,,the                   ,,history ,,of  
,,painting                              
,,in                         ,,italy4   
,,vol4 ,v4                              
,,the                  ,,history ,,of   
,,painting                          ,,in
                        ,,italy1        
,,from ,,the ,,period ,,of ,,the        
,,revival ,,of                    ,,the 
,,fine ,,arts         ,,to ,,the ,,end  
,,of ,,the ,,eighteenth ,,century3      
,,translated               ,from the    
,original ,italian                      
,,of ,,the                  ,,abate     
,,luigi ,,lanzi4                   ,,by 
,,thomas ,,roscoe4                      
,,in ,,six ,,volumes4                   
,,vol4 ,v4    ,,containing ,,the        
,,schools ,,of ,,bologna1 ,,ferrara1    
,,genoa1                     ,,and      
,,piedmont4                             
,,london3                               
,,printed ,,for              ,w4        
,,simpkin ,,and ,r4 ,,marshall1         
,,stationers'-,,hall ,,court1 ,,ludgate 

,,street4                         #ahbh 
,j4 ,m',creery1 ,tooks ,court1 ,chancery
 ,lane1 ,london4                        
,,contents                          ,,of
                  ,,the ,,fifth         
,,volume4          ,,history ,,of       
,,painting ,,in ,,upper ,,italy4        
,,book ,,the ,,third4                   
,,bolognese ,,school4                   
,page    ,,epoch ,i4   ,the ancient     
masters                                 
#f    ,,epoch ,,ii4  ,various styles1   
from the time of ,francia               
to that of the ,caracci                 
#ej    ,,epoch ,,iii4 ,the ,caracci1    
their scholars and their                
successors1 until the time of ,cignani  
#if    ,,epoch ,,iv4  ,pasinelli1 and in
 particular ,cignani1              cause
 a change in the style of ,bolognese    
painting4 ,the ,clementine academy and  
its              members                
#bag                    ,,book ,,the    
,,fourth4                  ,,school ,,of
 ,,ferrara4    ,,epoch ,i4   ,the       

ancient masters                         
#bha    ,,epoch ,,ii4  ,artists of      
,ferrara1 from the time of ,alfonso     
,i4 till ,alfonso ,,ii41 last of the    
,este family in              ,ferrara1  
who emulate the best ,italian styles    
#cja    ,,epoch ,,iii4 ,the artists of  
,ferrara borrow different               
styles from the ,bolognese              
school--,decline              of the    
art1 and an academy instituted in its   
support                                 
#cbh                     ,,book ,,the   
,,fifth4    ,,epoch ,i4   ,the ancient  
masters                                 
#cei    ,,epoch ,,ii4  ,perino and his  
followers                         #cfi  
,,epoch ,,iii4 ,the art relapses for    
some time1 and is                       
re-invigorated by the works of ,paggi   
and              some foreigners        
#cib    ,,epoch ,,iv4  ,the ,roman and  
,parmesan succeed to              the   
native style--,establishment of an      
academy     #dbd                        

,,book ,,the ,,sixth4        ,,history  
,,of ,,painting ,,in ,,piedmont ,,and   
,,the                 ,,adjacent        
,,territory4    ,,epoch ,i4   ,dawn and 
progress of the art until the sixteenth 
century                                 
#ddg    ,,epoch ,,ii4  ,painters of the 
seventeenth century1 and                
first establishment of the academy      
#dff    ,,epoch ,,iii4 ,school of       
,beaumont1 and restoration of           
the academy                             
#dhc                      ,,history ,,of
 ,,painting                             
,,in                      ,,upper       
,,italy4                          ,,book
 ,,iii4                   ,,bolognese   
,,school4   ,during the progress of the 
present work1 it has been observed that 
the fame of the art1 in common with that
 of letters and of arms1 has been       
transferred from place to place2 and    
that wherever it fixed its seat1 its    
influence tended to the perfection of   
some branch of painting1 which by       

