiduity4 ,those in which he exhibited 
the grand piazza1 or the great hall of  
council1 representing in them their     
respective sacred or civil ceremonies1  
processions1 ingresses1 public          
audiences1 great spectacles1 to which   
the place adds an air of grandeur1      
extorted the plaudits of all ranks4     
,girolamo ,pilotto occupies the sixth   
place among those1 who1 in the opinion  
of ,boschini1 are apt to be confounded  
with ,palma4 ,zanetti is content with   
observing1 that he was a true follower  
of that style1 and that in his works may
 be recognized the ideas of his master1 

conducted in a very happy manner4       
,venice boasts few of his pieces1       
although we are elsewhere informed that 
he died at an advanced age4 ,his picture
 of the ,nuptials of the ,sea1 painted  
for the public palace1 is extolled in   
high terms by ,orlandi1 while others    
have greatly admired his ,san ,biagio1  
which he produced for the great altar of
 the ,fraglia1 in ,rovigo2 a picture    
displaying great sweetness of manner1   
and signed with his name4  ,to attempt a
 full list of the rest of the           
mannerists1 who followed more or less   
the composition of ,palma1 would only   
weary the reader with a repetition of   
names4 ,from these ,i select1 therefore1
 merely a few of the most remarkable in 
,venice and its vicinity1 having to make
 mention of others in the respective    
schools of terra firma4 ,girolamo       
,gamberati1 a scholar of ,porta1        
acquired the art of colouring from      
,palma1 upon whose model he painted at  
,le ,vergini1 and other places4 ,it is  

still suspected1 however1 that the      
character displayed in his pieces1 must 
have come from the hand of ,palma1 whose
 friendship occasionally assisted him4  
,in the ,guide by ,zanetti1 we find     
mention of a ,jacomo ,alberelli1 a      
disciple of ,palma1 who painted the     
,baptism of ,christ at the church of the
 ,ognisanti4 ,there is a slight allusion
 to him in ,ridolfi1 by whom he is      
entitled ,albarelli2 and he adds1 that  
he produced the bust for the tomb of his
 master1 in whose service he lived      
during thirty-four years4 ,camillo      
,ballini is also recorded among the     
,palmese mannerists1 whether a native of
 ,venice or of the state is not certain4
 ,in his manner he is pleasing1 though  
neither spirited nor vigorous2 and he   
was likewise employed in the ,ducal     
,palace4 ,boschini moreover extols      
,bianchi1 ,dimo1 and ,donati1 all       
,venetians1 and his own friends2 but ,i 
would omit them1 finding no             
commendations in any other work4 ,i omit

 also ,antonio ,cecchini da ,pesaro1    
whose age1 as reported in the index1    
cannot be brought to agree with the     
period of ,palma's professorship4  ,in  
,trevigi1 ,ascanio ,spineda1 a noble of 
that city1 is held in some estimation1  
and included among the disciples of     
,palma2 from whom he is sometimes with  
difficulty distinguished4 ,one of the   
most exact in point of design1 he also  
colours with much sweetness and grace of
 tints2 an artist deserving to be known 
in his native district1 which abounds   
with the best of his works4 ,he employed
 himself there1 for many churches1      
succeeding perhaps better at ,san       
,teonisto than at any other place4 ,no  
one surpassed him in the number of his  
pieces for public exhibition1 if we     
except indeed one ,bartolommeo ,orioli1 
who1 about the same period1 displayed   
the talent of a good practiser1 though  
with less repute4 ,this last belonged to
 that numerous tribe who1 in ,italy1    
were ambitious of uniting in themselves 

the powers of poetry and painting2 but  
who1 not having received sufficient     
polish either in precept or in art1 gave
 vent to their inspiration in their     
native place1 covering the columns with 
sonnets1 and the churches with pictures1
 without exciting the envy of the       
adjacent districts4 ,father ,federici   
praises him for his portraits2 a valued 
ornament1 at that period1 of large      
pictures1 and well introduced by        
,orioli1 in the church of ,st4 ,croce1  
where a numerous procession of the      
people of ,trevigi appears1 taken from  
the life4 ,burchiellati1 a contemporary 
historian of the place1 adds1 as a      
companion to the foregoing1 the name of 
,giacomo ,bravo1 a painter of figures   
and ornamental works1 which are still   
held in some degree of estimation4      
,paolo ,piazza1 of ,castelfranco1 who   
afterwards became a ,capuchin by the    
name of ,father ,cosimo1 is enumerated  
by ,baglione among the good practisers1 
and the pupils of ,palma4 ,yet he bears 

little resemblance to him1 having formed
 a style of his own1 not powerful       
indeed1 but free and pleasing1 which    
attracted the eye of ,paul ,v41 the     
,emperor ,rodolph ,,ii41 and the ,doge  
,priuli2 all of whom availed themselves 
of his ability4 ,both the capital and   
the state boast many of his pieces in   
fresco1 and some altarpieces3 nor is    
,rome without them1 where1 in the       
,palazzo ,borghese1 he painted those    
very fanciful ornaments in friezes1 for 
various chambers1 as well as histories  
of ,cleopatra for the ,great ,hall1 and 
in the ,campidoglio at the              
,conservatori1 a celebrated picture of  
,christ taken from the ,cross4 ,while   
residing in ,rome he attended to the    
instruction of ,andrea ,piazza1 his     
nephew1 who in course of time entered   
the service of the ,duke of ,lorraine1  
by whom he had the honour of being made 
a cavalier4 ,upon returning to his own  
state1 he produced his great picture of 
the ,marriage of ,cana1 for the church  

of ,santa ,maria2 one of the best pieces
 that adorn the place4  ,matteo ,ingoli1
 a native of ,ravenna1 resided from     
early youth1 until the period of his    
immature decease1 in the city of        
,venice4 ,he sprung from the school of  
,luigi del ,friso1 and proposed for     
himself1 says ,boschini1 ,paul ,veronese
 and ,palma as his models4 ,if ,i       
mistake not1 however1 he aspired to a   
more solid1 but less beautiful style1 as
 far as we can gather from one of his   
pictures at the ,corpus ,domini1 from   
his ,supper of our ,lord at ,san        
,apollinare1 and from others of his     
works2 in all which we trace the hand of
 precision and assiduity4 ,he was also a
 good architect1 and terminated his days
 during one of those awful periods in   
which the ,venetian state was visited by
 the plague1 adding another instance of 
loss to the fine arts1 similar to those 
which we have noticed in other schools4 
,another victim to the same contagion   
was ,pietro ,damini1 of ,castelfranco1  

who1 it is averred1 had he survived a   
little longer1 would have displayed the 
powers of a ,titian2 an expression we   
are to receive as somewhat hyperbolical4
 ,he acquired the art of colouring from 
,gio4 ,batista ,novelli1 a good scholar 
of ,palma1 who1 more for amusement than 
for gain1 ornamented ,castelfranco and  
the adjacent places with several well   
executed pieces4 ,damini next devoted   
much time to the theory of the art1 and 
to the study of the best engravings1    
upon which he modelled his design4 ,by  
this method1 it is said1 that he freed  
himself from the shackles of the        
mannerists1 though it gave to his       
colours a degree of crudity2 and in     
truth this is a defect that strikes the 
eye in many of his productions4         
,numerous specimens remain at ,padua1   
where he established himself at the age 
of twenty2 several at ,vicenza1 at      
,venice1 and still more in              
,castelfranco1 where his altarpiece of  
the ,blessed ,simone ,stoch at ,santa   

,maria1 is highly estimated1 as well as 
the ,tabernacle surrounded with twelve  
histories1 from both the ,old and ,new  
,testaments2 a novel idea1 and executed 
with real taste4 ,his style is elegant  
and pleasing1 but not uniformly         
excellent4 ,he is observed to have      
frequently changed his manner1 in       
aspiring to reach a higher degree of    
perfection in his art4 ,we might1 in    
some instances1 pronounce him an        
excellent naturalist2 in others more of 
an adept in ideal beauty1 as we gather  
from his picture of the ,crucifixion at 
,santo di ,padova1 which displays rare  
beauty and harmony combined1 though he  
did not live long enough to produce     
others of equal merit4 ,he died early1  
and at a short interval his brother     
,giorgio1 seized by the same disorder1  
followed him to the tomb1 an artist     
excellent in portrait1 and pictures with
 small figures4  ,subsequent to this    
period1 7#afcj1 #afca17 in which the    
deaths of a number of artists occur1 the

 traces of the old ,venetian style1 in  
its best school1 began still more to    
disappear2 and the ,venetian paintings  
produced after the middle of the        
century1 display for the most part a    
different character4 ,it is remarked by 
,signor ,zanetti1 that several foreign  
artists established themselves about    
this period in the city1 and held sway  
over the art at their own discretion4   
,attached to various schools1 and       
chiefly admirers of ,caravaggio1 in his 
plebeian manner1 they agreed amongst    
themselves in nothing1 perhaps1 except  
two points4 ,one of these was1 to       
consult truth in a greater degree than  
had before been done2 an extremely      
useful idea to render art1 now          
degenerated into a paltry trade1 once   
more real art4 ,but the plan was not    
well executed by many1 who were either  
incapable of selecting what was natural1
 or of ennobling it when found2 while1  
at all events1 they were too apt to     
mannerize it with an excessive use of   

strong shades4 ,the other plan was to   
avail themselves of very dark and oily  
grounds1 which were as favourable to    
despatch as injurious to the duration of
 paintings1 as we have more than once   
had occasion to observe4 ,indeed this   
had so far come into vogue1 in most     
places1 as even to infect1 in some      
degree1 the great school of the         
,caracci4 ,hence it has arisen that in  
many of those pictures the lights only  
have remained durable1 and the masses of
 shade1 the middle tints having         
disappeared2 insomuch that posterity has
 distinguished this class of artists by 
the new appellation of the sect of      
,tenebrosi1 or the dark colourists4     
,boschini1 who first put forth his      
,carta del ,navegar ,pitoresco in #affj1
 is very severe1 as we have before      
stated1 upon the sect of mere           
naturalists1 stigmatizing them          
generally1 and upbraiding them for      
coming to seek their bread at ,venice2  
while1 at the time that they employed   

themselves in crying down the taste1 the
 spirit1 and the rapid hand of the      
,venetians1 their own productions bore  
ample witness to the pitiable efforts by
 which they were produced4 ,he gives no 
names2 but it is not difficult to gather
 from the whole his aversion to the     
,roman and ,florentine artists1 of whom 
we shall shortly give an account4 ,upon 
these he certainly does not bestow      
encomiums1 as he does upon all others at
 that period engaged in ,venice1 his    
commendations being sometimes extremely 
vague1 and at others extravagant4  ,if  
we wish to avoid forming erroneous      
judgments1 then1 we must abandon his    
,painter's ,chart of ,navigation1 and   
attach ourselves to the ,pittura        
,veneziana1 a very different guide to   
that of ,boschini4 ,in this the author  
takes care to distinguish1 with the     
precision of a good historian1 such as  
were followers of ,caravaggio1 like     
,saraceni2 excellent pupils of          
,guercino1 like ,triva2 fine colourists1

 however much accustomed to copy rather 
than invent1 like ,strozza1 and though  
less select1 his scholar ,langetti2 to  
whom we may add a third ,genoese artist1
 who flourished during those times at   
,venice1 though he left no public       
specimen of his labours2 this was       
,niccolo ,cassana4 ,of these1 as well as
 of a few others1 ,i shall treat in the 
schools to which they respectively      
belong4 ,several other names are omitted
 by the author1 either on account of    
such artists having produced little in  
the city1 or from his being unacquainted
 with their education and the place of  
their birth4 ,among these is ,antonio   
,beverense1 an artist who painted for   
the college of the ,nunziata1 the       
,marriage of the ,virgin ,mary1 a       
picture that displays accuracy of       
design1 superiority of forms1 and a very
 fine chiaroscuro4 ,he was1 for the most
 part1 a disciple of the ,bolognese1 and
 from his united taste and diligence    
fully deserving of being more generally 

known4 ,i suspect1 however1 that he     
ought to be named a native of ,bavaria1 
and to the circumstance of his speedy   
return into his own country1 we are1    
perhaps1 to ascribe the little notice he
 seems to have attracted4 ,returning to 
the authority of ,zanetti1 we find1 that
 besides giving a favourable opinion of 
the authors just mentioned1 he bestows  
equal commendation upon those who are   
soon to follow2 explaining their        
respective excellences and defects1 and 
detecting such as belonged to the class 
of ,tenebrosi through their own fault1  
and such as became so owing to the bad  
priming of those times2 in treating of  
whom ,i follow the path he has pointed  
out4  ,pietro ,ricchi was an artist who 
resided for a long period at ,venice1   
where he left a great number of works1  
and is generally known by the name of il
 ,lucchese4 ,it remains doubtful whether
 he deserves to be accused of having    
introduced the oily and obscure method  
of painting already mentioned4 ,it is at

 least certain1 that besides having made
 use of bad priming1 he was in the habit
 of covering his canvass with oil       
whenever he applied his pencil1 which   
has occasioned the loss of so many of   
his works that once produced an         
excellent effect1 but which are now     
either defaced or perished4 ,this is the
 case with those that remained in       
,venice1 in ,vicenza1 ,brescia1 ,padua1 
and ,udine2 some of which1 indeed1 are  
not greatly to be regretted2 the        
production of mere mechanic skill1 and  
that not always executed correctly4 ,a  
few1 however1 are conducted with much   
care1 as we find in his ,s4 ,raimond1 at
 the ,dominicans of ,bergamo1 and his   
,epiphany at the patriarchal church in  
,venice1 both highly deserving of       
commemoration1 no less for the union of 
their colours1 than for the taste       
displayed in the whole composition4 ,we 
may easily perceive that they are the   
productions of a scholar1 or at least of
 an imitator of ,guido2 of one          

accustomed to consult the pictures of   
,tintoretto1 and of the most celebrated 
,venetians4 ,another artist equal to    
,ricchi in the handling of his pencil1  
and more accurate in the union of his   
colours1 will be found in ,federigo     
,cervelli of ,milan1 who1 on opening his
 school at a somewhat later period in   
,venice1 obtained the celebrated ,ricci 
for one of his pupils4 ,at the school of
 ,san ,teodoro1 we meet with a history  
piece of that saint1 from the hand of   
,cervelli2 and in this we may trace all 
the features of the same style1 that was
 afterwards continued by ,ricci1 who    
added dignity1 however1 to its forms1   
and executed them upon canvass and upon 
grounds better calculated to bear the   
effects of age4  ,the other artists to  
be enumerated in the same class1 are    
,francesco ,rosa1 a pupil rather than   
follower of ,cortona1 for an account of 
whom we must refer the reader to the    
fifth book of the fifth volume2 and     
,giovanni ,batista ,lorenzetti1 whose   

composition1 bold1 rapid1 and           
magnificent1 displays a powerful and    
correct hand4 ,the merit of the second  
is conspicuous in his frescos1 exhibited
 at ,santa ,anastasia1 in his native    
city of ,verona1 for which he received  
twelve hundred ducats1 including only   
the decoration of the chapel4 ,add to   
these the name of ,ruschi1 or ,rusca1 a 
,roman1 and a disciple of ,caravaggio in
 his forms1 and of his age in the       
mixture of his colours4 ,he was wholly  
unknown at ,rome1 though he acquired    
some degree of reputation in the cities 
of ,venice1 of ,vicenza1 and of         
,trevigi4 ,his paintings are admitted   
into collections1 where several of his  
oblong pieces are to be met with in     
pretty good preservation4 ,contemporary 
with him was ,girolamo ,pellegrini1 a   
native1 of the same place1 not mentioned
 in the ,guide of ,rome1 but            
commemorated in that of ,venice for some
 works1 chiefly executed in fresco upon 
a large scale1 in which he appears      

neither a very select1 various1 nor     
spirited painter1 though of a           
sufficiently elevated character4        
,bastiano ,mazzoni1 a ,florentine1 is   
another artist unknown in his native    
city1 belonging to the class of the     
naturalists1 though possessed of a      
certain delicacy1 roundness of style1   
and ease of handling4 ,he was also an   
excellent architect1 of whose talents   
the ,cavalier ,liberi availed himself in
 the erection of his fine palace at     
,venice1 which appears to exceed the    
fortune of a painter4 ,count ,ottaviano 
,angarano1 a ,venetian noble1 if he did 
not altogether avoid the style then     
current1 avoided at least its           
extravagance2 and the ,nativity which he
 placed at ,san ,daniele1 confers upon  
him double honour1 having been both     
painted and engraved by his hand4       
,stefano ,pauluzzi1 a citizen of        
,venice1 has been enumerated among the  
best belonging to this sect1 if indeed  
he is to be included in it1 as the      

deterioration of his pictures may be    
rather attributed to the badness of his 
grounds than to the artist4 ,niccolo    
,renieri ,mabuseo also flourished at the
 same period1 an artist1 who at ,rome1  
under ,manfredi1 a follower of          
,caravaggio1 formed a taste partaking of
 his early ,flemish and of his ,italian 
education2 very pleasing in the opinion 
of ,zanetti1 and in general displaying  
much strength of hand4 ,he had four     
daughters who inherited their father's  
talents1 all of whose productions were  
highly admired in ,venice4 ,two of      
these1 of the name of ,angelica and     
,anna1 remained with their parent2      
,clorinda entered into an union with    
,vecchia1 and ,lucrezia with ,daniel    
,vandych1 a ,frenchman1 who afterwards  
entered into the service of the ,duke of
 ,mantua1 as the keeper of his gallery  
of pictures2 himself a fine portrait    
painter1 and by no means despicable in  
his histories4 ,to his ,i add the name  
of ,d4 ,ermanno ,stroifi1 a ,paduan1    

first a pupil1 and an excellent imitator
 of ,prete the ,genoese1 and afterwards 
of ,titian though occasionally1 owing to
 an excessive attention to the          
chiaroscuro1 he deviated too much from  
the right path4 ,we are informed by     
,boschini that he travelled for the     
purpose of observing other schools1 and 
that on returning to ,venice1 he still  
continued to rise in the estimation of  
the ,venetians4 ,a ,madonna from his    
hand is to be seen at the great altar of
 the ,carmini in that city2 and in      
,padua1 his ,pieta1 placed at ,san      
,tommaso ,cantuariense4 ,i conclude this
 list with one ,matteo1 a ,florentine   
artist1 not commemorated in his own     
state1 from the circumstance of having  
resided abroad2 better known by the name
 of ,matteo da' ,pitocchi4 ,he displayed
 most talent in his representation of   
,mendicants1 heads of which class are to
 be met with in ,venice1 in ,verona1 in 
,vicenza1 and elsewhere1 as well as     
several burlesques and other fanciful   

pieces1 in the galleries of many        
,italian nobles4 ,he painted likewise   
for churches1 more particularly in      
,padua1 where he most probably died2 and
 the ,serviti are in possession of some 
on a larger scale1 designed in the      
character of a mere naturalist4 ,these  
names we trust will be found sufficient1
 however various and unequal both in    
point of style and merit1 as affording  
examples of the taste of that age4  ,but
 inasmuch as it is difficult1 as ,i have
 before observed1 for an entire age to  
become wholly corrupt1 so among the     
mannerists1 who mark the character of   
this epoch1 there nourished some good   
imitators of ,titian1 of ,paul          
,veronese1 and of ,raffaello himself1   
both in the capital and its adjacent    
provinces4 ,in the last1 indeed1 they   
were more numerous1 because the artists 
of the terra firma did not so greatly   
abound in those masterpieces of the art1
 of which the ,venetians themselves were
 enabled so easily to become the        

plagiarists1 to the serious             
deterioration of the art4 ,in the first 
rank then of supporters of the solid    
style1 ,i must mention ,giovan          
,contarino1 who flourished in the time  
of ,palma1 a companion of ,malombra1 and
 an exact imitator of ,titian's method4 
,he did not always succeed in improving 
and embellishing the nature which he    
copied1 though1 at the same time1 he    
displayed a soundness of taste that was 
truly that of ,titian4 ,he shewed       
exquisite skill in his foreshortening   
from above 7di sotto in su71 and in the 
church of ,san ,francesco di ,paola1 he 
exhibited a ,resurrection in the        
entablature1 or ceiling1 along with     
other mysteries and figures1 so         
beautifully coloured1 so distinct1 and  
so finely expressed1 as to be considered
 some of the most perfect of which the  
city can boast4 ,he employed himself    
much for collections1 even extending to 
,germany1 by which he obtained from the 
,emperor ,rodolph ,,ii41 the collar of  

the order of cavaliers4 ,his favourite  
subjects were such as he drew from      
mythology1 being possessed of sufficient
 learning to treat them with classic    
propriety1 and of these1 in the         
,barbarigo collection1 ,i saw a         
considerable number4 ,he was so         
extremely accurate in his portraits1    
that on sending home one which he had   
taken of ,marco ,dolce1 his dogs1 the   
moment it appeared1 began to fawn upon  
it1 mistaking it for their master4 ,his 
fame was nevertheless eclipsed in       
portrait by ,tiberio ,tinelli1 at first 
his scholar1 afterwards an imitator of  
,leandro ,bassano1 and raised to the    
rank of cavalier by the ,king of        
,france4 ,pietro da ,cortona1 on        
beholding one of his portraits1         
exclaimed that ,tiberio had not merely  
infused into it the whole soul of the   
original1 but added his own also4 ,i    
have met with several at ,rome1 bearing 
a very high price1 and still more are to
 be seen in the ,venetian state4        

,sometimes they are left unfinished1 at 
the desire of the parties for whom they 
were taken1 in order to diminish their  
price2 sometimes they are thrown into an
 historical character2 and a ,venetian  
,lord1 for instance1 will appear as     
,marc ,antony--his wife1 as ,cleopatra4 
,many of this artist's pieces for       
private ornament1 of the portrait size1 
are very highly estimated3 they are     
alternately borrowed from scripture and 
from fable4 ,such is that of his ,iris1 
belonging to the ,conti ,vicentini1 at  
,vicenza1 simple in point of            
composition1 very natural and pleasing2 
and what is still more surprising1 quite
 original4 ,he did not display equal    
facility in more copious compositions1  
requiring a larger portion of time and  
leisure than he ever enjoyed1 in order  
to leave behind him a work which could  
give him full satisfaction4  ,succeeding
 him1 appears ,girolamo ,forabosco1 a   
distinguished portrait painter1 of      
,venetian origin according to ,orlandi1 

though believed by the ,paduans1 to have
 been one of their fellow citizens4 ,two
 of the most celebrated schools         
contended for the honour of adding him  
to their respective ranks4 ,he          
flourished in the time of ,boschini1 who
 bestowed upon him and ,liberi the      
precedency over all other ,venetians of 
the age4 ,in order better to commend him
 in the spirit of his age1 he puns upon 
his name1 declaring ,forabosco one of   
those who emerged fuor del bosco1 or out
 of the wood1 into full day2 in other   
words that he rose out of obscurity into
 considerable note4 ,we are to forgive  
similar conceits upon the part of       
,boschini1 in consideration of the      
notices he handed down to us2 and we may
 add likewise with ,zanetti1 that       
,forabosco possessed a noble and        
penetrating genius2 a genius delighting 
the professed artist by its display of  
judgment2 arresting the observer by its 
beauty2 and which unites sweetness with 
refinement1 beauty with force1 studious 

in every part1 but particularly in the  
airs of its heads1 that appear endued   
with life4 ,to form an adequate idea of 
these1 we ought not so much to direct   
our inquiries to churches1 which rarely 
boast any of his altarpieces1 as to     
those collections which preserve his    
portraits2 his half-length figures of   
saints1 and his little history pieces1  
of which three are recorded in the      
catalogue of the ,dresden gallery4      
,resembling ,forabosco in diligence and 
delicacy of finish1 though inferior to  
him in genius1 we may mention his pupil 
,pietro ,bellotti4 ,by some he is       
reproached for his minuteness and       
dryness of style1 which leads him to    
distinguish almost every hair1 though   
always an exact and faithful transcriber
 of nature4 ,boschini considers him in  
the light of a prodigy1 for having      
succeeded in uniting to so much         
diligence1 a most exquisite delicacy in 
his tints1 to a degree never before     
known4 ,his compositions1 more          

particularly his portraits and his      
caricatures1 which are to be met with in
 galleries1 are held in much esteem4    
,several ,i have seen in different      
places1 even out of the limits of the   
state2 two of them very                 
excellent--portraits of an old man and  
an old woman1 in possession of the      
,cavalier ,melzi1 at ,milan1 and such as
 are not to be exceeded by the most     
polished and exquisite specimens of     
,flemish art4  ,at the same period      
flourished the ,cavalier ,carlo         
,ridolfi1 a native of ,vicenza1 but who 
received his education and distinguished
 himself at ,venice4 ,his natural good  
sense led him to shun the peculiar style
 of his times1 no less in writing than  
in painting2 and we may observe the same
 character that is displayed in his     
,lives of the ,venetian ,painters1      
written with equal fidelity and         
judgment1 preserved also in his         
pictures4 ,thus his ,vizitazione1       
painted for the church of the           