preceding artists had been less studied1
 or less understood4 ,towards the close 
of the sixteenth century1 indeed1 there 
seemed not to be left in nature1 any    
kind of beauty1 in its outward forms or 
aspect1 that had not been admired and   
represented by some great master2       
insomuch that the artist1 however       
ambitious1 was compelled1 as an imitator
 of nature1 to become1 likewise1 an     
imitator of the best masters2 while the 
discovery of new styles depended upon a 
more or less skilful combination of the 
old4 ,thus the sole career that remained
 open for the display of human genius   
was that of imitation2 as it appeared   
impossible to design figures more       
masterly than those of ,bonarruoti or   
,da ,vinci1 to express them with more   
grace than ,raffaello1 with more        
animated colours than those of ,titian1 
with more lively motions than those of  
,tintoretto1 or to give them a richer   
drapery and ornaments than ,paul        
,veronese2 to present them to the eye at

 every degree of distance1 and in       
perspective1 with more art1 more        
fulness1 and more enchanting power than 
fell to the genius of ,coreggio4        
,accordingly the path of imitation was  
at that time pursued by every school1   
though with very little method4 ,each of
 these was almost wholly subservient to 
its prototype2 nor was it distinguished 
in any other portion of the art than    
that by which its master had surpassed  
all competitors4 ,even in this portion1 
the distinction of these followers      
consisted only in copying the same      
figures1 and executing them in a more   
hasty and capricious manner1 or at all  
events1 in adapting them out of place4  
,those devoted to ,raffaello were sure  
to exaggerate the ideal in every        
picture3 the same in regard to anatomy  
in those of ,michelangiolo3 while       
misplaced vivacity and foreshortening   
were repeated in the most judicious     
historic pieces of the ,venetians and   
the ,lombards4  ,a few1 indeed1 there   

were1 as we have noticed1 in every      
place1 who rose conspicuous above those 
popular prejudices and that ignorance   
which obscured ,italy1 and whose aim was
 to select from the masters of different
 states the chief merit of each2 a      
method of which the ,campi of ,cremona  
more especially furnished commendable   
examples4 ,yet these artists being      
unequal in point of genius and learning1
 broken into different schools1         
separated by private interests1         
accustomed to direct their pupils only  
in the exact path they themselves trod1 
and always confined within the limits of
 their native province1 failed to       
instruct ,italy1 or at least to         
propagate the method of correct and     
laudable imitation4 ,this honour was    
reserved for ,bologna1 whose destiny was
 declared to be the art of teaching1 as 
governing was said to be that of ,rome2 
and it was not the work of an academy1  
but of a single house4 ,gifted with     
genius1 intent upon attaining the       

secrets more than the stipends of their 
art1 and unanimous in their resolves1   
the family of the ,caracci discovered   
the true style of imitation4 ,first1    
they inculcated it through the          
neighbouring state of ,romagna1 whence  
it was communicated to the rest of      
,italy2 so that in a little while nearly
 the whole country was filled with its  
reputation4 ,the result of their        
learning went to shew that the artist   
ought to divide his studies between     
nature and art1 and that he should      
alternately keep each in view1 selecting
 only1 according to his natural talents 
and disposition1 what was most enviable 
in both4 ,by such means1 that school1   
which appeared last in the series that  
flourished1 became the first to instruct
 the age2 and what it had acquired from 
each it afterwards taught to all3 a     
school which1 until that period1 had    
assumed no form or character to         
distinguish it from others1 but which   
subsequently produced almost as many new

 manners1 as the individuals of the     
family and their pupils4 ,the mind1 like
 the pen1 would gladly arrive at that   
fortunate epoch2 aiming at the most     
compendious ways to reach it1 and       
studiously avoiding whatever may impede 
or divert its course4 ,let ,malvasia    
exclaim against ,vasari as much as he   
pleases3 let him vent his indignation   
upon his prints1 in which ,bagnacavallo 
appears with a goat's physiognomy1 when 
he was entitled to that of a gentleman3 
let him farther vituperate his writings1
 in which ,bolognese professors are     
either omitted1 dismissed with faint    
praise1 or blamed1 until one ,mastro    
,amico and one ,mastro ,biagio fall     
under his lash3--to attempt to reconcile
 or to aggravate such feuds will form   
little part of my task4 ,concerning this
 author ,i have sufficiently treated in 
other places2 though ,i shall not       
scruple to correct1 or to supply his    
information in case oaf need1 on the    
authority of several modern writers4#a  