,ognissanti at ,venice1 has been much   
extolled2 a piece that exhibits some    
novelty in the adaptation of the        
colours2 a fine relief1 and exactness in
 every part4 ,other specimens of him are
 to be met with in public places1 both  
in ,venice and throughout the state2 but
 a great part of his productions were   
for private persons1 consisting of      
portraits1 half-length figures1 and     
historical pieces4 ,ridolfi imbibed     
excellent principles of the art from    
,aliense1 which he afterwards improved  
in ,vicenza and ,verona1 by copying the 
best models he could find1 and attending
 to perspective1 to the belles lettres1 
and to other pursuits best calculated to
 form a learned artist4 ,such he        
likewise appears in the two volumes of  
his ,lives1 which are at present        
extremely rare1 and deserving of        
republication1 either with the plates   
which ,i heard were still in existence  
at ,bassano1 or without them1 since it  
is no very serious loss after all to    

remain ignorant of the features of      
celebrated men1 provided we become      
acquainted with their virtues4 ,upon a  
comparison of ,ridolfi's style of       
writing with that of ,boschini1 we might
 suppose that these authors flourished  
at two different epochs1 though they    
were very nearly contemporary4 ,bayle's 
observation1 indeed1 may be considered  
correct1 as applied to them2 that there 
exists a certain mental1 as well as     
physical epidemic2 and as1 in the last1 
every individual is not seized with the 
disorder1 so1 in the former1 good sense1
 as evinced in thinking and in writing1 
does not become altogether extinct4     
,thus the ,cav4 ,carlo1 as ,i before    
noticed1 was not only a good writer1 but
 one of the best biographers of artists 
we have4 ,not that he was wholly exempt 
from every kind of grammatical error1   
any more than ,baldinucci himself1      
though one of the della ,crusca         
academicians2 but he knew how to avoid  
errors of judgment1 into which others   

fell2 such as relating old stories1 fit 
only to amuse children when they first  
begin to draw eyes and ears2 making     
inquisition into the life and manners of
 every artist1 and wasting time in long 
preambles1 episodes1 and moral          
reflections1 quite out of place4 ,on the
 contrary he is precise1 rapid1 and     
eager to afford fresh information for   
his readers in a small space1 with the  
exception of quoting largely sometimes  
from the poets4 ,his pictorial maxims   
are just2 his complaints against ,vasari
 always in a moderate tone1 and his     
descriptions of paintings and of grand  
compositions very exact1 and displaying 
great knowledge1 both of mythology and  
history4 ,he concludes the work with an 
account of his life1 in which he        
complains of the envy of rivals1 and the
 ignorance of the great1 too often      
combining together to trample upon real 
merit4 ,his epitaph1 as given by        
,sansovino1 a contemporary writer1 and  
afterwards by ,zanetti1 refers the year 

of his decease to #afeh4 ,boschini1 on  
the contrary1 in his ,carta1 page #eji1 
speaks of him as one of the living      
authors in #affj1 in which year his book
 was given to the world4 ,i am inclined 
to think that those verses in which     
,ridolfi is commended1 were the         
production of ,boschini while the former
 was still living1 and that after his   
death he neglected to retouch them4     
,two others1 among the best of these    
imitators of a more solid taste1 are    
,vecchia and ,loth1 fully entitled as   
much as the rest to the rank they hold4 
,pietro ,vecchia sprung from the school 
of ,padovanino1 but he did acquire      
altogether his style1 most probably     
because ,padovanino1 like the ,caracci1 
gave an individual direction to the     
talents of his pupils1 in the path he   
judged best adapted to their success4   
,the genius of ,vecchia was not at all  
calculated for lighter subjects4 ,he had
 imbibed from his master an admiration  
of the ancients1 as well as the art of  

imitating them2 and with these          
principles he arrived at such a degree  
of excellence1 that several of his      
pictures pass for those of ,giorgione1  
of ,licini1 and even of ,titian4 ,it is 
true1 that by dint of copying and       
exactly imitating old paintings1 much   
darkened by time1 he contracted the     
habit of colouring with considerable    
dulness of lights1 affording an example 
for every young artist1 that he should  
learn to tinge with lively colours1     
previous to taking copies of similar    
pictures4 ,for though he1 indeed1       
acquired the colouring of the ancients1 
he added neither much variety nor much  
choice of countenances2 and he still    
remained a naturalist1 limited in his   
ideas1 and more inclined towards the    
burlesque than the serious4 ,some of his
 best productions consist of pictures   
for private ornament2 of youths armed1  
or equipped and ornamented with plumes1 
in the manner of ,giorgione1 though not 
without some degree of caricature4 ,one 

of these1 an astrologer telling their   
fortune to some soldiers1 is in         
possession of the senator ,rezzonico at 
,rome1 altogether of so beautiful a     
character that ,giordano painted a      
companion to it2 a little picture quite 
in the same taste4 ,but although his    
humourous pieces please us in some1 they
 disgust us in many of his other        
subjects1 and more particularly in the  
,passion of our ,saviour2 a sacred      
mystery1 in which the spectator ought   
never to be presented with cause for    
mirth4 ,but ,vecchia seemed to forget   
this1 and introduces1 like ,callot1     
certain caricatures among his sacred    
pieces1 of which specimens are to be    
seen in the church of ,ognissanti at    
,venice2 in possession of the ,conti    
,bevilacqua at ,verona1 and in other    
places4 ,in other points1 with a style  
rather strong and loaded with shade than
 pleasing1 he shewed himself an         
excellent artist1 both in his naked     
parts and his draperies2 which he       

designed and coloured at the same time  
in the academies4 ,his fleshes are dark 
red1 his handling easy1 his colour thick
 and heavy1 the effects of his light new
 and studied1 and his whole taste so far
 from any degree of mannerism1 and of   
such a composition1 that to any one     
unversed in pictorial history1 he would 
appear to have flourished at least two  
ages before his real time4 ,melchiori   
bestows particular commendation upon him
 for his talents in restoring old       
pictures2 and conjectures that he1 in   
this way1 acquired the appellation of   
,vecchia1 his family name being1 as we  
have noted in the index1 that of        
,muttoni4 ,he instructed several pupils 
in the art1 none of whom pursued their  
master's career4 ,agostino ,litterini1  
and ,bartolommeo his son1 were among    
these1 both artists well known in       
,venice and the islands1 and both       
distinguished for clearness and boldness
 of style1 though the latter surpassed  
his father in this way4 ,a specimen of  

his altarpieces at ,san ,paterniano1    
displays an imitator of ,titian1 and of 
the better age4 ,melchiori likewise     
gives the reputation of an excellent    
artist to his daughter ,caterina1 though
 commendations of this sort ought always
 to be understood in reference to the   
time in which the artists flourished4   
,the same reasoning might apply also to 
politics4 ,the title of your ,excellency
 used once to be applied to minor       
sovereigns1 but it has since become     
applicable also to the great officers   
and ministers of state4  ,gian ,carlo   
,loth1 an artist from ,monaco1 resided  
during a long period1 and subsequently  
died1 at ,venice1 in the year #afih1    
aged sixty-six years1 as we find written
 in his epitaph4 ,both ,orlandi and     
,zanetti are mistaken in giving him as a
 scholar to ,caravaggio1 who died before
 ,carlo was born4 ,it is probable1      
however1 that he acquired his strong and
 loaded manner of composition1 and his  
exact representation of nature without  

ennobling it1 from the study of         
,caravaggio's pictures4 ,and if he were 
really the pupil1 as is supposed1 of    
,liberi1 he failed to make himself      
master of the lively and ideal character
 of that school2 nor did he perhaps     
derive any thing from it1 but a certain 
rapidity of hand1 and an elevation of   
manner that distinguished him from the  
naturalists of his time4 ,he took a rank
 among the first four painters of his   
age1 all of whom bore the name of       
,carlo1 as ,i have elsewhere observed4  
,he was much employed in ,germany for   
the emperor ,leopold ,i41 as well as in 
,italy for the churches1 and still more 
for different collections4 ,many cabinet
 pictures from his hand are to be met   
with in every state1 in the style of    
,caravaggio and ,guercino1 with         
histories2 of which kind is the dead    
,abel1 so much praised in the royal     
gallery at ,florence4 ,one in the best  
preservation ,i have seen1 is to be     
found at ,milan2 a picture of ,lot      

inebriated1 in the ,trivulzi palace1    
celebrated among men of taste as a      
museum of antiquities2 newly arranged by
 the present young and accomplished     
marquis1 and forming a collection not   
unworthy of a royal house4 ,daniele     
,seiter1 a fine colourist1 to whom we   
shall again allude1 was instructed in   
the art by ,loth1 during a period of    
twelve years4 ,he was distinguished both
 in ,rome and at ,turin2 and was        
succeeded by ,ambrogio ,bono1 one of the
 best disciples formed by the same      
master in ,venice1 where he left a      
variety of works1 all executed in the   
taste he had so early imbibed4  ,other  
artists1 about the same period1         
flourished in ,venice1 who by dint of   
imitating the most approved models1 and 
also through their own talents1 obtained
 easy access into the most choice       
collections4 ,jean ,lys1 from           
,oldenburg1 came early among these1     
bearing along with him the style of     
,golzio4 ,but1 on beholding the         

,venetian and ,roman schools1 he adopted
 an exceedingly graceful style1         
partaking of the ,italian in its design1
 and of the ,flemish in its tints4 ,he  
chiefly produced figures upon a middle  
scale1 such as his ,prodigal ,son1 in   
the royal museum at ,florence2 or of    
smaller dimensions1 as in his various   
little pictures of village sports and   
combats1 with similar subjects1 in the  
,flemish mode of composition4 ,yet he   
produced a few pictures for churches1   
like his ,st4 ,peter1 in the act of     
resuscitating ,tabitha1 at the          
,filippini1 in ,fano2 and his more      
celebrated ,san ,girolamo1 at the       
,theatini1 in ,venice1 where he died4   
,valentino le ,febre1 from ,brussels1 is
 a name omitted by ,orlandi2 while his  
very numerous engravings of ,paul       
,veronese1 and of the best ,venetian    
artists1 are ascribed by him to another 
artist of the same name4 ,he painted    
little2 and always pursued the track of 
,paul ,veronese1 of whom he was one of  

the most successful imitators and       
copyists known4 ,his countenances bear  
no stamp of a foreign origin1 and his   
colours none of the bad character of his
 age2 while his touches are always      
strong1 without offending our taste4    
,his smaller pieces are full of research
 and finish2 though he has less merit   
upon a larger scale1 and is occasionally
 wanting in point of composition4 ,we   
meet with another distinguished imitator
 of ,paul1 in ,sebastiano ,bombelli1    
from ,udine2 ,guercino's scholar in the 
outset1 and subsequently a fine copyist 
of the best works of ,paul ,veronese1   
which are scarcely to be distinguished  
from the copies he took2 until he gave  
up the more inventive branches of the   
art1 and devoted his attention to       
portraits4 ,here he restored the lost   
wonders of a former age2 his portraits  
being remarkable for strong likeness1   
vivacity1 and truth of colouring1 both  
in the drapery and the fleshes4 ,in his 
painting there is a happy union of the  

,venetian and the ,bolognese manner2 and
 in some specimens of his portraits that
 ,i have seen1 he seems to have         
preferred the delicacy of ,guido to the 
vigour of his own master4 ,he was       
esteemed also beyond ,italy2 he was     
employed by the archduke ,joseph at     
,inspruck2 took the portraits of several
 ,german electors2 of the ,king of      
,denmark1 and of the emperor ,leopold   
,i41 by whom he was largely honoured and
 rewarded4 ,it is a matter of regret1   
that1 owing to a peculiar varnish of    
pitch and gum1#gh which at the time     
produced a good effect1 a great portion 
of his pictures should have become      
obscured2 and that many by the more     
ancient masters1 which he wished to     
restore1 should have been altogether    
blemished or destroyed like his own4    
,among the imitators of ,titian1 of     
,tintoretto1 and of ,paul1 one ,giacomo 
,barri is likewise mentioned by         
,melchiori2 though he is the sole       
authority we have upon the point4 ,it is

 now easy to meet with his engravings in
 aqua fortis1 but not with his pictures4
 ,he was also the author of a little    
work entitled by him ,viaggio           
,pittoresco d',italia1 which has become 
somewhat rare1 owing1 ,i imagine1 to its
 small dimensions1 and to the researches
 made after it by those who preserve a  
series of pictorial works2 for the rest1
 his authority is of a middling         
character4  ,in the changes which       
produced such an alteration in the state
 of painting at ,venice1 several cities 
of the provinces also in some measure   
partook1 but in others many eminent     
geniuses arose1 capable of resisting the
 moral contagion that invaded the       
capital1 and of barring its entrance    
into their native provinces4 ,the school
 of the ,friuli1 after the death of     
,pomponio ,amalteo and ,sebastiano      
,seccante1 owing to the mediocrity of   
,sebastian's followers1 or of the       
younger branches of his family1 had     
declined1 as we before stated1 from its 

original splendour4 ,it numbered1       
indeed1 other pupils by different       
masters2 limited in point of invention1 
dry in design1 and somewhat hard in     
their colouring4 ,none appeared capable 
of restoring the art1 and succeeded only
 in furnishing the city with works      
reasonably well executed1 more or less1 
and borrowed from familiar models4 ,to  
this class belong ,vincenzo ,lugaro1    
mentioned by ,ridolfi for his altarpiece
 of ,san ,antonio1 at the ,grazie in    
,udine2 ,giulio ,brunelleschi1 whose    
,nunziata in one of the ,fraternities   
presents a good imitation of the style  
of ,pellegrino2 and ,fulvio ,griffoni1  
who received a commission from the city 
to produce a picture of the ,miracle of 
the ,manna1 to be placed in the public  
palace near the ,supper of ,amalteo4    
,add to these ,andrea ,petreolo1 who    
ornamented the panels of the organ1 in  
the dome of his native town of ,venzone1
 as well on the interior1 where1 in a   
very beautiful manner1 he exhibited the 

histories of ,san ,geronimo and ,san    
,eustachio1 as on the outside1 where1   
surrounded with fine architecture1 he   
represented the ,parable of the wise and
 foolish ,virgins4 ,without dwelling    
upon the names of ,lorio and ,brugno1 of
 whom there remain but few works1 which 
obtained little celebrity1 we shall     
newly record the name of ,eugenio ,pini1
 the last it may be said of those       
artists who but slightly addicted       
themselves to foreign methods4 ,he      
flourished about the middle of the      
seventeenth century1 was frequently     
employed at ,udine1 and in his own      
state2 extremely diligent and skilled in
 every office of a painter1 if we       
except1 perhaps1 his want of a more     
perfect harmony of tints4 ,the ,repose  
of ,egypt1 in the dome of ,palma1 and   
his ,san ,antonio in that of ,gemona1   
are pronounced by the ,abbate ,boni     
among his noblest productions4  ,during 
the period the latter flourished at     
,udine1 ,antonio ,carnio1 a native of a 

town of ,portogruaro1 came to establish 
himself in the city4 ,instructed in the 
art by his own father1 a very able      
artist1 he subsequently appears1 as far 
as we may judge from his style1 to have 
studied the works of ,paul ,veronese and
 ,tintoretto4 ,next to ,pordenone1 the  
,friuli perhaps never produced a finer  
genius2 equally original in all the     
branches of historic painting1 bold in  
his design1 happy in his colouring1 more
 particularly of his fleshes2 expressive
 in every variety of passion2 and all   
these comprehended within the limits of 
a grand naturalist1 though he frequently
 became a mannerist1 in order to        
expedite his works4 ,several of his best
 productions are1 at this period1 lost  
to ,udine1 owing to the fault of the    
artist who retouched them2 and among the
 most studied and the best preserved1   
there still remains his ,san ,tommaso di
 ,villanuova1 adorning an altar of      
,santa ,lucia4 ,he produced likewise    
several histories for private ornament1 

half-length figures1 portraits and heads
 in caricature1 for which he displayed a
 peculiar talent1 and which still exist 
at ,udine4 ,both the city and province  
are well supplied with his pieces1 few  
of which1 however1 are to be found      
coloured with strength of handling or   
very highly finished4 ,he was never     
without numerous commissions1 even      
though confining his talents to the     
,friuli2 but either from want of        
prudence1 or some other reason1 he      
nevertheless died in penury near        
,portogruaro4 ,a few of his pictures in 
that place are still pointed out2 but   
those seen at ,san ,francesco1 among    
which are the ,washing the ,disciples'  
,feet1 and our ,lord's ,last ,supper1   
said to have been executed by him in    
#afjd1 either bear a false date1 or are 
rather to be attributed to his father4  
,for1 at that period1 ,antonio could not
 have produced them1 since he was still 
alive in the year #afhj2 and on this    
point we ought to admit the authority of

 ,pavona1 at one time his pupil1 from   
whom ,guarienti received his notices of 
,carnio1 which he inserted in the       
,abecedario4 ,this artist must not be   
confounded with another ,carnio1 named  
,giacomo1 who flourished posterior to   
him1 and was much inferior to ,antonio  
in point of merit4  ,sebastiano         
,bombelli was born at ,udine1 as ,i just
 observed1 though he studied and resided
 at other places4 ,he left no specimens 
of his art in the ,friuli1 if we except 
a few portraits and pieces for private  
ornament1 along with some heads or busts
 of saints2 while his altarpiece of the 
,redeemer upon the ,cross1 between some 
saints1 in the parochial church of      
,tricesimo1 is considered a very rare   
piece4 ,he had a brother of the name of 
,raphael1 whose labours were more       
abundant1 but the whole of them1        
together with his name1 were confined   
within the limits of the ,friuli4       
,while the art thus declined in these   
parts of the ,venetian dominions1 it    

appeared equally to revive in others2   
from whence it arose1 that though       
greatly diminished in the capital1 the  
glory of the state did not become wholly
 extinct4 ,the city of ,verona was its  
greatest support2 for in addition to    
having given birth to ,ridolfi1 to      
,turchi1 and ,ottoni1 all of whom did   
honour to their country1 it produced    
likewise ,dario ,varotari1 who having   
established himself at ,padua1 laid the 
foundation of a very flourishing school4
 ,he exercised his talents under ,paul  
,veronese1 at ,verona1 to whom he has   
occasionally some resemblance1 though   
his taste appears to have been chiefly  
formed upon other models4 ,his design is
 very chaste1 by no means an uncommon   
acquisition among the ,veronese2 though 
he shews some traces of timidity in the 
method of some of those pupils of the   
quattro-centisti1#gi who1 whilst they   
draw their contours fuller than those of
 their masters1 appear as if they were  
afraid in every line of departing too   

far from the models before them2 and    
this he has exemplified in the pictures 
of ,san ,egidio at ,padua4 ,in others1  
conducted at a more mature age1 he seems
 to have aspired at imitating more      
modern artists1 sometimes ,paul         
,veronese1 and sometimes ,titian himself
 in point of design1 particularly in the
 airs of the heads2 although his        
colours1 however true and harmonious1   
can boast neither the ,venetian strength
 nor beauty4 ,dario painted in ,venice1 
at ,padua1 and in the ,polesine2 yet he 
produced little in reference to the age 
in which he flourished4 ,he educated    
several pupils1 among whom was ,gio4    
,batista ,bissoni1 whose life has been  
given us by ,ridolfi4 ,this last was    
also a scholar of ,apollodoro1 named di 
,porcia1 a portrait painter of much     
celebrity1 and the style which he formed
 for himself is exactly that of a good  
painter of portraits1 with which he is  
fond of filling his pictures1 clothing  
them in the manner of his time4 ,we may 

observe this in his ,miracles of ,san   
,domenico1 placed in the church         
belonging to his order1 drawn upon a    
large scale1 as well as in other pieces1
 scattered throughout the city in almost
 every street4  ,we must not omit the   
name of his daughter1 ,chiara ,dario1 a 
lady extolled by ,ridolfi for the beauty
 of her portraits1 and fully deserving  
of the honour conferred upon her by the 
grand dukes of ,tuscany1 who placed one 
of herself in their noble series of     
painters1 where it is still to be seen4 
,boschini seems to be of opinion that   
she gave public instructions in the same
 manner as the fair ,sirani of ,bologna2
 and that she initiated in the art      
,caterina ,taraboti and ,lucia          
,scaligeri1 a niece of ,bartolommeo4    
,yet the passage referring to this1 7p4 
#ebf7 in the ,venetian poet1 is somewhat
 ambiguous1 and he perhaps only meant to
 assert that these two young women      
pursued the same career4 ,but the chief 
honour and crown of ,dario's reputation1

 was his own son and pupil1 named       
,alessandro1 who1 though left an orphan 
at an early age1 shortly after set out  
for ,venice1 where he soon began to     
distinguish himself4 ,he there received 
the name of ,padovanino1 which he       
retained at an advanced age1 and by     
which he is now generally known4  ,he   
first studied ,titian's works in fresco1
 such as he found in ,padua1 and his    
copies still continue to attract the    
admiration of the greatest professors4  
,in ,venice he persevered in his        
assiduous attention to the same         
incomparable master1 penetrating so far 
by degrees into his peculiar character1 
as to be preferred by many to any of    
,titian's other disciples4 ,but         
comparison is invariably disagreeable1  
and ,i am inclined to think that those  
who personally received from the lips of
 great artists a few brief and sound    
rules1 as to what ought to be avoided or
 achieved in order best to resemble     
them1 are entitled to a high degree of  

respect3 all the speculations of the    
finest genius upon their works are not  
half so valuable2 for the second century
 is fast passing away1 since the oral   
tradition of the best colourists wholly 
ceased1 and we have been attempting to  
attain their method1 in which we cannot 
succeed4 ,padovanino was always equal to
 the task of handling any subject that  
had before been treated by ,titian2 his 
softer ones with grace1 his more        
powerful with strength1 his heroic      
pieces with dignity2 in which last1 if  
,i mistake not1 he surpassed every other
 disciple of this master4 ,le donne1 i  
cavalier1 l'armi1 e gli ,amori1 these1  
and let us add to them his boys1 were   
the favourite subjects of his pencil1   
which he exhibited to most advantage1   
and which he most frequently introduced 
into his compositions4 ,and he knew how 
to treat landscape as well2 which1 in   
some of his small pictures1 he has      
succeeded in admirably4 ,he was familiar
 with the science of the sotto in su1#hj

 of which he gave the most favourable   
specimen in the church of ,san ,andrea  
di ,bergamo1 in three admirable         
histories of that saint4 ,it is a work  
embellished with beautiful architecture1
 and replete with graces in every part4 
,he has approached equally near his     
model in the sobriety of his            
composition1 in the very difficult use  
of his middle tints1 in his contrasts1  
in the colour of his fleshes1 in        
smoothness and facility of hand4 ,but   
,titian was still to remain unequalled  
in his art2 and ,varotari is not a      
little inferior to him in animation1 and
 in the expression of truth4 ,nor can ,i
 believe that his method of preparing   
his canvass1 and of colouring it1 was   
the same as that pursued by ,titian's   
disciples1 many of his pieces being much
 darkened1 with the shades either       
deepened or altered4 ,this is very      
perceptible even in ,varotari's ,dead   
,christ1 at ,florence1 a painting which 
the prince not very long since purchased

 for his gallery there4  ,in other      
points he appears to me to have observed
 the same method1 in regard to his      
model1 as ,poussin1 who aimed at        
,raffaello's manner1 without reaching   
it1 either from want of ability1 or from
 a dread of falling into servility4 ,his
 masterpiece is said to be the ,supper  
of ,cana1 a piece that has been engraved
 by ,patina1 among the ,select          
,paintings4 ,it was formerly in ,padua1 
and is now at ,venice in the ,chapter of
 ,la ,carita2 with few figures in       
proportion to the place2 a rich display 
of costume and ornament2 dogs that      
appear like those of ,paul1 full of     
life2 grand attendance1 women of the    
most exquisite forms warmed with more   
ideal beauty than those of ,titian1 and 
drawn in the most graceful attitudes4   
,still it is not every one who will     
approve of his introduction of them for 
the service of such a table1 in         
preference to men1 as is the more       
general custom4 ,the above picture      

cannot1 however1 boast such fresh and   
lucid tints as his four histories of the
 ,life of ,san ,domenico1 which are to  
be seen in a ,refectory of ,santi       
,giovanni and ,paolo1 containing as it  
were the flower of ,padovanino's best   
style4 ,this very elegant artist spent  
his time between the capital and his    
native province1 where alone his        
pictures abound in public2 in other     
cities they are more rarely met with1   
and are scarce even in private          
collections4  ,in forming a judgment of 
his productions1 it is necessary to be  
upon our guard against a variety of     
copies1 many of his disciples having so 
happily imitated him1 that ,venetian    
professors themselves with difficulty   
distinguish their hand from that of     
their master4  ,bartolommeo ,scaligero  
ranks among the most celebrated pupils  
and imitators of ,padovanino1 an artist 
enumerated by the people of ,padua among
 their fellow citizens1 although they   
can boast little from his pencil2 while 

the ,venetians are in possession of his 
pictures in various churches1 the most  
beautiful1 perhaps1 at the ,corpus      
,domini4 ,gio4 ,batista ,rossi1 from    
,rovigo1 produced one of his pictures   
for ,san ,clemente at ,padua2           
subsequently he flourished at ,venice1  
executing few things for public         
exhibition1 but which are much extolled 
by ,boschini4 ,giulio ,carpioni was     
accounted also among the pupils of      
,varotari1 and acquired a reputation    
rather for his small than his larger    
compositions2 but we shall have occasion
 to allude to him again4 ,maestri and   
,leoni are names recorded in the ,guida 
of ,venice1 distinguished for their     
works in fresco1 exhibited at the       
,conventuali4 ,the former was most      
probably a foreigner1 as well as the    
latter1 whom we shall find at ,rimino4  
,were ,boschini somewhat of a less      
profuse panegyrist1 we might here add to
 this list the name of ,dario1 a son of 
,padovanino1 uniting the character of   

the physician1 the poet1 the painter1   
and engraver4 ,in the index to the      
,carta del ,navegar1 we find him placed 
in the rank of ,dilettanti1 from the    
circumstance of his producing little in 
the art1 and this more with the object  
of presenting his pictures as gifts than
 of gain4 ,nevertheless we meet with an 
encomium upon them1#ha sufficient to    
satisfy the claims even of a good       
professor2 besides which1 several of his
 virtues and portraits1 with an         
excellent body of colouring1 are equally
 extolled for the spirit of their       
attitudes1 and exquisite taste in the   
,giorgione manner4  ,we have next to    
treat of ,pietro ,liberi1 an artist who 
succeeded ,padovanino in sustaining the 
honour of his native place4 ,he ranks   
among the great men of his art1 and is  
esteemed by many the most learned in    
point of design1 of all who adorned the 
,venetian ,school4 ,from his early      
studies of the antique at ,rome1 of     
,michelangiolo1 and of ,raffaello1 of   

,coreggio at ,parma1 and of all the most
 excellent masters in the city of       
,venice1 he was led to form a style     
partaking of every school2 a style that 
pleased in ,italy1 but far more in      
,germany1 and which obtained for him the
 titles of ,count and ,cavalier1 with   
wealth to support them handsomely in    
,venice4 ,and1 in fact1 to estimate his 
merits rightly1 we ought not to consider
 him as a painter in one style1 but in  
many4 ,for according to his own         
confession1 he employed for the eye of  
true judges a free and rapid pencil1 not
 very studious of finish2 for the less  
intelligent he worked with a very       
careful one1 which bestowed the last    
touch upon every part1 distinguishing   
the very hairs in such a manner that one
 might number them2 and these paintings 
he executed on panels of cypress wood4  
,most probably the fire of this man's   
genius became quenched whenever he      
attempted to paint slowly1 and his      
pieces were certainly less perfect1     

which is known to have occurred to      
several painters in fresco4 ,but with   
the exception of these enthusiasts1 who 
are extremely rare1 and always adduced  
by the indolent in defence of their     
haste1 an observing diligence is the    
perfection of every artist2 and even    
those two thunderbolts1 let us call     
them1 of art1 ,tintoretto and ,giordano1
 where they most practised it1 succeeded
 most in charming the eye of taste4 ,the
 style of this artist may also be       
distinguished into the sublime and      
beautiful4 ,he produced fewer specimens1
 however1 in the former1 of which       
,venice boasts a ,slaughter of the      
,innocents1 ,vicenza a ,noah just landed
 from the ,ark1 ,bergamo the ,great     
,deluge1 in which the shore is said to  
have been the work of ,m4 ,montagne2 the
 whole of them painted for churches1    
robust in their design1 displaying fine 
variety of foreshortenings and of       
attitudes1 with naked parts in grand    
character1 and more in emulation of the 

,caracci than of ,michelangiolo4 ,he    
even abused the singular skill that he  
thus displayed2 drawing the ,supreme    
,deity by an unprecedented example1     
without the least drapery1 in the church
 of ,santa ,caterina at ,vicenza1 an    
error of judgment which detracts from   
the worth of one of his most beautiful  
productions4 ,in a lighter character he 
produced several pictures for private   
ornament1 sometimes consisting of fables
 familiar to us1 and sometimes of       
capricci and allegorical subjects1 too  
obscure even for ,o,edipus himself to   
unravel4 ,most frequently he drew naked 
figures of ,venus1 in the taste of      
,titian2 and these are esteemed his     
masterpieces1 which have acquired for   
him1 indeed1 the name of ,libertino4 ,it
 is asserted1 that being unequal to the 
formation of the folds of his draperies1
 for the most part ill disposed and     
vague1 he the more willingly exercised  
himself in these schools4 ,we meet with 
a great number in different collections1

 and after beholding one1 we are at no  
loss to recognize the remainder1 both   
from the heads which are often          
repetitions of each other1 and from the 
rosy tinge of his fleshes1 and of the   
general tone of his pictures4 ,he was   
extravagantly fond indeed of this last  
colour2 which he often misapplied in    
regard to the hands and the extremities 
of the fingers4 ,for the rest the       
composition of his colours was sweet2   
his shades delicate1 in the ,correggio  
manner1 and his profiles often borrowed 
from the antique1 while his whole       
handling was free and elevated4  ,marco 
,liberi1 his son1 was not in any way    
comparable to his father1 either in     
point of dignity or beauty1 when left to
 his own invention4 ,his forms are      
either caricatures1 in a manner1 of     
those of his father1 or are very        
inferior where they are original4 ,this 
striking difference may be observed in  
numerous collections1 where their       
paintings of ,venus are placed together1

 as we see in that of ,prince ,ercolani 
at ,bologna4 ,still he was an excellent 
copyist of his father's works1 a talent 
possessed by many others of the same    
school1 whose imitations are easily     
mistaken for originals1 even by         
professors themselves4  ,an excellent   
foreign artist ought not to be omitted  
in this place1 one who flourished during
 a long period1 and taught and died in  
,padua4 ,his name is ,luca ,ferrari1    
from ,reggio1 fully deserving of being  
enrolled in the ,abbeccedario           
,pittorico4 ,although ,guido's pupil1   
his style became rather lofty than      
delicate2 so that judging by the        
pictures that he produced for ,santa    
,maria della ,ghiaja in ,reggio1        
,scannelli pronounced him a disciple of 
,tiarini4 ,in some of the airs of his   
heads1 however1 and in certain graceful 
motions1 he shews himself not unworthy  
of the character of the former master4  
,in ,padua there is a ,pieta of his at  
,san ,antonio1 of a very masterly kind1 

a picture that displays the rarest      
beauty of colouring4 ,in his pieces     
abounding with figures1 like that of the
 ,plague of #afcj1 painted for the      
,domenicani1 he does not appear to so   
much advantage2 nor had ,guido1 indeed1 
offered him any great examples in this  
line1 being accustomed rather to weigh  
than to number his figures4 ,minorello  
and ,cirello1 two of his pupils and     
followers1 continued to support in      
,padua some relish of the ,bolognese    
,school4 ,their names might be added to 
the dictionary above mentioned1 as      
,rosetti seemed to wish1 and the former1
 who might sometimes be confounded with 
,luca1 ought to hold a higher place in  
it than the latter4 ,francesco ,zanella 
deserves likewise to be recorded there1 
as an artist of spirit1 though neither  
very diligent nor very learned in his   
art4 ,he is esteemed almost the         
,giordano of this city1 from the great  
number of his works conducted in a short
 time1 and may be computed almost as the

 last of the school2 for ,pellegrini1   
who flourished during the same age1 was 
not a native1 though tracing his origin 
to ,padua2 nor did he reside there many 
years4  ,the city of ,vicenza produced  
nothing original during this epoch2     
though it possessed a school1 sprung    
from that of ,paul ,veronese and from   
,zelotti1 of which ,i promised the      
reader a series in a more appropriate   
part of the work4 ,in regard to its     
style1 this school1 in part1 belongs to 
a better age2 but its productions are   
chiefly so very indifferent1 and so much
 the result of mechanic art1 that it may
 rather be ascribed to the present4     
,vicenza indeed might have had reason to
 boast1 had it possessed artists at all 
equal in point of genius to its         
architects4 ,i shall first commence with
 the name of ,lucio ,bruni1 whether a   
native of the state or a foreigner is   
uncertain1 an artist who produced1 for  
,san ,jacopo1 a little altarpiece1      
representing the marriage of ,s4        

,catherine1 executed in #aehe1 and      
partaking of the genius of a better age4
 ,i have met with no other notice of    
him2 for as he was probably little known
 in times when ,italy abounded with the 
choicest artists1 he found no historian 
who might have rescued his reputation   
from oblivion4 ,yet this ,i would       
willingly do1 if not by giving him a    
rank in this school1 at least including 
him in the list of artists of the city1 
where ,i find mention of his name4      
,giannantonio ,fasolo received the      
instructions of ,paul1 and for a longer 
period those of ,zelotti2 still         
adhering1 however1 to ,paul as his first
 example4 ,at ,san ,rocco there is one  
of his pictures1 a ,probatica1 so       
beautifully decorated with perspective1 
and so finely filled with sick figures1 
in various groups and distances1 that   
,paul ,veronese would not have          
disclaimed it for his own4 ,there are   
likewise three ,roman histories in the  
ceiling of the prefectory palace2       

,mutius ,scaevola before ,porsenna1     
,horatius at the ,bridge1 and ,curtius  
before the ,gulf2 the whole of them     
nobly executed4 ,by some strange mistake
 ,orlandi mentions ,verona as the place 
of his birth1 and where he exercised his
 talents4  ,among his pupils was        
,alessandro ,maganza1 son of the same   
,giambatista whose name ,i recorded     
among ,titian's followers4 ,fasolo      
inspired him with his own taste2 and we 
may likewise consider him a fine        
imitator of ,zelotti and of ,paul       
,veronese2 as he has shown in his       
,epiphany1 at ,san ,domenico2 and in his
 ,martyrdom of ,s4 ,giustina1 at ,san   
,pietro4 ,in his architecture he was    
excellent1 judicious in his composition1
 very pleasing in his countenances2 in  
his fleshes inclining towards white2 in 
his folds somewhat hard and monotonous2 
and for the most part wanting in        
expression4 ,vicenza has an abundance of
 his paintings1 both private and in     
public2 besides the provinces and the   

adjacent cities1 to such an amount1 that
 we have no difficulty in believing that
 he flourished till his seventy-fourth  
year2 that he painted for good prices1  
and with little trouble4 ,a few of his  
pictures1 such as we meet with at       
,vicenza1 are amply sufficient to give  
us an idea of the rest2 not unfrequently
 presenting us with the same features   
and the same attitudes and motions4 ,we 
are to look for the cause of this1 not  
so much in his genius1 which he shows in
 many of his works to have been         
excellent1 as in his domestic anxieties1
 occasioned by a numerous family for    
whom he had to provide4 ,this artist was
 extremely unfortunate as a father4     
,giambatista1 the eldest of his sons1   
emulated him in knowledge2 and if we may
 venture to judge from one of his       
histories1 of ,san ,benedetto1 at the   
church of ,s4 ,giustina1 in ,padua1 he  
was superior to him in point of         
elegance4 ,but the support he derived   
from this young man's talents was soon  

cut off by his early death1 leaving a   
young family of his own to the care of  
their grandfather4 ,his second son1     
,girolamo1 who had also to make         
provision for his own children1 and     
,marcantonio1 quite a youth1 afterwards 
assisted their father in his            
productions1 and already began to       
acquire some degree of reputation from  
their own4 ,when1 in the year #afcj1    
their native place was ravaged by the   
plague1 ,alessandro had the grief to    
witness the death of his two sons1 and1 
one by one1 of the whole of his         
grandchildren2 until left the last of   
his race1 to lament over the destruction
 of his kindred1 he shortly followed    
them to the tomb1 closing with his death
 that noble school which the two        
illustrious ,veronese had founded in    
,vicenza4  ,yet it did not altogether   
perish2 but was continued by ,maffei1 by
 ,carpioni1 and by ,cittadella1 three   
artists who1 compared with the ,maganza1
 sometimes appear to have sprung from   

the same academy1 either from having    
studied in ,vicenza the models they     
imitated1 or because the style1 which   
partakes both of that of ,paul and      
,palma1 was then in high repute1 as that
 of ,cortona at another period among us4
 ,they were all three1 like ,alessandro 
himself1 rapid in their composition2 and
 were their pictures1 even belonging to 
the city1 to be enumerated1 they would  
most likely be found to equal those of  
all the other foreign or native artists 
employed there4 ,francesco ,maffei1 from
 ,vicenza1 had been the pupil of        
,peranda1 some of whose unfinished      
pieces he completed4 ,he next undertook 
to imitate ,paul ,veronese1 with a      
tolerable degree of spirit and learning4
 ,his style is on a lofty scale2 in so  
much that ,boschini entitles him the    
great mannerist1 extolling him as the   
painter of giants4 ,nor is he wanting in
 a certain grace peculiarly his2 which  
distinguishes him from the mannerists4  
,his picture of ,st4 ,anna1 at ,san     

,michele di ,vicenza1 besides many works
 produced at the same place for the     
public palace1 and elsewhere1 extremely 
poetical1 full of fine portraits1 and   
coloured in the best ,venetian taste1   
show that he was able to compete with   
more skilful artists than ,carpioni and 
,cittadella1 his contemporaries4 ,and as
 he1 perhaps1 did not consider them very
 formidable rivals1 he did not finish   
his pieces with much care1 leaving many 
of his heads1 besides other portions of 
his figures1 incomplete2 scanty in his  
colouring1 employing dark grounds1 and  
altogether painting rather for years    
than for ages4 ,at ,san ,francesco1 in  
,padua1 there is a grand picture of his 
,paradise1 which1 owing to this method1 
has lost almost every trace of colour4  
,this result extinguishes the praise    
which ,boschini bestows upon him1 that  
with four touches of his pencil he could
 make the observer raise his eyebrows   
with admiration1 and is a very excellent
 warning1 we think1 for over expeditious

 artists4 ,their pictures may be said1  
indeed1 to resemble certain children1   
the offspring of unhealthy parents1 who 
sometimes exhibit a florid countenance  
in youth1 accompanied with every other  
symptom of health1 but1 declining as    
they advance1 their constitution becomes
 exhausted in a few years4  ,giulio     
,carpioni1 a pupil to ,padovanino1 and  
for the same reason familiar with the   
composition of ,paul ,veronese1 has     
assuredly more vivacity1 power of       
expression1 and poetry than ,maffei4 ,he
 was not1 however1 equally inclined to  
grand proportions1 and works upon an    
extensive scale4 ,his figures do not    
usually exceed the size of those of     
,bassano2 and they are more frequently  
met with in collections than in         
churches1 throughout the whole ,venetian
 state4 ,in many noble houses we also   
find pictures consisting of bacchanals1 
dreams1 fables1 and capricci1 or fancy  
pieces1 as well as histories1 all       
touched with a spirit and a taste in his

 tints1 which his master himself might  
have thought worthy of his pencil4 ,he  
appears to have produced others for the 
people1 if indeed they are not the work 
of his pupils1 or of his son ,carlo1 who
 is supposed to have followed1 in all   
points1 the example of his father2      
though ,i never met with any piece that 
was positively genuine4 ,he was1        
likewise1 a good portrait painter2 and  
in the public ,council ,hall at         
,vicenza1 as well as in the church of   
the ,servi at ,monte ,berico1 appear the
 portraits of several of the magistrates
 in that government1 accompanied by     
their trains2 in which1 to singular     
correctness of feature1 we meet with    
much ideal beauty in his representation 
of the ,virtues1 that he introduced with
 appropriate and noble inventions4 ,such
 an artist ought to be well known in    
,venice and ,vicenza1 where he          
flourished during many years4 ,he passed
 his latter days in ,verona1 where his  
contemporary1 ,bartolommeo ,cittadella1 

had likewise taken up his residence2    
last of the three whom ,i have just     
before mentioned4 ,it is uncertain      
whether he was a pupil1 or only a       
companion of ,carpioni2 but he is       
indisputably his inferior in point of   
genius and ability4 ,to the same school 
we may add the name of ,niccolo ,miozzi1
 of ,vicenza1 recorded in the ,gioielli 
,pittoreschi of ,boschini2 and1 though  
more doubtful1 that of ,marcantonio     
,miozzi1 known by his superscription    
attached to a sacred subject1 in        
possession of the house of ,muttoni1 at 
,rovigo4  ,towards the close of the     
century1 one of the artists in most     
request was ,menarola1 whose style      
approaches nearer to the modern4 ,he was
 pupil to ,volpato1 though chiefly      
following the manner of ,carpioni4 ,next
 to him was ,costantin ,pasqualotto1    
more distinguished for colouring than   
for design2 and ,antonio de' ,pieri1    
called ,zoppo1 of ,vicenza1 who         
possessed a rapid1 but less decided     

hand2 along with some others who may be 
recognized in this description4 ,still  
higher in repute than these was         
,pasquale ,rossi1 little of whom remains
 in ,vicenza1 having chiefly attached   
himself to the ,roman ,school1 where he 
will be found mentioned4 ,gio4          
,bittonte1 leaving ,vicenza1 established
 himself1 and painted a good deal at    
,castelfranco2 where1 from the          
circumstance of founding a school both  
of painting and of dancing1 he acquired 
the surname of ,ballerino4 ,melchiori   
represents him as pupil to ,maffei1 and 
master of ,melchiore1 his father1 who   
lived also in ,castelfranco1 where he   
was much employed1 although engaged also
 at ,venice1 in the ,casa ,morosini1    
where he competed with the ,cavalier    
,liberi4  ,when the ancient school had  
become wholly extinct at ,bassano1 there
 appeared a ,gio4 ,batista ,volpati1 who
 produced many pictures for his native  
state2 somewhat resembling ,carpioni in 
his capricci and in his style1 but more 

common1 perhaps1 in his features and    
whole design4 ,his pupils are said to   
have been one ,trivellini1 and one      
,bernardoni1 both still inferior to     
their master4 ,he left behind him       
several treatises upon the pictoric art1
 which are yet existing in ,,ms4 in the 
rich and select library of ,count       
,giuseppe ,remondini4 ,in the preface to
 these he asserts that he had no master1
 though he is said1 in a ,,ms4 at       
,castelfranco1 to have been a pupil of  
,novelli4 ,the work is interspersed with
 good remarks1 such as to lead us to    
suppose him a tolerable theorist2 and   
,algarotti took a copy of it1 as we     
learn from the index of his works upon  
the fine arts1 already before the       
public4  ,we have above alluded to a    
branch of the ,veronese ,school1        
transplanted to ,padua1 where it        
flourished with extraordinary success4  
,referring to its origin1 and to those  
,veronese artists who lived contemporary
 with ,palma1 and until the close of the

 #agth century1 it must be observed1    
that they maintained the national       
reputation no less than those of ,padua1
 and were even more constant in the good
 old method of managing their grounds   
and their style of colouring4 ,i have   
noticed the name of ,claudio ,ridolfi#hb
 in a former school1 from the           
circumstance of his having flourished in
 the pontifical state4 ,he did not1     
however1 desist from his labours in the 
,venetian state1 some of which appear in
 the capital and the adjacent cities1   
particularly in his native place1 and   
,padua4 ,in the celebrated church of ,s4
 ,giustina1 there is a very fine piece1 
representing the honours of the         
,benedictine order1 professed by        
princes1 adorned by martyrs1 and the    
nurse of the most distinguished pastors 
of the holy church4 ,the invention is   
very appropriate1 the execution         
altogether elegant and well finished1   
and the ornaments equally rich as in any
 of his other works4 ,he presented his  

country with a good disciple of his     
style1 in ,gio4 ,batista ,amigazzi1     
though his chief talent seemed to       
consist in the excellence of his copies4
 ,in ,san ,carlo1 at ,verona1 there is  
one taken from a ,supper by ,paul       
,veronese1 not only finely drawn1 but   
exhibiting colours fresh and vivid even 
at the present day4 ,still superior to  
him1 and almost equal to his master1 we 
meet with ,benedetto ,marini1 of        
,urbino1 an artist unheard of in his own
 country1 though greatly distinguished  
at ,piacenza4#hc  ,posterior to ,ridolfi
 appeared three scholars of ,felice     
,brusasorci1 in addition to ,creara1 an 
artist less celebrated2 all of whom1 on 
the death of their master1 pursued their
 studies at ,rome4 ,there they imbibed1 
more or less1 the prevailing style2 and 
all of them occupy a distinguished rank 
in the history of the art4 ,alessandro  
,turchi1 surnamed ,orbetto1 is1 in      
particular1 distinguished among the     
first of his age2 he was called         