,nor shall ,i fail to point out in      
,malvasia occasional errors in sound    
criticism1 which seem to have escaped   
him in the effervescence of that bitter 
controversy4 ,the reader will become    
aware of them even in the first epoch2  
in treating which1 agreeably to my own  
method1 ,i shall describe the origin and
 early progress of this eminent school4 
,together with the ,bolognese1 ,i shall 
also give an account of many professors 
of ,romagna1 reserving a few1 however1  
for a place in the ,ferrarese ,school1  
in which they shone either as disciples 
or as masters4       ,footnote #a3 ,no  
,italian school has been described by   
abler      pens4 ,the ,co4 ,canon4      
,malvasia was a real man of letters2 and
      his life has been written by      
,crespi4 ,his two volumes1      entitled
 ,felsina ,pittrice1 will continue to   
supply an      abundance of valuable    
information1 collected by the pupils    
of the ,caracci1 to whom he was known1  
and by whom he was      assisted in this

 work2 charged1 however1 with a degree  
of      patriotic zeal at times too     
fervid4       ,crespi and ,zanotti were 
his continuators1 whose merits are      
considered in the last epoch4 ,to these 
volumes is added the      work entitled1
 ,pitture1 ,sculture1 e ,architetture di
      ,bologna1 of which the latest     
editions have been supplied      with   
some very valuable notices1 7drawn also 
from ,,mss47 by      the ,ab4 ,bianconi1
 already commended by us1 and by ,sig4  
,marcello ,oretti1 a very diligent      
collector of pictoric      anecdotes1 as
 well as by other persons4 ,i cite this 
work      under the title of the ,guide 
of ,bologna2 in addition to      which  
,i mention in ,romagna that of ,ravenna 
by ,beltrami1 that      of ,rimini by   
,costa1 and of ,pesaro by ,becci1 which 
is farther      illustrated by          
observations upon the chief paintings at
      ,pesaro1 and a dissertation upon  
the art2 both very ably      treated by 
the pen of ,sig4 ,canon4 ,lazzarini4    

,,bolognese ,,school4                   
,,epoch ,i4                   ,the      
,ancients4   ,the new ,guide of         
,bologna1 published in the year #aghb1  
directs our attention to a number of    
figures1 in particular those of the     
,virgin1 which1 on the strength of      
ancient documents1 are to be assigned to
 ages anterior to the twelfth century4  
,of some of these we find the authors'  
names indicated2 and it forms1 perhaps1 
the peculiar boast of ,bologna to claim 
three of them during the twelfth        
century3 one ,guido1 one ,ventura1 and  
one ,ursone1 of whom there exist        
memorials as late back as #abdh4 ,most  
part1 however1 are from unknown hands1  
and so well executed1 that we are       
justified in suspecting that they must  
have been retouched about the times of  
,lippo ,dalmasio1 to whose style a few  
of them bear considerable resemblance4  
,yet not so with others2 more especially
 a specimen in ,san ,pietro1 which ,i   
consider to be one of the most ancient  

preserved in ,italy4 ,but the finest    
monument of painting possessed by       
,bologna1 at once the most unique and   
untouched1 is the ,catino of ,san       
,stefano1 on which is figured the       
,adoration of the ,lamb of ,god1        
described in the ,apocalypse2 and below 
this are several scriptural histories2  
as the ,birth of our ,lord1 his         
,epiphany1 the ,dispute1 and similar    
subjects4 ,the author was either ,greek1
 or rather a scholar of those ,greeks   
who ornamented the church of ,st4 ,mark 
in ,venice with their mosaics2 the      
manner much resembling theirs in its    
rude design1 the spareness of the limbs1
 and in the distribution of the colours4
 ,it is besides1 certain1 that these    
,greeks educated several artists for    
,italy1 and among others the founder of 
the ,ferrarese ,school1 of whom more in 
its appropriate place4 ,however this may
 be1 the painter exhibits traces that   
differ from those mosaic workers1 such  
as the flow of the beard1 the shape of  