,orbetto1 observes ,pozzo1 because1 when
 quite a boy1 he was in the habit of    
guiding an old blind mendicant1 either  
his father1 or some other person4       
,passeri declares that he derived it    
from his having a defect in one of his  
eyes2 which was observable in his left  
eye1 as ,i am informed by ,signor       
,brandolese1 after having seen his      
portrait1 engraved after the original1  
in possession of the ,signori ,vianelli4
 ,brusasorci1 from certain undoubted    
symptoms1 discovered in him a fine      
genius for the art2 and1 giving him the 
best instructions1 in a few years       
encountered a rival1 rather than a      
disciple4 ,residing afterwards in       
,venice1 under ,carlo ,caliari1 and     
thence proceeding to ,rome1 he formed a 
style wholly his own1 possessing some   
strength but more elegance4 ,he         
established himself in ,rome1 where he  
entered into competition with the       
followers of the ,caracci1 with ,sacchi1
 and with ,berrettini2 with whom he     

appears to advantage in the church of   
the ,concezione1 as well as in a few    
others4 ,but no city has so many of his 
pieces in public as ,verona1 to say     
nothing of those he painted for private 
persons4 ,the family of the ,marchesi   
,girardini alone1 who patronised him and
 supported him at ,rome1 for which we   
have original letters and documents1    
possesses sufficient to enrich several  
collections1 among which it is amusing  
to trace his progress from the inferior 
to the more correct specimens1 and from 
a lower degree of ornament to the       
highest4 ,some1 indeed1 have ventured to
 put him in competition with ,annibal   
,caracci2 a comparison that1 in other   
times1 would have created as great a    
sensation in ,bologna as the celebrated 
,rape of the ,bucket1 and one which     
ought not to be listened to1 indeed1 any
 where4 ,annibal was a painter worthy of
 our veneration1 and ,turchi succeeded  
in imitating his design in the ,sisara  
of the ,casa ,colonna and elsewhere4    

,but he was not so happy in every       
instance1 and1 generally1 his naked     
figures1 7which approach1 in ,annibal1  
to those of the ancient ,greeks17 are   
not equal to such as he has thrown into 
costume4 ,on the contrary1 ,passeri1 in 
describing his picture at the           
,camaldolesi1 in ,rome1 admits that he  
did not display perfect taste in his    
art1 while ,pascoli1 in his life of     
,gimignani1 says he enjoyed some degree 
of reputation at ,rome2 an incautious   
expression1 if ,i mistake not1 but which
 at least shews that ,turchi is not     
entitled to a comparison with ,annibal  
,caracci4 ,still he exhibits so many    
attractions1 that he never fails to     
please us in every subject4 ,he seems to
 have aimed at forming an union of      
various schools1 and added to it a      
certain originality in giving dignity to
 the portraits introduced into his      
histories1 with the most animated1 yet  
the most delicate complexions4 ,he      
excelled in the choice and distribution 

of his colours1 among which he          
introduces a reddish tint1 which much   
enlivens his pictures1 and is one of the
 indications by which we may recognise  
the author4 ,he is said to have employed
 exquisite care in the application of   
his tints1 and to have possessed some   
secret art1 by means of which they      
continue to attract the envy of         
posterity4 ,the truth is1 he selected1  
purified1 and kneaded well his colours1 
besides consulting chemists upon the    
subject4 ,from some pictures we feel    
inclined to turn away in disgust1 so    
extremely do the colours resemble the   
tints made use of by coach painters2 and
 we have reason to complain of want of  
refinement in many instances4 ,but how  
very few apply themselves seriously to  
select and refine their materials1 to   
make experiments1 and to analyse those  
colours that have been once applied4    
,at the church of ,san ,stefano1 in     
,verona1 there is exhibited his ,passion
 of the ,forty ,martyrs1 a work that1 in

 regard to depth of colours and         
foreshortening1 partakes much of the    
,lombard2 in point of expression and    
design1 of the ,roman2 and in its       
colouring1 of the ,venetian ,school4 ,it
 is one of the most studied1 finished1  
and animated pieces that he produced3   
there is a choiceness in the heads that 
approaches ,guido's2 and a skill of     
composition1 that throws into the       
background of the picture a great       
portion of the multifarious history1 as 
appearing in a field of vast extent1    
where his figures are admirably varied1 
according to the distances in which they
 are supposed to appear4 ,yet he does   
not belong to that class of artists who 
go about in search of personages for    
their histories1 in order to fill them  
with figures4 ,on the other hand1 he    
appears to take more pleasure in        
introducing an inferior number4 ,thus   
his picture of a ,pieta painted for the 
church of ,la ,misericordia1 at ,verona1
 exhibits only a dead ,christ1 the      

,virgin1 and ,nicodemus2 but the whole  
so well designed1 arranged1 and         
animated1 as well as coloured1 that it  
has been esteemed by many his           
masterpiece1 and is certainly one of the
 best paintings in ,verona4 ,in that of 
his ,epiphany also1 in possession of the
 ,signori ,girardini1 of which the rough
 draft is preserved in the ,casa        
,fattorini1 at ,bologna1 he is by no    
means lavish of his figures2 but he     
succeeded in arraying those of the ,magi
 in so noble a manner1 as to remind us  
of ,titian and ,bassano4 ,turchi died at
 ,rome1 leaving behind him two excellent
 disciples in ,gio4 ,ceschini1 and ,gio4
 ,batista ,rossi1 called il ,gobbino4   
,the first of these produced copies of  
his master's works1 that had all the    
appearance of originals4 ,both continued
 to employ themselves at ,verona1 though
 declining in importance and in credit  
in proportion as they advanced in years4
  ,pasquale ,ottini1 the same who1 with 
,orbetto1 completed some pictures by    

,felice1 was a good artist in regard to 
his forms1 and of no common expression1 
particularly in the works he conducted  
after having seen ,raffaello's4 ,of this
 we have a striking specimen in the     
,slaughter of the ,innocents1 placed at 
,san ,stefano1 although it is subjected 
to an unfavourable comparison1 being    
placed opposite to one of the finest    
productions of ,orbetto4 ,he appears to 
more advantage1 perhaps1 at ,san        
,giorgio1 where we meet with his picture
 of ,san ,niccolo1 with other saints1 in
 the best ,venetian style of colouring2 
whereas1 in other instances1 his colours
 are somewhat languid2 a defect most    
probably arising from time1 and         
unfavourable situations4 ,finally1 he is
 in high repute in his own country2 and 
in the learned ,alessandro ,carli's     
,history of ,verona1 he is mentioned as 
approaching the nearest of all1 in point
 of excellence1 to ,paul ,veronese4     
,subsequent to him1 and not inferior in 
talent1 we meet with ,marc ,antonio     

,bassetti1 who1 leaving his fellow      
pupils1 set out1 very young1 to complete
 his studies at ,venice4 ,after again   
joining them1 he next transferred his   
residence to ,rome2 and having copied   
from the best models of both schools1 he
 ultimately returned to his native      
place4 ,he is particularly commended by 
,ridolfi in the branch of design1 in    
which he was truly great2 add to which1 
he was an excellent colourist4 ,and he  
was accustomed to advise those who aimed
 at good colouring to return1 in the    
first place1 to ,venice1 and again to   
consult the most beautiful productions  
of the art4 ,there is one of his        
altarpieces at ,san ,stefano1 in        
,verona1 representing various holy      
bishops of the city1 all arrayed in     
their sacred habits1 all admirably      
contrasted1 and in a taste nearly       
approaching that of ,titian1 were it not
 for the vicinity of ,turchi1 who seems 
here again to throw him somewhat into   
the shade4 ,he left no succession of the

 school1#hd nor1 indeed1 many works of  
his own1 though they were highly valued4
 ,for he was accustomed to say that     
painting ought not to be pursued by     
journeymen1 like a mechanic art1 but    
with the leisure that is bestowed upon  
literature1 for the sake of the pleasure
 it affords4 ,it would appear that      
,dante adopted almost the same maxim in 
his poetry1 when he watched for1        
observed1 and encouraged the impressions
 that nature1 the first guide of all    
true geniuses1 implanted in his         
spirit4#he ,these two friends met their 
fate together1 dying of the plague in   
the year #afcj1 as well as many other   
scholars of ,brusasorci1 mentioned by   
the ,commendatore del ,pozzo4 ,but ,i   
omit their names1 either because of     
their early death1 or want of talent to 
distinguish themselves4 ,thus1 about the
 same year1 when ,orbetto had already   
established himself in ,rome1 the       
succession of ,brusasorci's school      
ceased in ,verona4 ,the disciples of    

,paul ,veronese1 mentioned subsequent to
 him1 ,montemezzano1 ,benfatto1 ,verona1
 and others1 died likewise about this   
period2 insomuch that every trace of the
 municipal school may be said to have   
disappeared1 and it was succeeded by a  
variety of foreign styles4  ,indeed1 for
 some time before1 the young ,veronese  
artists had become attached to foreign  
academies1 and several strangers had    
established themselves in ,verona4      
,dionisio ,guerri had formed1 under the 
direction of ,feti1 a very striking and 
clear style2 in himself equal to        
repairing the loss of many artists4 ,but
 he died young1 in #afdj1 leaving few   
works behind him1 in a great measure    
dispersed through foreign collections2  
and he was much lamented4 ,francesco    
,bernardi1 called ,bigolaro1 supposed to
 have been a native of ,brescia1 until  
the ,commendatore del ,pozzo proved him 
to have been of ,verona1 was an artist  
educated by the same master4 ,he        
exhibited1 in his picture of the        

,titular ,saint1 at the church of ,s4   
,carlo1 seen in the act of attending his
 infected brethren1 as well as in       
another piece1 a companion to it1 all   
the taste of his master4 ,but he        
produced much more for private          
collections1 than for the public4 ,the  
,cavalier ,barca was an artist who      
sprung from ,mantua1 though he          
subsequently became a citizen of        
,verona4 ,it is uncertain whether he was
 instructed by ,feti4 ,his style is     
various2 and in a ,pieta of his1        
remaining at ,san ,fermo1 he appears a  
painter capable of producing a good     
effect2 in other pieces1 at the ,scala1 
he abounds with pictorial grace and     
beauty1 and he is fully worthy of       
commemoration4  ,the city of ,bologna1  
likewise1 contributed to repair the loss
 sustained by ,verona of so many        
artists4 ,guido and ,albani conferred   
great obligations1 by instructing the   
,cavalier ,coppa 7his real name1        
however1 was ,antonio ,giarola1 or      

,gerola7 who is to be enumerated in the 
list of their best disciples1 though he 
is somewhat too loaded in his           
composition1 and1 with a view of        
catching the sweetness of ,guido1 became
 wanting in strength of colouring4      
,there is one of his ,magdalens in the  
,desert1 however1 placed at the ,servi1 
which is full of fine expression4 ,and  
in the refectory1 also1 of the ,veronese
 college1 is his ,supper of ,emmaus1 a  
picture conducted in the style of the   
best ,venetians4 ,although addicted to  
the style of ,guido1 he was also        
considered by ,albani as one of his     
favourite pupils1 who sent him as court 
painter to the ,duke of ,mantua1 as we  
are informed by ,malvasia4#hf ,from the 
same academy sprung ,giacomo ,locatelli1
 distinguished for several works1       
chiefly produced for ,san ,procolo1 as  
well as on account of the merit of some 
of his pupils4 ,they rose into notice in
 the decline of the art1 about the close
 of the seventeenth century4 ,andrea    

,voltolino1 a careful but cold painter1 
was more fitted to succeed in portraits 
than in compositions2 ,biagio ,falcieri1
 instructed also by the ,cavalier       
,liberi at ,venice1 possessed much of   
the fire and imagination abounding in   
the ,venetian ,school4 ,of this he gave 
an example in his great picture         
representing the ,council of ,trent1    
where the figure of ,st4 ,thomas1 in the
 act of overthrowing heretics1 appears  
conspicuous on high1 a piece that adorns
 the church of the ,domenicans4 ,santo  
,prunato was instructed by these two    
professors1 an artist who brought the   
,veronese ,school into fresh notice1 as 
we shall have occasion to observe in the
 following period4  ,the school of      
,moretto continued during this epoch to 
flourish in ,brescia2 a master          
exquisitely delicate in his colours1 and
 extremely diligent1 as is evident from 
his works4 ,such is the opinion         
expressed by ,vasari2 but he did not    
always preserve the same excellence4    

,there is not the same degree of finish 
in his disciples1 and it was1 indeed1   
too difficult1 while so large a portion 
of the state put a high value upon      
celerity of hand1 to pursue more tedious
 processes4 ,the ,brescian artists who  
succeeded him1 having in part received a
 ,venetian education1 the city abounded 
in mannerists and the class of          
tenebrosi4 ,still there appeared among  
these some excellent painters4 ,antonio 
,gandini and ,pietro ,moroni1 or        
,maroni1 are enumerated among the pupils
 of ,paul4 ,the former sometimes        
imitated ,vanni1 without neglecting     
,palma2 vast1 varied1 and ornate in his 
compositions1 an artist every way       
deserving of consideration in the grand 
history of the ,cross1 which he painted 
in the old cathedral1 where his son     
,bernardino1 a poor imitator of his     
father1 also employed himself4 ,moroni  
studied a good deal the works of        
,titian1 and was one of the most        
accurate and fine designers the school  

could1 at that time1 boast2 nor does he 
yield to any of his contemporaries in   
the strong body1 and in the clearness of
 his colouring4 ,such at least he       
appeared to me at ,san ,barnaba1 in his 
picture of ,christ going to ,mount      
,calvary1 when compared with other      
productions of the same period exhibited
 there4  ,filippo ,zanimberti1 pupil to 
,peranda1 and an artist of fine         
character1 and a fine hand1 as well as a
 very natural colourist1 has never been 
sufficiently appreciated in ,brescia4   
,but in ,venice1 where he resided many  
years1 and where he painted with real   
genius and skill for different churches1
 he is very highly esteemed4 ,in ,santa 
,maria ,nuova appears his grand picture 
of the ,manna1 so much commended by     
,ridolfi1 by ,boschini1 and by ,zanetti2
 though he chiefly seems to have        
employed himself in the ornament of     
palaces4 ,he possessed singular talent  
for drawing small figures1 and composing
 fables and histories1 which were       

eagerly sought after1 insomuch that the 
poet of the ,venetian paintings affirms 
that whoever possessed ,zanimberti's    
pictures1 was sure of his money4        
,francesco ,zugni1 of ,brescia1 is      
mentioned by ,ridolfi among the best of 
,palma's disciples4 ,he could not       
compete with him in the beauty of his   
forms and attitudes1 though he surpassed
 him in the fulness of his colouring1   
and in the spirit in which he conducted 
his works4 ,these were for the most part
 in fresco1 and frequently exhibited the
 perspectives of ,sandrini1 an architect
 of great merit4 ,with him he was       
employed in the hall of the ,podesta1 in
 that of the ,capitano1 and in several  
villas4 ,he displayed equal excellence  
in his oil paintings1 as we gather from 
that of the ,circumcision at the        
,grazie1 and from some small figures    
adorning one of the choirs1 designed and
 touched with great spirit4  ,grazio    
,cossale1 or ,cozzale1 produced a       
variety of pieces upon a large scale1   

still remaining in his native province4 
,he was gifted with a rich imagination1 
and of a character1 compared by         
,cozzando1 the historian of ,brescia1 to
 that of ,palma2 and he indeed appears  
to have emulated his facility without   
abusing it4 ,his picture of the         
,presentation1 which he left at the     
church of the ,miracoli2 his ,epiphany  
at the ,grazie1 and other pieces        
dispersed throughout ,brescia1 are all  
calculated to arrest the eye of the     
spectator1 who must likewise possess    
little feeling1 should he fail to lament
 the unhappy fate of so great a man1 who
 fell by the hand of one of his own     
sons4 ,neither in ,camillo ,rama1       
,ottavio ,amigoni1 nor in ,jacopo       
,barucco1 all disciples of ,palma1 have 
,i met with any works of equal beauty   
throughout that city1 the last of whom1 
indeed1 has loaded his pieces with a    
more than ordinary degree of shade4     
,amigoni1 who had been pupil to         
,gandino1 likewise held his school1 in  

which he counted1 among other scholars1 
,pompeo ,ghiti1 an artist who1 under    
,zoppo of ,lugano1 succeeded in         
improving his manner1 or rendered it at 
least more powerful4 ,he possessed a    
rich imagination1 excellent in the art  
of design1 and in his touch similar to1 
though perhaps not so strong as the     
,luganese4 ,francesco ,paglia was a     
pupil and imitator of ,guercino1 and the
 father of ,antonio and ,angelo1 both   
devoted to the art4 ,he was most        
successful in his portraits1 though he  
painted also scriptural pieces2 one of  
the most esteemed of which is to be seen
 at ,la ,carita4 ,he was excellent in   
the laying on of his colours1 and in    
chiaroscuro1 but displayed little       
spirit1 while his proportions were      
frequently too long and slender4 ,but to
 describe minutely the manner of the    
successors of ,ghiti and ,paglia1 would 
occupy too much of our space2 such are  
the names of ,tortelli1 very spirited in
 ,venetian composition1 of ,cappelli1   

instructed likewise by ,pasinelli at    
,bologna1 and by ,baciccio at ,rome1    
along with some others of a more modern 
character1 who succeeded tolerably in   
the path marked out by the artists of   
,bologna1 and a few of whom may be      
referred to the ensuing epoch4  ,during 
the time of ,palma and the ,venetian    
mannerists1 the art had been maintained 
in ,bergamo by the successors of ,lotto1
 and of his contemporaries4 ,we meet    
with ample commendations of ,gio4 ,paolo
 ,lolmo1 a good artist in diminutive    
pictures4 ,in the altarpiece of ,santi  
,rocco and ,sebastiano at ,s4 ,maria    
,maggiore1 and executed about #aehg1 not
 one of his earliest pieces1 he         
displayed a great partiality for the    
design of the fourteenth century2       
diligent1 a minute observer of          
refinements in figures1 though not      
sufficiently modern4 ,but there were two
 excellent artists1 altogether in the   
modern style1 who flourished at the same
 period2 ,salmeggia and ,cavagna1 who   

competed with one another in perfect    
amity1 for many years1 in ornamenting   
their native province4 ,one of them died
 in #afbf1 the other in the following   
year4  ,enea ,salmeggia1 called         
,talpino1 received instructions in the  
art from the ,campi at ,cremona1 and    
from the ,procaccini in ,milan2 whence  
proceeding to ,rome1 he studied for a   
period of fourteen years the models of  
,raffaello1 imitating him during the    
remainder of his life4 ,orlandi and     
other writers join in extolling his ,san
 ,vittore1 at the ,olivetani in ,milan1 
as well as a few other of his works1    
observing that they had been even       
ascribed to ,raffaello4 ,and whoever    
attentively examines that fine specimen1
 will not feel inclined to refuse       
,salmeggia one of the most distinguished
 places in the rank of ,raffaello's     
followers4 ,the clearness of his        
contours 7sometimes1 however1 carried to
 the borders of littleness7 the         
expression of his youthful countenances1

 the smoothness of his pencil and the   
flow of his drapery1 together with a    
certain graceful air in the motions and 
expressions1 sufficiently mark him for  
an admirer of that sovereign master1    
however much inferior to him in point of
 dignity1 in imitation of the antique1  
and in felicity of composition4 ,his    
method of colouring was also different4 
,he affects greater variety of colours  
in his draperies2 the tints in a large  
portion of his works are at present     
faded2 and the shades as in other       
pictures of the same period1 are much   
altered4 ,yet it is probable that this  
great artist1 as it has been observed of
 ,poussin and of ,raffaello himself1 did
 not always bestow the same degree of   
care upon his colouring1 satisfied with 
displaying from time to time his        
surpassing excellence in this           
department4 ,in the church of ,la       
,passione at ,milan1 he produced his    
,christ praying in the ,garden1 as well 
as his picture of the ,flagellazione1   

works conducted in his best style4 ,the 
former of these is finely coloured in   
the manner of the ,bassani2 and the     
latter1 of a more lofty and animated    
character1 is superior to the other even
 in force of colouring4 ,bergamo boasts 
other specimens of him1 and in          
particular in the two great altars of   
,santa ,marta and of ,santa ,grata4     
,there we meet with two noble pictures1 
each of which may boast its separate    
admirers who prefer it to the other2 and
 each displays an union of colours1 at  
once so fresh1 clear1 and beautiful1    
that we are never weary of contemplating
 them4 ,in both he has observed the same
 general composition2 the ,virgin being 
represented on high1 crowned with a     
glory1 while below her are seen the     
figures of several saints2 but in the   
second1 perhaps1 he has employed a      
greater degree of care4 ,here he has    
introduced a splendid variety of        
shortenings1 of attitudes1 and of       
lineaments2 and even inserted the city  

of ,bergamo1 with some fine architecture
 in the style of ,paul ,veronese4 ,the  
figures are arrayed with extreme care1  
among which appears a bishop in his     
sacred paraphernalia1 that serves to    
remind us of ,titian himself4 ,his      
pictures for private ornament are rare  
and valuable1 but not sufficiently known
 beyond his native province and its     
vicinity1 a circumstance common to many 
very excellent artists belonging to all 
our schools4 ,italy1 indeed1 is too     
abundantly supplied with distinguished  
names to admit of the whole of them     
being generally known and estimated as  
they deserve4  ,the style of ,enea was  
not such as to be easily maintained1    
without consulting the great examples of
 ,raffaello as he had done4 ,his two    
sons1 ,francesco and ,chiara1 although  
educated by their father1 succeeded     
rather in imitating his studies and his 
figures1 than in thoroughly penetrating 
into the principles of his art4 ,the    
fruits1 however1 of a good education    

were sufficiently apparent in them2 and 
when placed in competition with some of 
their contemporaries1 they appear1 if   
not very animated1 at least very        
sedulous artists1 and greatly exempt    
from the faults of the mannerists4 ,the 
city is in possession of many of their  
public works2 in some of the best of    
which their father is supposed to have  
afforded them his assistance4           
,gianpaolo ,cavagna seems in some way to
 have escaped the notice of ,boschini1  
and even of ,orlandi1 who had bestowed  
so much commendation upon his rival4 ,he
 ranks1 in his native province1 as high 
as ,salmeggia1 and he certainly appears 
to have possessed a still more enlarged 
genius1 more decision1 and more talent  
for extensive works4 ,a pupil of        
,morone1 the great portrait painter1 as 
we have already mentioned1 he evinced a 
taste for the ,venetian ,school1        
attaching himself in particular to ,paul
 ,veronese1 in whose style he conducted 
some of his best productions4 ,he was   

ambitious of surpassing him likewise in 
point of design1 which he assuredly did 
in his naked figures1 exhibiting even   
the adult form with a degree of masterly
 power4 ,he had acquired the best method
 of painting in fresco1 in his native   
place1 and he succeeded in it admirably1
 as appears from the choir of ,santa    
,maria ,maggiore1 where he represented  
the ,virgin received into ,heaven1 a    
very spirited and varied composition1   
abounding with figures of angels and of 
prophets1 truly great2 the              
distinguishing characteristic1 perhaps1 
of this artist's genius4 ,nor did he    
appear to less advantage in oils1 more  
particularly when the immediate vicinity
 of other celebrated painters put his   
talents to the test4 ,of this kind the  
most successful1 perhaps1 are his       
,daniel in the ,lions' ,den1 and his    
picture of ,san ,francesco receiving the
 stigmata1 forming side pictures to one 
of the best altarpieces by ,lorenzo     
,lotto at ,san ,spirito2 yet they are   

nevertheless worthy of that             
distinguished post4 ,his ,crucifixion1  
between various saints1 placed at ,santa
 ,lucia1 has been still more highly     
extolled as one of the finest           
productions the city has to boast1 and  
preferred by many judges to any of the  
altarpieces of ,talpino4 ,i shall       
abstain from expressing an opinion upon 
a subject in which artists themselves   
would disagree1 merely observing that it
 is more difficult to meet with inferior
 or careless pieces from the hand of    
,salmeggia than from ,cavagna's4 ,he had
 also a son a painter of the name of    
,francesco1 called ,cavagnuola1 who1    
surviving his father1 acquired some     
degree of celebrity4 ,he attached       
himself wholly to the style of          
,gianpaolo1 as well as certain          
foreigners sprung from the same school1 
such as ,girolamo ,grifoni1 in whose    
productions we seem to trace the copy of
 a copy of the style of ,paul4 ,if the  
artists named ,santa ,croce belong to   

,bergamo1 and to one family1 as we are  
informed in the ,guida of ,padua1 we    
ought here to insert the name of ,pietro
 ,paolo1 the least distinguished among  
the ,santa ,croce1 but not unworthy of  
commemoration for one of his ,madonnas  
at the ,arena1 and for other pictures at
 different churches in ,padua1 in all of
 which he appears attached to the school
 of ,cavagna1 or at least to the less   
mannered class of the ,venetians4       
,subsequent to the above two artists1 we
 meet with the name of ,francesco       
,zucco1 a good pupil of the ,campi at   
,verona1 and of ,moroni at ,bergamo4    
,from this last he acquired the art of  
giving a singular degree of spirit to   
his portraits1 and from ,paul ,veronese 
the mode of ornamenting them with most  
taste and fancy4 ,even in his larger    
compositions he sometimes adhered so    
closely to the same artist1 that several
 of them were ascribed even by his      
fellow citizens to ,paul1 a circumstance
 that occurred to his pictures of the   

,nativity and of an ,epiphany1 on the   
organ of ,san ,gottardo4 ,he adopted1   
moreover1 a variety of manners1         
apparently ambitious of displaying to   
the public his power of imitating       
,cavagna or ,talpino1 as he pleased4    
,contemporary with these artists1 he so 
far rivalled them1 7as in his ,san      
,diego at ,le ,grazie1 or in the large  
altar at the ,cappuccine17 as to approve
 himself worthy of such emulation4 ,in  
other works he gives us occasion to wish
 for a better union of his colours1 in  
which he cannot be pronounced equal to  
the first masters of the school1 so     
admirable in this department4           
,subsequent to the year #afbg1 there was
 no want of artists of ability at       
,bergamo1 among whom we may mention a   
,fabio di ,pietro ,ronzelli1 whose      
style1 if not sufficiently select and   
ideal1 was at least solid and robust4   
,to his we may add the name of ,carlo   
,ceresa1 an artist of much study and    
research1 pleasing in his colouring1 and

 having apparently formed his taste upon
 the models of the best age1 successful 
in giving ideal beauty to his           
countenances4 ,the former of these1 most
 probably the son of one ,piero1 known  
as a good portrait painter1 and         
respectable in point of composition1    
painted the ,martyrdom of ,san          
,alessandro1 for the church of ,santa   
,grata1 while the latter added the two  
side pictures without the least traces  
of mannerism4 ,contemporary with both   
these1 ,domenico ,ghislandi             
distinguished himself as a painter of   
frescos1 more particularly in           
architecture4 ,he was the father of ,fra
 ,vittore1 called likewise ,frate       
,paolotto1 whom we shall have occasion  
to mention hereafter4 ,at present it    
will hardly be desirable that ,i should 
extend my remarks to other names        
scarcely heard of beyond the limits of  
their native province2 though in justice
 to the city ,i must observe that in its
 dearth of native talent1 it spared no  

expense in decorating public places with
 the works of the best foreign artists1 
of every country4 ,ample proofs of this 
liberality may be seen in the cathedral 
and the adjacent church of ,santa ,maria
 ,maggiore4 ,such are among the         
advantages enjoyed by cities1 which are 
equally in possession of taste and of   
riches4 ,but when deficient in either of
 these1 they will be compelled to adopt 
the plan pursued in rural occupations1  
where each agriculturist employs the    
oxen that belong to his own fields4     
,crema1 at this period1 might pride     
itself on having produced such an artist
 as ,carlo ,urbini1 who1 though of      
limited genius1 was very pleasing       
skilful in perspective1 and equal to    
grand historical pieces4 ,he had        
afforded a specimen of his powers in one
 of the public halls1 in which he       
exhibited national battles and          
victories1 besides having employed his  
talents in different churches4 ,in      
ornamenting that of ,san ,domenico1     

however1 an artist of the name of       
,uriele1 most probably of the ,gatti    
family at ,cremona1 was preferred before
 him1 though extremely inferior4 ,this  
injustice seemed to alienate his mind   
from his native place1 and he proceeded 
to ,milan1 by whose writers he has been 
recorded with honour4 ,yet his history  
piece at ,san ,lorenzo1 conducted in    
fresco1 seems to contain rather the     
seeds than the fruits of noble painting1
 and he appears to greater advantage in 
oil colours1 as we gather from his      
picture of our ,saviour taking leave of 
his virgin mother previous to his       
sufferings1 a production ornamenting    
,santa ,maria near ,san ,celso1 where it
 may compete with the best ,lombard     
masters of that time4 ,lomazzo makes    
mention of him in reference to such as  
produced pieces most suitable to the    
places for which they were intended2 an 
useful practice1 familiar to the old    
masters1 who took care to adapt their   
pictures1 not only to places1 but to    

household furniture1 insomuch that in   
many of their vases and drinking cups1  
which we meet with in the kingdom of    
,naples1 are represented1 for the most  
part1 scenes of festivity1 mysteries1   
and fables of the ,bacchanalian ,god4   
,subsequent to him flourished ,jacopo   
,barbello1 whose paintings in various   
churches at ,bergamo are extolled by    
,pasta1 more particularly in that of    
,san ,lazzaro1 an altarpiece            
representing the titular saint1         
remarkable no less for its dignity of   
design1 than for decision of hand4 ,in  
the series of this school ,i find       
mention of no other artist after him1 a 
school distinguished in its origin by   
the name of ,polidoro1 and afterwards   
adorned by few but very select artists4 
,we shall next proceed1 according to our
 plan1 to treat of certain painters of  
landscape1 of battle pieces1 of         
perspective1 flowers1 and similar       
subjects4 ,henry de ,bles1 a ,bohemian1 
better known under the name of ,civetta1

 an owl1 from the frequent introduction 
of that bird into his landscapes1 was an
 artist who resided for a long period in
 the ,venetian state4 ,besides his      
specimens of landscape to be met with in
 ,venice1 and which uniformly present   
some traces of ancient crudeness1 he    
painted a ,nativity of our ,lord1 for   
,san ,nazaro in ,brescia1 resembling in 
its style of composition the manner of  
,bassano4 ,its prevailing tone is       
sky-coloured1 and in the features of its
 countenances it partakes of a foreign  
expression4 ,i have also seen small     
pictures from his hand intended for     
cabinets1 often thronged with minute    
figures1 known by the name of ,chimere  
and ,stregozzi1 or witch pieces1 a kind 
in which he was extremely fanciful4 ,but
 on this head we shall have occasion to 
return to him in a short time1 and      
proceed to a ,flemish artist1 who       
flourished1 about the beginning of      
#afjj1 in the state4 ,his name was      
,lodovico ,pozzo1 or ,pozzoserrato1     

called also da ,trevigi1 from his long  
residence in that city1 where he died1  
leaving it1 as ,federici relates1       
beautifully decorated with specimens of 
his hand4 ,he excelled in the           
representation of distant objects1 like 
his rival ,paol ,brilli of ,venice1 in  
such as were viewed near2 and he is more
 pleasing and select than the latter in1
 his variation of clouds and            
distinctions of light2 while at the same
 time he was celebrated for his         
altarpieces4 ,subsequent to these       
appeared several foreign artists1       
eminent for their skill in landscape1 in
 the time of ,boschini at ,venice1 where
 several specimens of their art must be 
still in existence4 ,they were          
afterwards extolled likewise by         
,orlandi4 ,there was a ,mr4 ,filgher1 a 
,german1 who very happily represented   
the different seasons of the year1 and  
even the different lights throughout the
 day2 a ,mons4 ,giron1 a ,french artist1
 extremely natural in all kind of views1

 both of a terrestrial and aerial       
character1 and a ,m4 ,cusin who imitated
 the noble manner of ,titian in his     
landscapes1 with much success4 ,nor     
ought we to omit ,biagio ,lombardo1 a   
citizen of ,venice1 an artist highly    
commended by ,ridolfi1 who declares that
 he rivalled both the best ,italian and 
,flemish painters in his landscape4     
,girolamo ,vernigo1 surnamed also da'   
,paesi1 and particularly celebrated in  
his native city of ,verona1 where he    
fell a victim to the plague in #afcj1 is
 entitled to rank in the same list4     
,jacopo ,maffei succeeded admirably in  
his display of incidents at sea1 a      
picture of which kind was engraved by   
,boschini4 ,another artist of the name  
of ,bartolommeo ,calomato has been      
pointed out to me by his excellency     
,persico1 in his cabinet of medals2 and 
he ought apparently to be referred to   
this epoch1 judging from his less       
vigorous and less refined style1        
although graceful and lively in his     

expression4 ,he was remarkable for his  
small pictures representing both rural  
and civic views1 along with small       
figures very animated and well composed4
  ,a taste for battle pieces had begun  
to gain ground in this part of ,italy   
from the time of ,borgognone4 ,the first
 who procured for himself a name in this
 branch was ,francesco ,monti1 of       
,brescia1 and a pupil of ,ricchi1 as    
well as of ,borgognone himself4 ,he was 
commonly called ,,ii ,brescianino delle 
,battaglie1 the ,brescian battle        
painter1 in which line he exercised his 
talents in different ,italian cities1   
ultimately establishing himself at      
,parma1 where he opened a school1 and   
instructed one of his sons in the same  
style of painting4 ,he pursued1 as far  
as lay in his power1 his master's       
example1 though he remained much        
inferior to him in point of colouring4  
,his productions are not scarce1 but in 
many collections they do not appear     
under his name1 being frequently        

attributed to the school at large of    
,borgognone4 ,one of his fellow citizens
 and scholars1 called ,fiamminghino1 but
 whose real name was ,angiolo ,everardi1
 acquired great reputation also by his  
battle scenes1 but they are seldom to be
 met with1 owing to his having died     
young4 ,another of his disciples1 a     
native of ,verona1 named ,lorenzo       
,comendich1 flourished also about the   
year #agjj1 in high repute at ,milan4   
,antonio ,calza1 a ,veronese1 is to be  
referred to the same period4 ,being     
ambitious of representing military      
actions1 he left the school of ,cignani1
 and transferred his residence to ,rome1
 where1 assisted by ,cortesi himself1 he
 met with success4 ,he spent his time in
 ,tuscany1 at ,milan1 and in particular 
at ,bologna4 ,there we meet with his    
pictures pretty abundantly1 innumerable 
copies of them having been taken by his 
pupils1 who by frequently varying the   
disposition of the groups1 succeeded in 
giving a seeming novelty to his         

pictures4 ,upon the authority of the    
,melchiori ,,ms41 ,i am inclined to add 
to the list of good battle painters1    
,agostino ,lamma1 a ,venetian1 who      
employed himself for collections2 and in
 that of ,sig4 ,gio4 ,batista ,curti1   
there is a piece of his representing the
 ,siege of ,vienna1 very excellent in   
point of taste1 modelled according to   
his custom upon that of ,matteo ,stom4  
,towards the year #affj1 when the three 
artists1 ,civetta1 ,bosch1 and          
,carpioni1 had already filled the       
galleries with that very tasteful class 
of pictures called capricci2 when       
,salvator ,rosa had produced such       
curious examples of his transformations 
and necromancies2 and ,brughel1 surnamed
 dall',inferno1 had drawn from the      
scenes of that abyss1 and from its      
monsters1 a large supply for every      
capital in ,italy2 at that period       
another artist1 ,gioseffo ,ens1 or      
,enzo1 the son of him ,i have mentioned 
in the preface1 and father of ,daniele1 

a tolerably good figurist1 was acquiring
 rapid celebrity in ,venice with some   
highly imaginative little pictures1     
partaking in some measure of the style  
of the above artists4 ,for the chief    
part they represent allegorical         
fictions1 in which are introduced       
sphinxes1 chimerae1 and monsters in     
grotesque shape2 or to speak more       
correctly1 perhaps1 extravagances of    
imagination quite unauthorized by       
ancient example1 and formed out of the  
grotesque union of various parts of     
different animals1 much in the same     
manner as they are seen by persons in   
their delirious dreams4 ,boschini       
adduces an example of this strange      
poetical folly at page #fjd1 where      
,pallas is seen putting to flight a     
troop of these wild fancies1 haunting an
 old decayed mansion1 buried in fire and
 smoke1 as the symbol of ,virtue        
dispersing the shades of ignorance and  
error4 ,in such a career did ,enzo      
arrive at the honour of being made a    

,chevalier of the ,cross1 by his        
,holiness ,pope ,urban ,,viii4          
,subsequently1 however1 he applied      
himself with more judgment to the study 
of truth1 and left behind him1 in       
,venice1 several altarpieces1 one of    
which adorning the church of the        
,ognissanti is extremely beautiful4 ,i  
have also noticed in different          
collections some burlesques of dwarfs1  
c4 from the hand of ,faustino ,bocchi1 a
 ,brescian1 and pupil to ,fiamminghino4 
,he was admirable in his portraits of   
these embryos1 as it were1 of the human 
race2 representations by no means       
displeasing to some of the ancients1 and
 of which we have examples afforded us  
in what are termed ,etruscan vases4 ,in 
the production of fables1 in which the  
dwarfs were to appear as actors1 he     
displayed the most fanciful             
combinations1 and in the ,carrara       
collection at ,bergamo1 there is        
represented a sacrifice of these        
pigmies1 and a popular feast in honour  

of an idol1 full of humour1 in which one
 of them is seen caught in the claws of 
a crab1 while some of his own party     
attempt to save him1 and his mother     
hastens1 half distracted1 to his relief4
 ,in order to convey a better idea of   
their size he inserted a small water    
melon1 which appears almost like a      
mountain by their side4 ,the design does
 not seem to differ much from that of   
,timanthes1 who introduced little       
satyrs1 in the act of measuring one of  
the ,cyclops' thumbs with their thyrsus1
 as he lies asleep1 to give a just      
notion of his bulk4 ,it is to be        
regretted that ,bocchi became addicted  
to the sect of the tenebrosi1 owing to  
which many of his labours seem to be    
fast losing their value4  ,the same     
period likewise abounded in painters of 
flowers and fruits1 in every part of    
,italy2 but ,i observe that their names 
are1 for the most part1 forgotten1 or   
where they exist in books1 are          
accompanied by no mention of their      

works4 ,fortunately1 among the pictures 
at ,rovigo1 ,i meet with the name of    
,francesco ,mantovano1 whether his      
surname or patronymic is uncertain1 an  
artist who excelled in similar works    
about the time of ,borghini2 besides    
those of ,antonio ,bacci and ,antonio   
,lecchi1 or ,lech1 both florists1 and   
all mentioned by ,martinioni in his     
,additions to ,sansovino4 ,to the number
 of these add the name of ,marchioni1 a 
native of ,rovigo1 an artist considered 
as the ,bernasconi of the ,venetian     
,school1 from her singular skill in     
flower painting1 though not equalling   
the ,roman lady in point of celebrity4  
,their works are to be seen in some of  
the collections at ,rovigo1 which abound
 also with many celebrated figure       
painters1 no less of the ,venetian than 
of other ,italian ,schools4  ,pictures  
of animals do not seem to have been much
 in vogue with ,venetian artists about  
this period1 if1 indeed1 we are not to  
include ,giacomo da ,castello in the    

,venetian state4 ,from verbal           
communications ,i learn that in         
collections at ,venice he is not at all 
rare4 ,i have seen only a few specimens 
at the ,caza ,rezzonico1 and these      
consisting of various species of birds1 
drawn with great truth and force of     
colouring1 as well as beautifully       
disposed4 ,domenico ,maroli1 a painter  
of flocks and herds1 as well as of other
 rural subjects1 was born at ,messina1  
and exercised his talents in ,venice4   
,he was intimate with ,boschini1 who    
extolled him as a new ,bassano1 and as a
 specimen of his talents1 inserted in   
his ,carta del ,navegar an engraving    
after one of his designs4 ,it represents
 a shepherd with his flocks1 figures of 
cows with a dog1 very forcibly and      
beautifully drawn2 and it is altogether 
one of the best designs that has been   
engraved for that work4 ,there resided  
also at ,venice1 where he was employed  
in the ,casa ,sagredo1 and in that of   
,contarini1 an artist named ,gio4 ,fayt 

di ,anversa1 who1 in addition to his    
paintings of fruits1 and various rural  
implements1 was esteemed one of the best
 copyists of animals1 both alive and    
dead1 in which he displayed a very      
polished1 natural1 and novel manner4    
,among the perspective pieces of this   
epoch1 ornamenting different            
collections1 those by ,malombra1 as ,i  
have before stated1 have been           
particularly commended by ,ridolfi4 ,and
 in architectural views we may mention  
,aviani1 a native of ,vicenza1 very     
superior in this branch1 as well as in  
sea views and landscapes4 ,he was born  
during the lifetime of ,palladio1 or at 
least while his school still flourished1
 and resided in a city where every      
street presented specimens of a taste   
for architecture4 ,he thus produced     
pictures of so fine a character1 filled 
with little figures by ,carpioni1 under 
his direction1 so extremely pleasing1   
that it is surprising he did not acquire
 equal celebrity with ,viviano and other

 first rate artists4 ,probably he did   
not long flourish1 and then1 for the    
most part1 in his native place4 ,in the 
,foresteria1 or ,stranger's ,lodge1 of  
the ,padri ,serviti1 are four of his    
views1 exhibiting temples and other     
magnificent edifices1 while several more
 are to be met with in possession of the
 ,marchesi ,capra1 in the celebrated    
,rotunda of ,palladio1 as well as of    
other nobles in various places4 ,he     
likewise decorated the ceilings1 or     
cupolas of several churches4 ,indeed    
there was then a pretty considerable    
school established for this branch of   
the art in ,brescia4 ,tommaso ,sandrino 
was an artist who distinguished himself 
in it1 as well as ,ottavio ,viviani his 
pupil1 though he displayed a less sound 
and more loaded style than his master4  
,faustino ,moretto1 belonging to the    
same state1 employed himself more at    
,venice than at ,brescia4 ,domenico     
,bruni was an artist highly extolled by 
,orlandi2 he exercised his talents at   

the ,carmini1 in his native place1 as   
well as at ,venice1 along with ,giacomo 
,pedrali1 also a ,brescian1 who         
flourished in the time of ,boschini4    
,together with these appeared ,bortolo  
,ceru1 whose scenes have been engraved  
in aqua fortis by ,boschini himself4    
,zanetti also records the name of       
,giuseppe ,alabardi1 called ,schioppi1  
and of ,giulio ,cesare ,lombardo1 an    
artist still superior to him4 ,i might  
here introduce other artists and        
architects of the ornamental class1     
distinguished in proportion to their    
antiquity2 for towards the close of the 
century architectural exhibitions became
 too much loaded with vases1 figures1   
and a variety of ornament1 which        
detracted much from that simplicity of  
taste so essential in some way towards  
the effect of every thing really great  
or beautiful4  ,a kind of minor painting
 is believed to have been introduced at 
this epoch1 by a priest called ,evaristo
 ,baschenis1 from ,bergamo4 ,he         

flourished contemporary with the three  
great artists1 ,cavagna1 ,salmeggia1 and
 ,zucchi2 and he appears to have been   
instructed by one of these in           
representing every kind of musical      
instrument with much nature and effect4 
,he arranged them upon tables covered   
with the most beautiful kinds of cloth1 
and mingled with them music books1      
leaves1 boxes1 fruits1 inkstands1 c41   
drawn just as they might happen to lie2 
and from these objects he composed      
pictures executed with so much art as   
quite to deceive the spectator4 ,such   
was their effect1 that they are still   
very much valued in different           
collections4 ,there were formerly eight 
of them to be seen in the library of    
,san ,giorgio1 the ingenuity of which   
has been highly commended by ,zanetti4  
,footnote #gg3 ,in the ,memorie         
,trevigiane1 ,i find that this artist   
was known also at ,rome1 in the ,guide  
to which place1 however1 his name is not
 to be met with4 ,i have some doubt it  

may have been confounded with that of   
,gio4 ,carbone4 ,but this last was from 
,s4 ,severino1 and a follower of        
,caravaggio2 the other a ,venetian1     
attached to ,titian2 and1 in some       
pictures he produced at ,san ,niccolo of
 ,trevigi1 he subscribes not ,carbonis1 
but ,carboncini opus4  ,footnote #gh3   
,let no one1 from this instance1        
altogether condemn the use of varnishes 
in the restoration of paintings2 for by 
the application of mastic1 and of gum   
water1 according to all the most recent 
experiments1 the colour does not suffer4
 ,but oil is injurious to ancient       
paintings1 for the new never becomes    
incorporated with the old1 and1 in a    
short time1 every fresh touch is        
converted into a stain4  ,footnote #gi3 
,quattro-centisti4 ,artists of the      
fourteenth century4  ,footnote #hj3     
,literally from below to above4         
,foreshortening on a ceiling4  ,footnote
 #ha3 ,vide pp4 #eab and #eac4          
,footnote #hb3 ,v4 tom4 ii4 p4 #aif2    

and1 in the same place1 ,i gave him as a
 pupil to ,dario ,pozzo1 on the         
authority of the ,commendatore del      
,pozzo4 ,but writers disagree in regard 
to the chronology of this man2 which1   
until it be further cleared up1 may     
rest1 for me1 without this honour4      
,footnote #hc3 ,an account of him may be
 found1 tom4 ii4 p4 #aih1 and in the    
series of painters of the ,barocci      
school4  ,footnote #hd3 ,melchiori      
informs me of a pupil of his1 unknown to
 ,pozzo1 probably because a non-resident
 in ,verona4 ,this was ,father ,massimo 
,cappucino1 a ,veronese by birth1 and1  
in the historian's opinion1 an excellent
 artist4 ,in proof of this1 he mentions 
four large pictures1 placed in the dome 
of ,montagnana1 besides several         
altarpieces1 distributed by him among   
the churches of his order4 ,along with  
this ecclesiastic ,i find mention of two
 contemporary lay brothers1 who assisted
 him in the art1 neither of them        
unworthy of being placed upon record4   

,these are ,fra ,semplice1 a native of  
,verona1 and pupil to ,brusasorci1 and  
,fra ,santo1 of ,venice2 both of whom   
were particularly employed in painting  
for churches and convents1 within the   
,venetian territory4 ,fra ,semplice     
produced also some for ,rome4 ,a fine   
picture of ,san ,felice1 from his hand1 
placed at ,castelfranco1 was engraved in
 #agab4  ,footnote #he3          ,io mi 
son un che quando   ,amore spira noto2  
ed a quel modo   ,che detta dentro vo   
significando4--,purg4 ,c4 #bd4          
,footnote #hf3 ,tom4 ii4 p4 #bff4       
,,venetian ,,school4    ,,epoch ,,iv4   
,of ,exotic and ,new ,styles in ,venice4
   ,if1 according to the plan laid down 
by ,pliny1 and which ,i have hitherto   
observed1 each several epoch ought to be
 deduced from one or more masters of a  
school1 who may have given a new aspect 
to the art1 it will be proper1 in this  
instance1 to vary my system4 ,the epoch 
here nearest to us will be found to take
 its rise at a period when the ,venetian

 artists1 having almost wholly abandoned
 their national models1 attached        
themselves some to one1 and some to     
another foreign method1 or formed out of
 them one of their own4 ,such were the  
times of which ,signor ,zanetti1 in his 
work1 observes1 there appeared in       
,venice as many different manners1 as   
there were artists to practise them4    
,this would appear to have been the     
state of the art towards the end of the 
#agth century4 ,those artists who       
followed1 approaching still nearer to   
modern times1 although various in point 
of style1 resembled each other in a     
study of ideal beauty1 and all agreed in
 copying from the modern ,roman1 or     
,bolognese ,schools1 with the addition1 
however1 of their own defects4 ,still   
the old masters were not1 on this       
account1 underrated2 but were rather    
spoken of as the ancients who flourished
 at a golden period1 whose customs are  
to be admired1 indeed1 but not imitated4
 ,fashion1 as it sometimes happens also 

in sciences1 had usurped the seat of    
reason2 while the artists who followed  
in her train alleged in excuse1 that the
 age was fond of such novelties1 and    
that it was incumbent upon them to      
second its inclination1 in justice to   
their own fortunes4 ,amidst these       
changes1 the ,venetian ,school1 which   
had always preserved its ascendency in  
point of colouring1 then began to alter1
 losing the truth of nature1 as it      
became more brilliant4 ,thus few artists
 flourished at that period who might    
not1 more or less1 be termed mannerists 
in colouring4 ,but in other respects the
 school appears to have improved1 and   
particularly in treating its history    
pieces more appropriately1 without the  
introduction of portraits1 dresses1 and 
other accessaries1 ill adapted to them2 
a defect to which it had been more      
attached1 and had more obstinately      
adhered1 than any other of the schools4 
,yet it cannot be denied1 that during   
this period of the decline of art       

throughout ,italy1 the ,venetian ,school
 shone peculiarly conspicuous in the    
number of superior inventors it         
produced4 ,for whilst ,lower ,italy     
aimed at nothing beyond the striking    
contrasts of the followers of ,cortona2 
whilst in so many schools of ,upper     
,italy1 the imitators of the imitators  
of the ,caracci were esteemed the great 
models2 in ,venice1 and the adjacent    
state1 various styles were seen to      
spring up1 which1 though not perfect1   
were at least original1 and valuable in 
their way2 if1 indeed1 the whole of     
,europe has not been deceived in its    
estimation of them1 purchasing the      
pictures of the ,ricci1 of ,tiepolo1 of 
,canaletto1 of ,rotari1 and of numerous 
other artists of the same time1 at      
immense sums4 ,but we must take a more  
particular survey of them4  ,the        
,cavalier ,andrea ,celesti1 who died in 
the early part of the century1 was      
disciple to ,ponzoni1 but without       
becoming his imitator4 ,as an artist1 he

 is very pleasing1 fertile in noble     
images1 flowing in his outlines1 with   
delightful scenery1 with airs1 with     
features1 and with draperies all        
graceful1 and often resembling ,paul    
,veronese4 ,his style of colouring1     
also1 was not remote from nature1       
equally lucid1 pleasing1 and soft4      
,owing to his fondness for the          
chiaroscuro1 one of the chief           
attractions of his style1 or rather1    
perhaps1 to the imperfection of his     
grounds1 there are few of his           
productions that continue to preserve   
their original beauty4 ,occasionally he 
seems to belong to the sect of          
,tenebrosi1 and his middle tints have in
 some instances disappeared1 destroying 
the harmony that in some of his         
best-conducted pictures was admirable4  
,his distinguishing character was a     
happy audacity of hand1 in which he is  
excelled by very few4 ,he painted both  
history1 and altarpieces for churches1 a
 specimen of which is seen in his       

,probatica at the ,ascension4 ,in the   
public palace there is one of his       
histories from the ,old ,testament1     
abounding with all that masterly talent 
for which he was so remarkable1 creating
 at once admiration and surprise4 ,he   
produced pieces for private ornament1   
from profane history1 with              
conversations1 games1 and rencounters1  
like ,caravaggio's4 ,alberto ,calvetti1 
an inferior artist1 educated in his     
school1 resembles him as little in      
talent1 as1 for the most part1 in his   
style4  ,antonio ,zanchi da ,este was an
 artist1 also1 better known in ,venice  
for the number1 than for the excellence 
of his works4 ,his style is altogether  
distinct from that of the foregoing1 and
 it is uncertain whether he derived it  
from his master ,ruschi1 or from some   
other of the sect of naturalists whom we
 have before described4 ,such1 at least1
 appears the cast of his genius1 common 
in its forms1 sombre in its colours2 but
 nevertheless exciting surprise1 by a   

certain fulness and felicity of hand1 by
 its picturesque spirit1 by its effect  
of chiaroscuro1 and by a grand general  
result1 which imposes upon us by its    
power4 ,if we examine more particularly 
into his manner1 we shall not           
unfrequently discover an incorrectness  
of design1 along with that kind of      
indecision1 and indistinctness of       
outline1 which is mostly the resource of
 weak1 or1 at least1 of very hasty      
artists4 ,he chiefly attached himself to
 ,tintoretto1 some traces of whom may be
 found in his style4 ,in the college of 
,s4 ,rocco1 where that great master     
rendered his name immortal1 we behold   
one of the best specimens of ,zanchi4   
,the subject1 admirably fitted to his   
manner1 contributed greatly to his      
success4 ,he has there given a bold     
exhibition of the great plague that     
afflicted ,venice in #afcj1 a picture   
filled with a concourse of the sick1 the
 dying1 and the dead1 borne to one      
universal grave4 ,opposite to this grand

 painting there is another from the hand
 of ,pietro ,negri1 his pupil1 as is    
supposed1 but more probably his rival1  
which represents the liberation of the  
city from that fatal scourge2 and in it1
 too1 we perceive the peculiar ease1 and
 the manner of ,zanchi1 somewhat        
improved1 however1 and ennobled in its  
forms4 ,francesco ,trevisani1 another of
 his pupils1 took up his residence at   
,rome1 in the list of whose professors  
he has already been commended 7tom4 ii4 
p4 #bif74 ,gio4 ,bonagrazia1 however1   
remained in the ,venetian state2 and    
acquired some reputation in his native  
town and province of ,trevigi1 more     
particularly for his paintings at ,san  
,vito4  ,antonio ,molinari belonged1    
likewise1 to the same school1 but almost
 wholly renounced the maxims he had     
acquired in it4#hg ,his style is by no  
means equally sustained2 a case that    
frequently occurs to such as abandon the
 methods in which they have been        
educated1 and attempt to strike into new

 paths4 ,i have seen some of his        
pictures at ,venice1 and elsewhere1 in  
fine relief1 and others quite the       
contrary2 at times1 too1 he appears     
beautiful1 but cold4 ,in the vigour of  
his powers1 however1 when he produced   
the works most decisive of his merits1  
such as his ,history of ,oza1 at the    
,corpus ,domini1 he displays a style no 
less solid than pleasing1 and which     
equally satisfies the judgment and the  
eye4 ,there is a study both of design   
and of expression1 ample beauty of      
forms1 richness of drapery1 with a taste
 and harmony of tints not surpassed by  
any artist of the times4  ,we may       
mention1 likewise1 as distinguished by  
their manner1 ,antonio ,bellucci1 and   
,giovanni ,segala1 two painters who1    
like their masters1 became addicted to  
the use of strong shades4 ,yet they     
possessed sufficient intelligence to    
derive some advantage even from a wrong 
direction of their powers4 ,for the     
former disposed them in grand masses1   

yet delicate1 and moreover united to    
pleasing colouring2 while the latter    
made use of dark grounds1 which he      
contrasted with very spirited lights1   
and with a skill that enlivens while it 
enchants us4 ,indeed1 the style of both 
seemed adapted for great works1 and both
 possessed genius enough to conduct them
 well4 ,segala1 however1 is preferred by
 ,zanetti to his contemporary1 and his  
picture of the ,conception1 executed for
 the college of ,la ,carita1 is         
particularly extolled by him1 and1 in   
truth1 he there competes with1 if he    
does not surpass1 some of the first     
painters of the age4 ,we ought to       
estimate the merit of ,bellucci from    
those specimens he conducted with most  
care1 and upon the best grounds1 such as
 his scripture piece in the church of   
the ,spirito ,santo4 ,he appears to most
 advantage1 perhaps1 in small figures1  
many of which he inserted in the        
landscapes of the celebrated ,tempesta4 
,when at ,vienna1 he became court       

painter to ,joseph ,i4 and to ,charles  
,,vi42 and subsequently to other ,german
 princes1 which he chiefly owed to this 
kind of talent4#hh  ,to this epoch1     
also1 belongs the name of ,gio4 ,antonio
 ,fumiani1 who acquired from the        
,bolognese ,school1 in which he was     
educated1 an excellent taste1 both in   
composition and design4 ,and from the   
works of ,paul1 which he studied with   
assiduity1 he obtained a knowledge of   
architectural and other ornaments4 ,some
 have considered him deficient in warmth
 of tints1 and in a just counterpoise of
 lights and shades1 to which ,i should  
add1 also in expression2 appearing1 as  
he does to me1 cold in all his          
attitudes1 even beyond the custom of    
this school4 ,perhaps his ,dispute of   
,jesus with the ,doctors1 at the church 
of ,la ,carita1 is his finest work4     
,bencovich1 having resided at ,bologna1 
will be enumerated among the followers  
of ,cignani4  ,nearly contemporary with 
,fumiani1 though he flourished longer   

and painted more1 was the ,cav4 ,niccolo
 ,bambini1 a pupil of ,mazzoni1 in      
,venice1 and afterwards of ,maratta1 at 
,rome4 ,there he became accomplished in 
design1 exact and elegant1 and capable  
of sustaining those noble conceptions   
derived from nature1 which he developed 
in very enlarged works1 both of oil and 
fresco4 ,fortunate1 indeed1 had he      
succeeded as well in his colouring2 in  
which branch he was so sensible of his  
own mediocrity1 as to forbid his        
scholars practising the art from his    
pictures4 ,his taste is sometimes wholly
 ,roman1 as in his altarpiece at ,san   
,stefano1 executed soon after his return
 from ,rome4 ,at other times1 he has a  
more flowing manner1 like that of       
,liberi1 which he imitated for several  
years with success1 ever afterwards     
retaining the beauty of his heads1      
especially in his women4 ,again he      
occasionally soars above himself1 and in
 such works as he himself conceived and 
executed1 and which were afterwards     

re-touched and animated1 as it were1 by 
,cassana1 the ,genoese1 he shines as a  
great portrait painter1 and a very      
powerful colourist4 ,in the ,guida of   
,zanetti1 we meet with the names of     
,giovanni and ,stefano ,bambini1 two of 
his sons1 and most probably his pupils1 
though from the same1 and from another  
more extensive work1 where he makes no  
mention of them1 we can gather that they
 were held in very small esteem4        
,girolamo ,brusaferro1 and ,gaetano     
,zompini were also his pupils1 and      
ambitious1 as well1 of imitating ,ricci1
 forming a kind of mixed style not      
altogether destitute of originality4    
,the second of these received honourable
 commissions from the court of ,spain1  
in which he displayed a rich fund of    
imagination1 and1 in some measure1      
distinguished himself by his engravings4
  ,gregorio ,lazzarini was pupil to     
,rosa1 and not only freed himself from  
the sombre sect1 but rising into great  
reputation1 wholly banished it from the 

,venetian ,school1 of which1 for        
accuracy of design1 he might be         
pronounced to be the ,raffaello4        
,whoever contemplates the pictures of   
,lazzarini would1 at first1 suppose he  
must have received his education at     
,bologna1 or rather1 perhaps1 at ,rome4 
,yet he never left ,venice1 and by the  
strength of his genius alone1 acquired  
the esteem of the most learned          
professors in the art1 and particularly 
of ,maratta1 a very scrupulous          
panegyrist of his contemporaries4 ,thus 
the ,venetian ambassador at ,rome1      
having occasion to apply to him for a   
picture1 intended to ornament the hall  
of the ,scrutinio1 he declined the      
commission1 expressing his surprise that
 it should be deemed requisite to apply 
to him at ,rome1 while they had         
,lazzarini at ,venice4 ,and the latter  
artist produced a piece which justified 
the judgment of ,maratta1 representing  
in the noblest manner the triumphal     
memory of ,morosini1 surnamed by the    

,venetians1 ,peloponnesiaco1 which      
adorns the forementioned hall4 ,he most 
distinguished himself by his picture of 
,san ,lorenzo ,giustiniani1 painted for 
the patriarchal church2 perhaps the best
 specimen in oil displayed by the       
,venetian ,school during this period1   
whether for its taste of composition1   
its elegance of contours1 or the        
original beauty and variety of its      
countenances and its attitudes4 ,it     
possesses1 likewise1 force of colouring1
 in which he was not always equally     
successful4 ,in small figures he was    
extremely graceful1 a specimen of which 
may be seen in a choir of ,santa        
,caterina1 at ,vicenza1 where he        
executed some very beautiful histories1 
in the most glowing colours imaginable4 
,the last altarpiece1 bearing his own   
name1 was completed by his excellent    
pupil1 ,giuseppe ,camerata1 who in this1
 as well as other pieces produced for   
churches1 pursued the same career as his
 master4 ,another of ,lazzarini's       

pupils1 however1 ,silvestro ,manaigo1   
persevered in an opposite course1 for   
though of a fine character1 he was too  
rapid1 and too much of a mannerist4     
,there flourished1 likewise1 at that    
period1 two artists of ,trevisi1        
,francesco1 included in the list of the 
,roman ,school1 and ,angiolo ,trevisani1
 who1 both by birth and domicile1 must  
be claimed for that of ,venice4 ,fine in
 his inventive pieces1 as we gather from
 those at ,la ,carita1 and various other
 churches in the capital1 he was still  
more celebrated for his portraits4 ,in  
exercising this branch1 he formed a     
style founded upon nature1 not1 indeed1 
sublime1 but very select1 and in part   
conformable to the schools then in      
vogue4 ,his pencil displayed diligence  
and research1 especially in his         
management of the chiaroscuro4  ,jacopo 
,amigoni can scarcely be justly         
estimated in ,venice1 where1 if we      
except his picture of the ,visitation at
 the monastery of ,san ,filippo1 there  

is nothing of his remaining in public in
 his best manner2 that which he acquired
 by studying the masterpieces of the    
,flemish ,school in ,flanders4 ,it was  
there that his genius1 naturally fertile
 and animated1 uniting with facility    
qualities of grandeur and of beauty1 and
 seizing upon the finest subject for    
copious histories1 also discovered the  
kind of colouring he had in vain sought 
for at ,venice4 ,there1 too1 he achieved
 the art of attaining1 by force of      
shades1 even to pure black1 which colour
 he employed to produce perfect         
clearness1 without injuring the beauty  
of his piece3 thus we are informed by   
,signor ,zanetti4 ,had he succeeded in  
giving a little more relief to his      
pictures1 and employed less care in     
giving brilliance to every part of his  
composition1 he would have appeared to  
more advantage2 but only in the eyes of 
good judges1 as the multitude could not 
well be presented with any thing more   
calculated to enchant them than one of  

his pictures4 ,nor was it without reason
 that his style was so much applauded   
throughout ,england1 ,germany1 and      
,spain1 in which last country he died1  
when painter to the court1 in #ageb4    
,various productions of his hand are to 
be met with1 though but rarely1 in      
possession of private families in       
,italy1 chiefly consisting of little    
histories1 conversations1 and similar   
pieces1 in the manner of the ,flemish   
artists4 ,of the ,flemish1 ,i say1 in   
respect to the size1 not the perfection 
of the drawing1 this artist being       
accustomed to alter his tints in some   
degree1 particularly in the shifting    
hues1 to labour by touching1 often      
leaving his outline undefined1 and to   
raise the colour so as to produce effect
 in the distance4 ,his pieces upon a    
larger scale are more rare1 though ,i   
have seen several exhibiting great truth
 in the expression of countenance1 and a
 rich flow of drapery1 in possession of 
the celebrated musician1 ,farinello1 at 

,bologna4 ,and in these portraits the   
musician himself always appeared1 as    
received at different courts1 and in the
 act of being applauded and rewarded by 
the ,european ,sovereigns4  ,giambatista
 ,pittoni1 though less generally known  
than the preceding1 is still entitled to
 a rank among the first artists of his  
age4 ,the disciple and nephew of        
,francesco ,pittoni1 here mentioned1    
rather from his pupil's merit than his  
own1 he subsequently became attached to 
foreign schools1 and formed a style     
which displays some novelty in the      
warmth of its colouring1 and in a       
certain pictorial amenity and attraction
 which prevail throughout the whole4 ,he
 cannot1 indeed1 be said to be very     
select1 but he is in general correct1   
polished1 and intelligent in his entire 
composition4 ,he particularly shone in  
figures1 smaller than the life2 and the 
galleries in the ,venetian state are    
thus by no means scantily furnished with
 his histories2 while we may observe of 

his altarpieces that they seem to       
increase in beauty in proportion to the 
diminution of their size4 ,this we      
perceive at the ,santo in ,padua1 where 
he painted in competition with the best 
of his contemporaries1 the ,martyrdom of
 ,san ,bartolommeo1 which he coloured   
upon a small canvass4 ,a very rapid     
tourist attributes it to the pencil of  
,tiepolo1 whose manner is altogether    
different4  ,gio4 ,batista ,piazzetta1  
on the other hand1 was an artist of as  
sombre a cast as the two preceding were 
animated and lively4 ,he had acquired a 
good knowledge of design1 either under  
his father1 a tolerably skilful statuary
 in wood1 or under some very exact      
naturalist2 and in his early attempts he
 painted in a free and open style4      
,afterwards he embraced an opposite     
manner1 and employing himself with      
,spagnolo at ,bologna1 and there        
likewise studying ,guercino1 he aimed at
 producing an effect by strong contrasts
 of lights and shades1 and in this he   

succeeded4 ,he had long1 as it is       
supposed1 observed the effects of light 
applied to statues of wood and models in
 wax2 and by this he was enabled to     
draw1 with considerable judgment and    
exact precision1 the several parts that 
are comprehended in the shadowing1 owing
 to which art his designs were eagerly  
sought after1 and his works repeatedly  
engraved with assiduity4 ,one of these1 
placed at the ,domenicani delle ,zattere
 was engraved by the celebrated         
,bartolozzi2 another by his school2 that
 is to say1 his ,san ,filippo1 painted  
for the church of that name in ,venice4 
,many were engraved also by ,pitteri1 by
 ,pelli1 and by ,monaco1 besides other  
prints that were executed in ,germany4  
,his method of colouring1 however1      
diminished in a great measure the chief 
merit of his pictures4 ,thus his shades 
having increased and altered1 his lights
 sunk1 his tints become yellow1 there   
remains only an inharmonious and        
unformed mass1 which the venerators of  

names1 indeed1 may admire1 but can      
hardly give a reason why4 ,where we     
happen to meet with a few of his        
pictures in good preservation1 the      
effect is altogether so novel and       
original as to make a strong impression 
at first sight1 more especially where   
the subject requires a terrific         
expression1 as that of his beheading of 
,st4 ,john the ,baptist in prison1      
produced at ,padua1 a work placed in    
competition with those of the first     
artists in the state1 and at that period
 esteemed the best of all4 ,yet if we   
examine him more narrowly he will not   
fail to displease us by that monotonous 
and mannered colour of lakes and        
yellows1 and by that rapidity of hand1  
by some called spirit1 though to others 
it often appears neglect1 desirous of   
abandoning its labour before it is      
complete4  ,piazzetta could hardly boast
 strength enough to deal with pictures  
abounding with figures1 and having      
received a commission from a ,venetian  

noble1 to represent the ,rape of the    
,sabines1 he spent many years in        
conducting it4 ,in his altarpieces and  
other sacred subjects he produced a     
pleasing effect from the spirit of      
devotion1 but never for the dignity he  
displayed in them4 ,duly estimating his 
own ability1 he was more desirous of    
painting busts and heads for pictures   
adapted for private rooms than any other
 subjects4 ,in his caricatures he       
succeeded admirably1 several of which in
 possession of the ,conti ,leopardi     
d',osimo would excite the risible       
muscles of a professed enemy to mirth4  
,at one period this artist had a great  
number of followers1 a fashion          
nevertheless that soon ceased4          
,francesco ,polazzo1 a good painter1 but
 a better restorer of ancient pictures1 
somewhat softened down the style of     
,piazzetta with that of ,ricci4         
,domenico ,maggiotto also tempered it in
 his ,miracle of ,san ,spiridione1 and  
in his other works engraved at ,venice  

and in ,germany4 ,various artists of    
this school in the same way gave        
softness to his manner by studying other
 models4 ,perhaps the one most addicted 
to his method was ,marinetti1 from the  
name of his native place more commonly  
called ,chiozzotto4  ,the last of the   
,venetian artists who procured for      
himself a great reputation in ,europe1  
was ,gio4 ,batista ,tiepolo1 so         
frequently commended by ,algarotti4 ,he 
was honoured likewise with a poetical   
eulogy by the ,ab4 ,bettinelli1 became  
celebrated in ,italy1 in ,germany1 and  
in ,spain1 where he died painter to the 
court of ,madrid4 ,pupil to ,lazzarini1 
whose deliberate and cautious style     
served to curb his too great warmth and 
rapidity1 he subsequently studied       
,piazzetta1 animating and enlivening as 
it were his manner1 as he appears to    
have done in his picture of the         
,shipwreck of ,san ,satiro at ,san      
,ambrogio in ,milan4 ,he next became an 
assiduous imitator of ,paul ,veronese1  

whom1 though inferior to him in the airs
 of his heads1 he very nearly approached
 in his folds and his colouring4 ,from  
the engravings also of ,albert ,durer1  
that storehouse of copious composers1 he
 derived no little advantage4 ,nor did  
he at any time abandon the study of     
nature in observing all the accidents of
 light and shade1 and the contrasts of  
colour best adapted to produce effect4  
,in this branch he succeeded admirably1 
particularly in his works in fresco1 for
 which he appears to have been endued by
 nature with promptness1 rapidity1 and  
facility in great compositions4 ,while  
others were accustomed to display the   
most vivid colours1 he only availed     
himself in his frescos of what are      
termed low and dusky colours2 and by    
harmonizing them with others of a common
 kind1 but more clear and beautiful1 he 
produced a species of effect in his     
frescos1 a beauty1 a sunlike radiance1  
unequalled1 perhaps1 by any other       
artist4 ,of this the grand vault        

belonging to the ,teresiani in ,venice  
presents a fine specimen4 ,he has there 
represented the ,santa ,casa1           
accompanied by numerous groups of angels
 finely foreshortened and varied1       
surrounded by a field of light that     
appears to rise into the firmament4     
,such an artist would have been truly   
great1 had he1 in works upon this scale1
 succeeded in observing equal           
correctness in every part2 in the whole 
he always produces an agreeable effect4 
,he appears more correct and careful in 
his oil pieces1 which we find dispersed 
throughout the metropolitan city as well
 as the state4 ,at ,san ,antonio in     
,padua we meet with his ,martyrdom of   
,santa ,agatha1 a picture alluded to by 
,algarotti as a very rare example of    
fine expression1 at once uniting that of
 terror at approaching fate1 and of joy 
for the glory of beatitude in view4     
,many other beauties are remarked by    
,rossetti in this picture1 which he     
admits1 however deeply interested in    

defending it from every imputation cast 
upon it by ,cochin1 is not altogether   
perfect in point of design4  ,in the    
list of his disciples we find the name  
of ,fabio ,canale1 mentioned with honour
 in the work so often cited1 from the   
pen of ,zanetti2 and to such of his     
pictures as he mentions we may add those
 he produced in ,palazzo ,zen at the    
,frari1 and in that of the ,priuli at   
the bridge of the ,miglio4 ,to this     
artist we might join a few others of    
this last age1 recorded in the ,guide to
 ,venice1 the same that was published by
 ,zanetti in #agcc1 and some of whom are
 likewise mentioned in the ,pittura     
,veneziana1 where1 beginning at p4 #dgj1
 he gave a catalogue of the names of    
such of the members of that estimable   
academy1 as were then alive1 some of    
whom are still in existence4 ,but       
whoever is desirous of cultivating an   
acquaintance with them and with their   
works which are in possession of the    
public1 may consult the above books as  

well as some of the more recent ,guides 
of the city1 which have continued from  
time to time to appear4 ,i ought to add1
 that the ,signor ,alessandro ,longhi   
has presented us with the portraits and 
the ,elogj of the most celebrated of    
these moderns1 in the year #agfb1 and   
this work also may supply what my       
brevity or my silence has omitted or    
compressed4  ,proceeding in the next    
place from ,venice to the cities of the 
state1 we shall find that these also    
have produced many memorable artists4   
,the ,friuli will occupy but little of  
our attention1 boasting few masters1 and
 none of them distinguished for their   
figures4 ,pio ,fabio ,paolini1 a native 
of ,udine1 studied at ,rome1 where he   
produced in fresco his ,san ,carlo1     
which adorns the ,corso1 and was united 
to the academy there in #afgh4          
,returning thence into his own country  
he painted several altarpieces and other
 minor pictures1 such as to entitle him 
to a high place among the followers of  

,cortona4 ,giuseppe ,cosattini1 born at 
the same place1 and canon of ,aquileja1 
devoted himself to the same pursuit1 and
 rose into so much estimation as to be  
declared painter to the ,imperial       
,court4 ,he particularly distinguished  
himself by his picture of ,san ,filippo1
 preparing to celebrate mass1 painted   
for the ,congregation of ,udine2 the    
work of a real artist not of a          
dilettante1 as he appears in some other 
of his paintings4 ,pietro ,venier1 a    
disciple of the ,venetian artists1      
displayed some merit in his oil pieces1 
not uncommon at ,udine2 and more in his 
frescos in the ceiling of the church of 
,san ,jacopo1 where he appears to great 
advantage4 ,but the best painter of     
frescos in these later times1 amongst   
his countrymen1 was ,giulio ,quaglia1 a 
native of ,como4 ,from his age and style
 ,i should suspect that he belonged to  
the school of the ,recchi1 although his 
design is less finished than that of    
,gio4 ,batista ,recchi1 the head of that

 family of painters4 ,it would appear   
that he visited ,friuli young1 towards  
the close of the last century1 and there
 he conducted works1 for the most part1 
in fresco1 to an amount that almost     
defies enumeration4 ,his histories of   
our ,saviour's ,passion1 ornamenting the
 chapel of the ,monte di ,pieta at      
,udine1 are held in high estimation1    
although he conducted works upon a much 
larger scale1 for various halls of many 
noble families1 in all which we trace a 
fecundity of ideas1 a decision of       
pencil1 a power for vast compositions1  
sufficient to have distinguished him in 
his age not only in the limits of ,como 
but at ,milan4 ,i omit the names of     
those professors of the art who merely  
designed without colouring1 or who never
 attained to mature age2 and those of a 
few others ,i have to reserve for       
foreign schools1 and for different      
branches of painting4  ,proceeding      
towards the ,marca ,trevigiana1 ,i meet 
with an artist's name that has been     

claimed by different schools of ,italy1 
according to the place in which he      
painted1 or studied1 or gave            
instructions in the art4 ,for this      
reason ,i have judged it best to speak  
of him as connected with his native     
place1 which boasts a sufficient number 
of his works4 ,this artist is           
,sebastiano ,ricci1 which the ,venetians
 write ,rizzi1 one who can be reckoned  
second to none among the professors of  
our own epoch1 in point of genius for   
the art1 and the taste and novelty of   
his style4 ,he was born in ,cividal di  
,belluno1 educated1 as we have observed1
 by ,cervelli at ,venice1 and afterwards
 conducted by his master into ,milan2 he
 there acquired1 both from him and from 
,lisandrino1 every thing that was of    
importance in the pursuit of his        
profession4 ,thence he went to study at 
,bologna and at ,venice1 subsequently   
transferring his residence to ,rome and 
,florence4 ,lastly he made the tour of  
all ,italy1 employing his pencil        

wherever he received commissions1 at any
 price4 ,having acquired reputation1 and
 being invited by different potentates1 
he passed into ,germany1 ,england1 and  
,flanders1 in which last country he     
perfected his style of colouring1 which 
had been always very pleasing and       
spirited1 even in his first attempts4   
,from his acquaintance with such a      
variety of schools1 he stored his mind  
with fine images1 and by dint of copying
 many models1 his hand became practised 
in different styles4 ,in common with    
,giordano he possessed the art of       
imitating every manner2 some of his     
pictures in the style of ,bassano and of
 ,paul1 continuing yet to impose upon   
less skilful judges1 as in the instance 
of one of his ,madonnas at ,dresden1 for
 some time attributed to ,coreggio4 ,the
 chief advantage he derived from his    
travels was1 that on having occasion to 
represent any subject1 he was enabled to
 recollect the manner in which different
 masters might have treated it1 availing

 himself of it without plagiarism       
accordingly4 ,thus the ,adoration of the
 ,apostles at the ,last ,supper1 a piece
 adorning the church of ,santa ,giustina
 at ,padua1 betrays many points of      
resemblance to the painting on the      
cupola of ,san ,giovanni at ,parma1     
while his ,san ,gregorio at ,san        
,alessandro in ,bergamo recalls to mind 
one by ,guercino1 executed at ,bologna4 
,the same method he observed in his     
scriptural histories1 produced for ,,ss4
 ,cosmo and ,damiano1 which are         
preferred to any others he conducted in 
,venice1 or perhaps in any other parts1 
and which frequently present us with    
fine imitations1 but never with         
plagiarisms4 ,he did not early acquire a
 good knowledge of design1 but he       
afterwards succeeded in this object1    
which he cultivated with extreme        
assiduity in the academies1 even in     
mature age4 ,the forms of his figures   
are composed with beauty1 dignity1 and  
grace1 like those of ,paul ,veronese2   

the attitudes are more than usually     
natural1 prompt1 and varied1 and the    
composition appears to have been managed
 with truth and with good sense4        
,although rapid in the handling1 he did 
not abuse his celerity of hand1 as so   
many artists have been known to do4 ,his
 figures are accurately designed1 and   
appear starting from the canvass1 most  
frequently coloured with a very         
beautiful azure1 in which they shine    
conspicuous over all4 ,such pieces as he
 conducted in fresco1 still preserve the
 native freshness of their tints2 while 
some of his others seem to have         
suffered1 owing to the badness of the   
grounds1 or of the body of colour1 which
 was weaker in the later than in the    
earliest ,venetian artists4 ,the amenity
 of ,ricci's style soon procured for him
 disciples1 in the list of whom ,marco1 
his nephew1 greatly distinguished       
himself1 and subsequently devoting      
himself to the composition of landscape1
 he accompanied his master upon his     

travels1 employing himself a good deal1 
both at ,paris and in ,london4 ,gasparo 
,diziani1 his fellow countryman1 was an 
artist who excelled in his facility of  
painting large theatrical works1 and in 
that line was employed in ,germany4 ,he 
was1 moreover1 a very pleasing composer 
of pictures for private ornament1       
several of which are now to be met with 
in the collections of the ,sig4         
,silvestri and ,sig4 ,casalini at       
,rovigo4 ,francesco ,fontebasso1 a pupil
 also of ,bastiano1 succeeded1          
notwithstanding some degree of          
crudeness1 in acquiring celebrity in his
 day1 both in ,venice and the adjacent  
cities4  ,in the ,guide of ,padua       
,rosetti includes1 in the list of its   
painters1 ,antonio ,pellegrini1 as being
 the son of one of its citizens1 who had
 established himself1 however1 at       
,venice1 where ,antonio was born4 ,and  
the ,venetians1 indeed1 may concede him 
to that city without much sacrifice of  
fame4 ,for the surprising success he met

 with in some of the most civilized     
kingdoms of ,europe1 is to be attributed
 to the decline of the art1 and to the  
lively and mannered style he assumed1   
which found a welcome reception in all  
parts4 ,he may be pronounced an artist  
of some ingenuity1 facility1 and        
sprightly conception2 but he was by no  
means well grounded in the art2 and he  
expressed his ideas with so little      
decision1 that the objects which he     
represents sometimes appear to float in 
a kind of half-existence between visible
 and invisible4 ,he was so very         
superficial a colourist1 that even in   
his own times it was said his           
productions would not continue to last  
during a half century4 ,and1 in truth1  
those ,i have seen at ,venice and at    
,padua are already become extremely     
pallid2 while such as he executed at    
,paris will1 doubtless1 be in the same  
state4 ,yet in that city he obtained a  
large sum in the year #agbj1 for merely 
painting a frieze in the celebrated hall

 of the ,mississippi1 which he executed 
in about six weeks4 ,his best work is1  
perhaps1 to be found at ,san ,moise1    
consisting of the ,serpent of ,bronze1  
erected by ,moses in the ,desert2 no    
other equal to it having issued from his
 studio4  ,as the preceding one is      
considered the last of the ,paduan      
artists of any note1 we may mention1 as 
the last among those of ,bergamo1 at    
least of any merit in composition1      
,antonio ,zifrondi1 or ,cifrondi1 pupil 
to ,franceschini4 ,indeed he greatly    
resembled the former in his natural bias
 for the art1 in an imagination adapted 
for great compositions1 in facility and 
rapidity of hand1 to such a degree as to
 dash off a picture in two hours4 ,he   
likewise passed into ,france1 though    
without meeting with success1 and then  
resided in his native place1 employing  
himself for those churches that are     
adorned with so many of his pictures1   
few of which are free from errors of    
over haste and carelessness4 ,thus he   

did not scruple at the church of ,s4    
,spirito1 to place near his picture of a
 ,nunziata1 conducted in his best style1
 three other historical pieces of quite 
an opposite character4 ,we meet with his
 name mentioned more than once1 in the  
,lettere ,pittoriche1 with much         
commendation4 ,several other artists1   
whose names are to be met with in       
,tassi1 and his continuator1 are known  
to have flourished at the same period4  
,nor ought we1 by any means1 here to    
omit that of ,vittore ,ghislandi1 who1  
though little skilled in works of       
invention1 yet in his portraits1 and    
some of his heads1 in the way of        
capricci1 has almost equalled in our own
 times the excellence of the ancients4  
,he was instructed in the art by        
,bombelli1 and by dint of very assiduous
 study1 particularly in the heads of    
,titian1 in order to develop his whole  
artifice1 he attained a degree of       
perfection that is truly surprising4    
,whatever can be esteemed most desirable

 in a portrait painter1 such as lively  
features1 natural fleshes1 imitations of
 the most varied drapery1 to make a     
distinction in dresses2 these constitute
 a portion of his merits4 ,the ,carrara 
collection1 above any other1 may boast  
of several1 distinct both in point of   
age and costume2 and though surrounded  
by very select pictures from every      
school1 and though mere portraits1 they 
fail not to attract and surprise us4    
,less celebrated than many others1 he is
 nevertheless an artist whose           
productions would do no discredit to any
 palace4 ,one more generally known1     
however1 is ,bartolommeo ,nazzari1 pupil
 to ,trevisani in ,venice1 and          
afterwards under ,luti1 and the other   
,trevisani1 he perfected himself at     
,rome4 ,finally he established himself  
at ,venice1 though he continued to visit
 various capitals1 both of ,italy and of
 ,germany1 invariably extolled1 as well 
for his portraits of princes and of     
their courtiers1 as for his heads of old

 men and youths1 drawn from life1 very  
fancifully dressed and ornamented4      
,pietro ,avogadro was a ,brescian1 and  
the scholar of ,ghiti1 who adopted the  
models of ,bologna1 imitating them      
without affectation1 adding some mixture
 of ,venetian colour1 more particularly 
in his ruddier fleshes4 ,the contours of
 his figures are correct1 his           
shortenings pleasing and appropriate1   
and his compositions very judicious2 the
 whole expressing great harmony and     
beauty4 ,next to the three leading      
artists of this city1 he is entitled to 
the fourth place1 at least in the esteem
 of many4 ,perhaps his masterpiece is to
 be seen in the church of ,san          
,giuseppe1 representing the ,martyrdom  
of the saints ,crispino and             
,crispiniano4 ,andrea ,toresani was also
 a ,brescian1 who flourished at the same
 period2 excellent in design1 with which
 he ornamented the cities of ,venice and
 ,milan more than his native place4 ,his
 chief merit1 however1 lay in an        

inferior branch1 that of painting       
animals1 sea views1 and landscapes in   
the ,titian manner1 often accompanied   
with figures in tolerably good taste4   
,having taken a hasty view of the other 
cities of the state1 we must dwell some 
little while on that of ,verona1 which1 
from the beginning of the century1 until
 the present time1 has enjoyed a high   
degree of reputation4 ,though ravaged by
 the plague1 we have already seen how it
 again flourished1 with the aid of other
 ,italian schools1 to which we might add
 that of the ,french1 inasmuch as ,louis
 ,dorigny1 a ,parisian1 and pupil of ,le
 ,brun1 arriving in ,italy at an early  
age1 devoted himself to the study of    
,roman and ,venetian models4 ,he        
established himself at ,verona1 where1  
having for some time employed his       
talents1 and obtained several pupils1 he
 died in the year #agdb4 ,he also left  
works behind him in ,venice1 the most   
esteemed of which adorns the church of  
,san ,silvestro1 as well as in other    

cities1 both of the state and of all    
,italy4 ,he resided likewise with       
,prince ,eugene in ,germany4  ,there was
 another foreigner1 who1 about the same 
period1 became a resident at ,verona4   
,his name was ,simone ,brentana1 a      
,venetian1 well versed in literature1 as
 well as in the information necessary to
 form an artist4 ,he devoted himself    
with extreme assiduity to the works of  
,tintoretto1 whom he emulated in his    
pictorial enthusiasm1 which scarcely    
permitted him to bestow sufficient time 
upon the completion of his labours4 ,in 
his forms and colouring he partakes of  
the ,roman manner of his time1 and      
displays something extremely novel and  
original in his compositions4 ,his      
pictures were sought after to adorn the 
galleries of sovereigns1 no less than   
for private persons4 ,several are to be 
met with in the churches of the state1  
and in that of ,s4 ,sebastiano at       
,verona is one representing the ,titular
 ,saint1 well drawn1 without drapery1 in

 the act of consummating his ,martyrdom1
 while an angel is supporting him in his
 arms1 a figure both in aspect and in   
attitude extremely graceful4 ,girolamo  
,ruggieri1 an artist born at ,vicenza1  
was pupil to ,cornelio ,dusman of       
,amsterdam1 and having established      
himself at ,verona1 he there produced   
several history pieces1 landscapes1 and 
battle scenes1 in the ,flemish style4   
,approaching the ,veronese artists and  
their neighbours1 some of them will be  
found to have flourished in the         
beginning of the century1 whose merits  
deserve to be here recorded4 ,one of    
these is ,alessandro ,marchesini1 pupil 
to ,cignani1 of whom there remains      
little exhibited in public at ,venice1  
and not much at ,verona4 ,he chiefly    
employed himself for private persons1   
with fables and histories1 consisting of
 small figures1 in which he succeeded1  
though having addicted himself to these 
compositions as a trade1 he despatched  
them with more facility than care4 ,in  

similar little pieces ,francesco        
,barbieri also displayed the most merit1
 an artist called il ,legnago1 from his 
native place4 ,an imitator of ,ricchi1  
and in some measure of ,carpioni1 he    
displayed great pictorial enthusiasm in 
every kind of history1 in capricci1 and 
in rural views2 but he was inferior in  
point of design1 having applied himself 
to it too late in life4  ,antonio       
,balestra of ,verona was at first       
devoted to a mercantile life1 until at  
the age of twenty-one1 after studying in
 ,venice under ,bellucci1 and thence    
passing to ,bologna1 and afterwards to  
,rome1 under ,maratta1 he selected the  
best from every school1 uniting a       
variety of beauties in a style of his   
own1 which partakes least of all of the 
,venetian4 ,he is an artist of judgment 
and high finish1 well versed in design1 
of a rapid hand1 lively and animated1   
but always with a solidity of talent    
that makes us respect him4 ,he taught in
 ,venice and in the college of ,la      

,carita1 where he painted the ,nativity 
of our ,lord1 and the ,taking down from 
the ,cross1 while he competes equally   
well with the first artists of his time 
in other places4 ,commissions from      
foreign courts and the cities of the    
state1 never allowed him to be idle4 ,he
 was particularly employed at ,padua in 
an altarpiece for the church del ,santo1
 representing ,santa ,chiara4 ,he       
painted also a good deal for his native 
place2 his picture of ,san ,vincenzo at 
the ,domenicans1#hi being one of the    
finest altarpieces he ever produced1 and
 one of the best preserved1 for his     
method of colouring with boiled oils has
 been found injurious to many of his    
pieces4 ,such as he painted1 however1 in
 oil less boiled1 have better resisted  
the effects of time4 ,many of these     
figures are in possession of the ,conti 
,gazzola1 ornamenting one of their      
halls1 and in particular a very         
beautiful one of ,mercury4 ,he promoted 
the reputation of the ,venetian ,school1

 both by his lectures and example1      
besides affording an excellent imitator 
in ,gio4 ,batista ,mariotti1 and in his 
pupil ,giuseppe ,nogari1 a painter of   
portraits1 as well as of half-length    
figures1 held in much esteem1 insomuch  
as to recommend him1 for a great length 
of time1 to the service of the court of 
,turin4 ,in pieces of composition1 such 
as his ,san ,piero1 placed in the       
cathedral of ,bassano1 he appears a     
respectable artist1 and somewhat        
ambitious of reconciling his master's   
style with that of ,piazzetta4 ,another 
,venetian of the name of ,pietro        
,longhi1 first instructed by ,balestra1 
and afterwards by ,crespi1 aimed at     
pleasing the eye in collections1 by     
those humourous representations of      
masks1 of conversazioni1 landscapes1 c4 
which we find in various noble houses4  
,angelo ,venturini1 also a ,venetian1 is
 mentioned in the ,guida of ,zanetti1   
for his paintings in the church of ,gesu
 e ,maria1 of which he adorned the      

ceiling1 and various portions of the    
walls4 ,another pupil of ,balestra's1 in
 ,verona1 was ,carlo ,salis1 who        
approached very near his style1 more    
particularly in the handling of his     
colours4 ,he prosecuted his first       
studies in ,bologna1 under ,giuseppe dal
 ,sole4 ,some of his pictures are also  
to be met with in the state1 such as his
 ,san ,vincenzio1 in the act of         
administering to the sick at ,bergamo1 a
 piece finely mellowed1 and more than   
commonly spirited4 ,an artist named     
,cavalcabo1 a native of a district in   
,roveredo1 was instructed by ,balestra1 
and afterwards by ,maratta4 ,in the     
choir of the ,carmine at his native     
place1 he left behind him a very        
beautiful altarpiece1 representing the  
,holy ,simone ,stoch1 with four lateral 
pieces of great merit4 ,for a more      
particular account of these and other   
works by this artist1 we may refer the  
reader to his life1 written by the      
,cavalier ,vannetti4  ,the whole of the 

names1 however1 we have here mentioned1 
scarcely excepting that of ,balestra    
himself1 have been thrown into the shade
 by the talent of the ,conte ,pietro    
,rotari4 ,he was honoured with the title
 of painter to her court1 by the empress
 of all the ,russias1 and in her        
dominions he closed the period of his   
days4 ,this very elegant artist1 who    
devoted many years to the art of design1
 succeeding in attaining a grace of     
feature1 a delicacy of outline1 united  
to a vivacity of motion and expression1 
and to a natural and easy mode of       
drapery1 that would have left him second
 to none of his age1 had he possessed1  
in an equal degree of perfection1 the   
art of colouring4 ,but his productions  
often partake so much of the            
chiaroscuro1 or at least of a strong ash
 colour1 as to render them remarkable   
among all4 ,some1 indeed1 have          
attributed this defect to want of       
clearness of sight1 while others        
conjecture it must have been owing to   

his long practice in design1 previous to
 his attempting colours1 in the same    
manner as ,polidoro da ,caravaggio and  
the ,cavalier ,calabrese are known to   
have failed as colourists1 falling like 
him into a weak and languid tone4 ,the  
education he received from ,balestra may
 also have tended to produce it1 as both
 he and the disciples of ,maratta were  
somewhat addicted to a certain duskiness
 of style1 which we may particularly    
observe in several examples seen at     
,naples1 where he resided for some time4
 ,whatever it be owing to1 there still  
prevails a repose and harmony in that   
melancholy expression of his colouring1 
that is far from unpleasing1 in         
particular where he affords somewhat    
warmer touches to his tints4 ,this he   
appears to have done in his picture of a
 ,nunziata at ,guastalla1 in that of    
,san ,lodovico in the church del ,santo 
at ,padua1 and in a ,nativity of the    
,virgin at ,san ,giovanni1 in the same  
city4 ,this last specimen1 indeed1 is   

almost unequalled in its attractions1   
and seems to authorize the praises      
bestowed upon ,rotari by a poet1 that he
 resembled his fellow citizen ,catullus 
in being nursed by the ,graces1 a       
species of eulogy applicable also to    
,balestra and to other ,veronese        
artists4  ,santo ,prunati was           
contemporary with ,marchesini and       
,balestra1 and after receiving the      
instructions of ,voltolino and ,falcieri
 in ,verona1 he attended those of ,loth 
in ,venice4 ,better to acquire superior 
correctness and dignity of manner1 he   
next proceeded to ,bologna4 ,in that    
school he found the taste in colouring  
that he wanted1 at once soft and        
natural4 ,in the design1 and in the     
expression of his heads1 he displays    
more of the naturalist1 if ,i mistake   
not1 than any of those who preceded him4
 ,he was engaged also for larger        
compositions1 in which he distinguished 
himself1 both in his own district and   
elsewhere1 and left behind him a son    

named ,michelangiolo1 who pursued1 as   
far as lay in his power1 the footsteps  
of his father4 ,in the cathedral of     
,verona1 however1 is one of his         
pictures1 placed near the ,san          
,francesco di ,sales of his father1     
which serves to mark the wide difference
 that exists between them4  ,in the same
 school1 along with ,michelangiolo1     
studied ,gio4 ,bettino ,cignaroli1 an   
artist instructed also by ,balestra4    
,until about the year #aggj he ranked   
among the first of his time1 receiving  
very flattering invitations from foreign
 courts1 to which he invariably         
preferred the convenience of his own    
house and country4 ,the prices he was in
 the habit of attaching to his works1   
were1 nevertheless1 those of a court    
painter2 and many were executed for the 
principal royal galleries1 as well as   
for the cities of the state1 and those  
of other parts of ,italy2 but which1 we 
must admit1 are by no means of equal    
merit4 ,i omit his paintings in fresco1 

on account of his having abandoned that 
branch of the art1 owing to his state of
 health1 while yet young1 though not    
until he had afforded specimens of his  
powers in the noble house of ,labia at  
,venice1 during a four years' residence 
there4 ,it is his pictures in oil1 of   
which we here speak1 and to which he    
owed his great reputation4 ,the one at  
,pontremoli1 however1 representing1 as  
it is said1 a ,san ,francesco in the act
 of receiving the marks of ,christ1 and 
extremely well executed1 ,i have not    
seen4 ,his ,san ,zorzi at ,pisa stands  
conspicuous among a number of excellent 
pencils1 all employed in the ornament of
 that single cathedral4 ,perhaps his    
finest is his ,journey into ,egypt1 seen
 at ,san ,antonio ,abate in ,parma4 ,in 
this he has represented the ,virgin with
 the ,holy ,child1 in the act of passing
 a narrow bridge1 while ,s4 ,joseph     
appears engaged in assisting them to    
cross it in safety4 ,in the countenance 
and whole action of the saint1 his      

anxiety for them is strongly depicted1  
which is beautifully expressed by his   
disregarding a part of his mantle1      
fallen from his shoulders into the water
 below1 an image equally skilful and    
natural in every point of view4 ,the    
rest of the picture is also in his best 
style4 ,the angels in attendance1 the   
,divine ,infant1 the ,holy ,virgin1 all 
drawn1 as he so well knew how1 with a   
sedate and dignified beauty1 in the     
usual manner of ,maratta4 ,in some      
points1 indeed1 ,cignaroli much         
resembled him2 in certain attitudes1 in 
a peculiar sobriety of composition1 in a
 certain choice and vicinity of colours1
 though not in their just and equal     
tone4 ,his fleshes1 too much mannered   
with green1 in a few places touched with
 red1 render his colouring less         
agreeable to admirers of what is true1  
while his chiaroscuro1 sometimes sought 
for beyond the limits of nature1 is apt 
to produce an effect in his paintings1  
not so pleasing to the judgment as to   

the eye4 ,he often displays novelty in  
the individual parts1 availing himself  
of architecture1 of sea views1 and of   
landscape1 in a manner above common2    
besides introducing into his            
compositions1 for the most part of a    
scriptural character1 the playful       
figures of cherubims1 with other        
enlivening incidents4 ,this artist was  
indisputably possessed of a fine genius1
 and born in times favourable to the    
eminence he enjoyed4 ,memoirs of him    
were collected and published by the     
celebrated ,padre ,bevilacqua           
dell',oratorio in the year #agga1 and   
eulogies were pronounced upon him both  
in prose and verse1 by a number of      
literary characters connected with that 
city1 so highly polished and so grateful
 to such of its citizens as reflect     
honour upon their native place4 ,a      
collection of these was subsequently    
made1 and put forth in the year #aggb1  
and from such publications it would     
appear that few artists had received    

equal honours1 during their lifetime1   
from the great1 particularly from the   
,emperor ,joseph ,,ii41 who was used to 
declare1 that he had beheld two very    
rare sights in ,verona--one the         
,amphitheatre1 and the other the most   
celebrated painter in ,europe4 ,he      
appears1 likewise1 to have been an      
artist of great learning1 as well as    
fond of conversing with learned men2 he 
was acquainted with philosophical       
systems1 wrote ,tuscan poetry1 relished 
the ,roman classics1 besides producing  
treatises upon his own art1 written with
 so much taste and sound judgment1 that 
we have only to regret1 for the sake of 
the art he loved1 the too sparing use he
 made of such talents4 ,the academy1 on 
which he bestowed the whole of his works
 upon ,painting1 after his decease1     
still preserves his bust along with his 
eulogy1 a farther honour conferred upon 
him by the liberality of his country4   
,he left several pupils1 among whom     
,giandomenico1 his brother1 produced    

some paintings in ,bergamo that have    
been commended by ,pasta4 ,the ,padre   
,felice ,cignaroli1 ,minore ,osservante1
 is an artist likewise worthy of        
mention4 ,he painted little1 and his    
masterpiece appears in the refectory of 
,san ,bernardino1 his convent at        
,verona1 consisting of a ,supper of     
,emmaus1 in which1 though less studied1 
he displays no less invention than his  
brothers4  ,next to these1 who escaped  
oblivion as belonging to the family of  
,cignaroli1 an artist named ,giorgio    
,anselmi deserves best to be put upon   
record1 and in particular for his       
painting of the ,cupola of ,san ,andrea 
at ,mantua1 ably executed in fresco3 at 
one time he was the pupil of ,balestra4 
,marco ,marcola was an almost universal 
artist1 rapid in his labours1 abundant  
in his inventions1 though ,i am unable  
to learn who had been his master4       
,tiepolo gave instructions to ,francesco
 ,lorenzi1 distinguished both for his   
frescos and his oils1 and always by his 

adherence to his master's example4      
,there are various ceilings painted by  
his hand in ,verona1 and ,brescia       
presents a ,holy ,family1 all of which  
display an able artist1 according to the
 manner of the age4  ,in inferior       
branches of the art1 there flourished1  
during this period1 professors of much  
repute4 ,the art of drawing in crayons  
rose to a high degree of excellence1    
through the genius of a distinguished   
lady of the name of ,rosalba            
,carriera1#ij whose paintings in        
miniature have been highly commended by 
,orlandi4 ,she next proceeded to the use
 of oils1 but finally devoted her       
talents to that of crayons4 ,so great   
was her progress in this branch that her
 specimens in point of force were often 
equal to oil pieces4 ,they were in much 
request from the period in which she    
flourished1 both in ,italy and other    
parts2 nor did they merely please by    
their clearness and beauty of colouring1
 but were remarkable for the grace and  

dignity of design1 with which she       
animated every thing she drew4 ,her     
,madonnas and other scriptural subjects 
at once unite elegance and majesty of   
manner1 while her portraits continued to
 increase in value without losing any   
thing of their truth4 ,we meet with     
another excellent portrait paintress in 
,niccola ,grassi1 pupil to ,cassana1 of 
,genoa1 and a rival of ,rosalba4 ,nor   
was she unequal to works of invention1  
one of the most extensive of which      
adorns the church of ,san ,valentino in 
,udine1 where she painted the           
,assumption in the ceiling1 a fine piece
 on the large altar1 and drew figures   
for other pictures of various saints    
belonging to the ,order of the ,serviti4
 ,pietro ,uberti1 son of ,domenico1 an  
artist of mediocrity1 is celebrated in  
the ,guida of ,zanetti for his          
portraits1 of which he produced eight1  
representing the ,avogadori of his      
times1 for the ,avogaria or courthouse1 
which was considered a very honourable  

commission1 bestowed formerly upon      
,paolo de' ,freschi1 ,domenico          
,tintoretto1 ,tinelli1 ,bombelli1       
artists all celebrated in the same      
career4 ,orlandi bestows great          
commendation upon ,gio4 ,batista        
,canziani of ,verona1 distinguished     
likewise in this branch1 and who1 on    
being banished from his native place for
 an act of homicide1 continued to       
exercise it with success in ,bologna4   
,i do not recollect to have seen the    
landscapes of ,pecchio in ,verona1      
though the fine encomium bestowed upon  
him by ,balestra1 in one of his ,lettere
 ,pittoriche1 leads me to hold him in   
high esteem4 ,in the adjacent parts at  
,salo appeared ,gio4 ,batista ,cimaroli1
 a pupil of ,calza1 who was much        
admired1 both by foreigners and natives 
at ,venice4 ,among landscape painters ,i
 find in several galleries the name of  
,formentini1 the figures of whose pieces
 were from the pencil of ,marchesini4   
,d4 ,giuseppe ,roncelli of ,bergamo is  

another artist who acquired reputation1 
and whose virtues procured for him1 from
 the pen of ,mazzoleni1 the honour of a 
life1 while his singular skill in       
depicting nocturnal conflagrations1 as  
well as landscapes1 induced ,celesti to 
add figures to them4 ,in ,padua the     
landscapes of ,marini were in high      
repute1 to which ,brusaferro likewise   
added variety with his figures4 ,still  
more than these ,luca ,carlevaris1 an   
excellent painter of landscape at       
,udine1 rose into notice1 no less       
distinguished also by his perspectives  
and sea views4 ,public specimens of his 
labours still remain at ,venice1 though 
not so numerous as in private houses1   
particularly in possession of the       
,zenobri family1 who so far patronized  
his talents as to procure for him the   
name of ,luca di ,ca ,zenobrio4 ,to him 
succeeded the nephew of ,sebastiano     
,ricci1 named ,marco1 who1 pursuing the 
safe career chalked out by ,titian1 and 
availing himself of the delightful site 

of his native place at ,belluno1 became 
one of the ablest landscape painters    
belonging to the ,venetian ,school4 ,it 
would be no exaggeration to say that few
 before his time distinguished          
themselves with equal force of truth1   
and that those who succeeded him have   
never equalled him in this respect4 ,in 
order to estimate his worth1 we are not 
to consult such landscapes as he painted
 for sale and disposed of to dealers2   
nor those executed in water colours upon
 goatskin1 which1 though very pleasing1 
are wanting in solidity4 ,we ought to   
consult only his oil productions1       
conducted with far more care1 and more  
commonly to be met with in ,england than
 in ,italy4 ,indeed he had a much more  
extended taste than he displayed in his 
works4 ,the two brother artists named   
,valeriano1 declared that he had        
afforded them the most enlightened views
 of the art4 ,these were ,domenico1 a   
painter of perspectives1 and ,giuseppe1 
a figure painter1 both employed in      

ornamenting different churches1 and more
 particularly theatres1 in ,venice1 and 
indeed throughout ,italy and other parts
 of ,europe4 ,francesco ,zuccarelli     
passed a great portion of his life in   
the city of ,venice1 an artist already  
recorded by us among the ,florentines1  
and by whose example ,giuseppe ,zais was
 formed as a landscape painter1 being   
particularly employed in that branch by 
the ,british ,consul ,smith1 a          
distinguished patron of youthful genius 
devoted to the art4 ,in point of        
invention he was more varied and copious
 than his master1 but inferior to him in
 the mellowness of his tints4 ,he had   
acquired from ,simonini1 who also       
resided during a long period at ,venice1
 the art of painting battle pieces1 in  
which he shewed equal skill4 ,but he    
failed to sustain either his own dignity
 or that of his art1 and giving himself 
up to carelessness and dissipation1 he  
died a common mendicant in the hospital 
of ,trevigi4  ,carlevaris and ,ricci are

 names likewise highly esteemed in      
architectural painting4 ,several        
specimens of this are to be seen in     
possession of his ,excellency ,girolamo 
,molin1 placed as it were in competition
 with each other in one of the halls4   
,if we compare them1 the former will    
appear somewhat languid and monotonous1 
although he must be allowed to be an    
accurate observer of perspective1 and   
succeeds in harmonizing his figures well
 with the picture4 ,the latter1 however1
 displays more strength1 partaking of   
the erudite taste of ,viviano1 while the
 figures introduced into it by his uncle
 are full of pictorial fire and         
attraction1 and greatly add to its      
worth4 ,but both of these1 to use the   
language of ,dante1 were afterwards     
cacciati di nido1 driven from their     
nest1 by ,antonio ,canal1 more generally
 called ,canaletto4 ,sprung from a      
painter of theatres of the name of      
,bernardo1 he embraced the profession of
 his father1 attaining to a novelty of  

design1 and a promptness of hand in this
 branch1 that were afterwards of great  
use to him in painting innumerable      
smaller pictures for private ornament4  
,disgusted with his first profession1 he
 removed while still young to ,rome1    
where he wholly devoted himself to      
drawing views from nature1 and in       
particular from ancient ruins4 ,on      
returning into ,venice he continued in  
like manner to take views of that city1 
views that nature and art seem to have  
vied with each other in rendering the   
most novel and magnificent in the world4
 ,a great part he drew exactly as he saw
 them1 a pleasing illusion for the      
satisfaction of those who were never so 
fortunate as to behold the ,adriatic    
,queen with their own eyes4 ,he moreover
 composed a great number of inventive   
pieces1 forming a graceful union of the 
modern and the antique1 of truth and of 
fancy together4 ,several of these he    
produced for ,algarotti2 but the most   
novel and instructive of any1 as it     

seems to me1 is the production in which 
the grand bridge of ,rialto1 designed by
 ,palladio1 instead of that which at    
present is seen1 overlooks the great    
canal1 crowned beyond with the cathedral
 of ,vicenza1 and the ,palazzo          
,chericato1 ,palladio's own works1 along
 with other choice edifices1 disposed   
according to the taste of that learned  
writer1 who has so much contributed to  
improve that of all ,italy1 and even    
beyond ,italy itself4 ,for the greater  
correctness of his perspectives1        
,canaletto made use of the optic camera1
 though he obviated its defects1        
especially in the tints of the airs4    
,the first indeed to point out the real 
use of it1 he limited it only to what   
was calculated to afford pleasure4 ,he  
aimed at producing great effect1 and in 
this partakes somewhat of ,tiepolo1 who 
occasionally introduced figures into his
 pieces for him4 ,in whatever he employs
 his pencil1 whether buildings1 waters1 
clouds1 or figures1 he never fails to   

impress them with a vigorous character1 
always viewing objects in their most    
favourable aspect4 ,when he avails      
himself of a certain pictorial license1 
he does it with caution1 and in such a  
way that the generality of spectators   
consider it quite natural1 while true   
judges only are sensible of its art1 an 
art that he possessed in a very eminent 
degree4  ,his nephew and pupil1         
,bernardo ,bellotto1 approached so      
nearly to his style1 that it is with    
difficulty their respective pieces are  
distinguished4 ,he also visited ,rome1  
though when ,orlandi bestowed his       
encomiums upon him in his work1 he was  
at ,dresden1 and it is uncertain whether
 he again returned into ,italy4         
,francesco ,guardi was recently esteemed
 a second ,canaletto1 his views of      
,venice having attracted the admiration 
not only of ,italy but of foreign parts1
 yet with such persons alone who are    
satisfied with the spirit1 the taste1   
and the fine effect which he invariably 

studied2 as in other points1 in accuracy
 of proportions1 and in judgment as     
regards the art1 he cannot pretend to   
vie with his master4 ,several others    
likewise excelled in this species of    
painting1 whose pictures ,i saw in the  
,algarotti collection and in other      
places2 such as ,jacopo ,marieschi1 who 
was also a good figurist1 and ,antonio  
,visentini1 whose views were ornamented 
with the figures of ,tiepolo and        
,zuccherelli4 ,gio4 ,colombini of       
,trevigi1 pupil to ,bastian ,ricci1     
whose ,pecile was the ,domenican convent
 in that place1 succeeded in his        
perspectives1 in giving illusion to the 
eye1 and in the masterly gradation of   
the different objects of view4 ,the     
figures he has introduced are his own1  
though he was less skilful in this      
branch4 ,he filled that place with his  
portraits1 introducing another family as
 it were of painted ,domenicans1 and not
 without some appearance of caricature4 
,in other minor branches of the art1 the

 flowers of ,domenico ,levo were        
extremely admired4 ,he was pupil to     
,felice ,bigi of ,parma1 who opened     
school in ,verona4 ,to his we may add   
those of one ,caffi and a few other     
natives1 though the most choice         
collectors pride themselves upon the    
specimens of ,gaspero ,lopez1 a         
,neapolitan4 ,thus at least he          
subscribes himself in one of his most   
beautiful works1 in possession of the   
,conti ,lecchi at ,brescia1 where1 as   
well as in the capital1 he resided      
during a long period4 ,about the middle 
of the century there appeared one of his
 imitators1 named in various collections
 ,duramano1 an artist somewhat too much 
given to mannerism4  ,both the flowers  
and birds of ,count ,giorgio ,durante of
 ,brescia were eagerly sought after1 no 
less on account of their exact imitation
 of the life1 than for their taste of   
composition1 and the truly beautiful and
 picturesque attitudes in which they    
were drawn4 ,they are rarely to be met  

with beyond ,brescia1 though several    
noble ,venetian families1 and among     
these that of ,nani1 possess a few      
specimens2 but the best1 perhaps1 of all
 is to be seen in the royal court at    
,turin4 ,the name of ,ridolfo ,manzoni  
is distinguished in the same line of    
composition2 he was a native of         
,castelfranco1 and several of his little
 pictures in oil1 in the best taste1 are
 there found in possession of different 
individuals4 ,but he derived his chief  
reputation1 as well as profit1 from his 
miniature productions4 ,in the ,history 
of ,painting in the ,frioul1 we meet    
with the name of another artist1 ,paolo 
,paoletti1 a native of ,padua4 ,he      
passed his early youth in ,udine1 and   
was employed for many years in the house
 of the ,conti ,caiselli4 ,although more
 particularly celebrated in his flowers1
 he drew with great truth all kind of   
fruits1 herbs1 fishes1 and game4 ,the   
family in which he was domesticated     
possesses quite a museum of these       

rarities1 and numerous specimens are met
 with in other hands1 both within and   
beyond the limits of the ,frioul4 ,in   
his flower paintings he is compared by  
,altan even with the celebrated ,segers1
 an extent of liberality in which ,i by 
no means agree4  ,in the last place we  
have here to treat of an art that       
received great improvement during this  
century in ,venice1 an art which1 though
 not directed to the increase of copies1
 is nevertheless of some importance to  
painting1 inasmuch as it favours the    
duration of ancient productions1 by     
adopting the most judicious means of    
preserving and restoring them4 ,such    
methods were more valuable also to      
,venice than to any other city1 its     
climate being particularly unfavourable 
to paintings in oil1 owing to the salts 
with which the air is impregnated1      
gradually eating away or injuring the   
colours4 ,for this reason the government
 very judiciously appointed a number of 
artists to inspect the public           

exhibitions1 and watch over the         
preservation of the paintings which were
 found inclined to decay1 restoring them
 without incurring the risk1 as it      
sometimes happens1 of a new one being   
substituted for an ancient specimen4 ,a 
studio for this purpose was opened in   
#aggh1 consisting of a large saloon at  
the ,santi ,giovanni e ,paolo1 the      
superintendence of which was entrusted  
to the care of the learned ,peter       
,edwards1 who received the title of     
,president4 ,the various processes      
adopted in the restoration of each      
specimen are extremely long and tedious1
 and executed with surprising accuracy2 
and in instances where the picture has  
not suffered too greatly from the       
effects of injury or time1 it returns   
with renewed youth from the studio1     
calculated to survive the lapse of many 
more years4  ,other equally useful      
methods have been adopted by the        
,republic for the preservation of the   
fine models that adorn its churches1 in 

order that they should not run the risk 
of being sold and carried away4 ,hence  
it is that the state1 even throughout   
its most diminutive districts and towns1
 has been enabled to preserve so many   
valuable paintings2 while1 at the same  
time1 it has furnished provision for its
 youthful artists1 best calculated to   
facilitate their improvement4 ,during   
several centuries the ancient company of
 painters1 ennobled by the names of     
distinguished pupils1 continued to      
flourish2 but there was still wanting   
the sort of reputation arising from     
dignity of situation and establishment1 
from the number and assiduity of its    
masters1 and from the distribution of   
rewards4 ,since the year #agbd it was   
decreed1 and confirmed in #agff1 that a 
magnificent academy should be erected1  
devoted to the fine arts1 upon the plan1
 as was further stated1 of the principal
 institutions in ,italy and throughout  
,europe4 ,and it forms indeed an object 
gratifying to the mind of the most      

accomplished foreigners1 to behold this 
seat of art1 and to cultivate an        
acquaintance with its objects and       
pursuits4 ,these views of the government
 have been promoted by the private      
individuals of that most splendid body  
of nobility1 an assembly in which the   
,abate ,filippo ,farsetti very liberally
 distinguished himself1 by presenting   
the institution with a large collection 
of paintings1 and casts taken from the  
finest antique statues4 ,their          
successors have displayed the same kind 
of spirit1 nor do they merely afford    
students access to the study of these   
monuments2 but their finest productions1
 in every year1 are selected according  
to the judgment of public professors1   
and rewarded with all the ceremony and  
munificence worthy of such an           
institution4  ,nor have other nobles and
 gentlemen throughout the city and the  
state of ,venice been wanting in        
liberality towards young artists of     
genius1 enabling them to pursue their   

studies both at home and abroad1 until  
they have completed their education4    
,few contributions indeed confer so much
 honour upon families as these2 for in  
addition to the merit of succouring a   
fellow creature1 and a fellow citizen1  
there are thus expectations to be       
indulged that some genius may rise up   
capable of conferring honour upon the   
arts1 and perhaps restoring them to     
their ancient merit4 ,we have it in our 
power to record various instances of    
this liberal spirit2 we could mention a 
number of excellent artists who express 
their gratitude for the kindness of     
their patrons1 did not the rule we have 
laid down for ourselves not to introduce
 the eulogies of living artists1 in     
order to avoid occasion of complaint to 
such as may be omitted1 forbid the      
enumeration of them4 ,still ,i may      
allude to an instance of it in another  
branch of the art1 which is very        
generally known1 and this is the        
generous encouragement afforded by their

 ,excellencies ,falier and ,zulian1 to  
,antonio ,canova1 the celebrated        
sculptor1 encouragement to which ,rome  
and ,italy are in a great degree        
indebted for such an artist4 ,he        
suffices to convince us1 that though    
,fortune may indeed deprive our country 
of her great masterpieces of art1 she   
cannot destroy the genius capable of    
reproducing them4   ,footnote #hg3      
,melchiori mentions also with           
commendation1 ,gio4 ,batista1 father of 
,antonio1 and pupil to ,vecchia1 who had
 been unable to assist his son ,antonio1
 left an orphan at a very tender age4   
,footnote #hh3 ,father ,federici        
mentions also his son ,gio4 ,batista1   
citing a fine altarpiece of his at      
,sorigo1 and adds1 that he would have   
become celebrated1 had he not preferred 
the ease permitted him by a handsome    
fortune1 to the glory of a great        
painter4  ,footnote #hi3 ,in the ,guide 
of ,verona1 of which ,i availed myself1 
,i only found one picture by ,rotari in 

the refectory at ,santa ,anastasia4 ,i  
inquired by whom that of ,s4 ,vincenzo1 
which appeared extremely beautiful1 was 
painted4 ,i received for answer1 that it
 was by ,balestra1 but it is in fact    
from the hand of ,rotari1 and engraved  
by ,valesi4  ,footnote #ij3 ,melchiori  
gives us an account of this lady's      
master1 not undeserving of being added  
to the last edition4 ,this was the noble
 ,gio4 ,antonio ,lazzari1 a ,venetian1  
who had talents that rivalled those of  
,rosalba in crayons1 had not his natural
 timidity proved a bar to his fame4 ,in 
painting also he attempted little of an 
inventive character1 copying much1 and  
more particularly from ,bassano with    
great success1 as we have observed at   
page #baa4       ,,end ,,of ,,vol4      
,,iii4     ,j4 ,m',creery4 ,tooks       
,court1   ,chancery-lane1 ,london4      
,transcriber's ,notes3    ,standardized 
spacing after apostrophes in ,italian   
names and phrases4   ,standardized      
hyphenation4   ,retained archaic        

spelling and punctuation1 except as     
noted below4   ,moved footnotes to the  
end of each chapter4    ,other          
adjustments3    ,for consistency in the 
text1 standardized 'bassirilievi'1      
'bassi     rilievi'1 and 'bassi relievi'
 as 'bassi relievi'4   ,changed         
'thereis' to 'there is'      444there is
 made mention of his444   ,changed      
'alter-pieces' to 'altarpieces'         
444under one of his altarpieces1 we     
read444   ,added missing close quotes in
 ,footnotes #ba and #bc      444in the  
library of ,pope ,pius1444      444,hoc 
,bellunellus nobile pinxit opus4444     
,added 'in' to 444'in spite of the      
authority of ,vasari'444   ,deleted     
duplicate word 'of'      444a picture of
 the engravings of ,parmigiano444       
,changed 'develope' to 'develop'        
444sought to develop itself444