the garments1 and a taste less bent on  
thronging his compositions4 ,and in     
respect to his age1 it is apparent it   
must have been between the twelfth and  
thirteenth centuries1 from the form of  
the characters1 collated with other     
writings belonging to the same period4  
,entering upon the age of ,giotto1 the  
most disputed of all1 on account of the 
,florentines having declared themselves 
the tutors of the ,bolognese1 and the   
aversion of the latter to admit that    
they have been instructed by the        
,florentines2--,i decline to dwell upon 
their writings1 in which the heat of    
controversy has effectually obscured the
 candour of real history4 ,i shall      
rather gather light from the figures of 
the trecentisti dispersed throughout the
 city and all parts of ,romagna1 and    
from the ample collections which are to 
be seen in various places4 ,such is that
 of the ,padri ,classensi at ,ravenna1  
that of the ,institute at ,bologna1 and 
in the same place one at the ,malvezzi  

palace1 where the pictures of the       
ancient masters are exhibited in long   
series1 with their names2 not always    
inscribed1 indeed1 in ancient character1
 nor always equally genuine2 but still  
calculated to reflect honour upon the   
noble family that made the collection4  
,in all these ,i discovered paintings1  
some manifestly ,greek2 some            
indisputably ,giottesque2 certain others
 of ,venetian style2 and not a few in a 
manner which ,i never saw1 except in    
,bologna4 ,they possess a body of       
colouring1 a taste in perspective1 a    
method of designing and draping the     
figures1 not met with in any other      
cities2 as for instance1 in several     
places ,i saw scripture histories1 where
 the ,redeemer invariably appears       
arrayed in a red mantle2 while other    
characters appear in garments trimmed in
 a certain novel style with gilt        
borders2 trifles in themselves1 yet not 
apparent in any other school4 ,from     
similar observations we seem to be      

justified in concluding that the        
,bolognese of that age likewise had a   
school of their own1 not indeed so      
elegant1 nor so celebrated1 but         
nevertheless peculiar1 and so to say1   
municipal1 derived from ancient masters 
of mosaic1 and also from those in       
miniature4  ,on this head1              
notwithstanding our proposed brevity1 ,i
 must here refer to the words of        
,baldinucci in his notices of the       
miniature painter1 ,franco3 ,after      
,giotto1 that very celebrated           
,florentine painter1 had discovered his 
novel and fine method by which he gained
 the name of the first restorer of the  
art of painting1 or rather to have      
raised it from utter extinction2 and    
after he had acquired with industrious  
diligence that fine mode of painting    
which is called di minio1#b which for   
the most part consists in colouring very
 diminutive figures2 many others also   
applied themselves to the like art1 and 
soon became illustrious4 ,one of these  

was ,oderigi d',agubbio1 concerning whom
 we have spoken in his proper place     
among the disciples of ,cimabue4 ,we    
discovered that this ,oderigi1 as we are
 assured by ,vellutello in his comment  
upon ,dante1 in the eleventh canto of   
the ,purgatorio1#c was master in the art
 to ,franco ,bolognese1 which assertion 
acquires great credit from his having   
worked much in miniature in the city of 
,bologna1 according to these words that 
,i find said of him by ,benvenuto da    
,imola1 a contemporary of ,petrarch1 in 
his comment upon ,dante3 ',iste         
,odorisius fuit magnus miniator in      
civitate ,bononiae1 qui erat valde vanus
 jactator artis suae4' ,from this       
,franco1 according to the opinion of    
,malvasia1 the most noble and ever      
glorious city of ,bologna received the  
first seeds of the beautiful art of     
painting4       ,footnote #b3 ,di minio1
 a peculiar red colour1 used also in    
oil painting1 and well known to the     
ancients1 who on festal      days were  

accustomed to ornament with it the face 
of ,jove's      statue1 as also that of 
the victors on days of triumph4         
,pliny and others explain the ancient   
method of employing it4      ,the term1 
in its simple acceptation1 means here   
the art of      designing and colouring 
in miniature1 7from di minio7      early
 applied to the ornamenting and         
illuminating of ancient      works and  
,,mss4 ,r4       ,footnote #c3          
,oh dissi lui non se' tu ,oderisi1      
,l'onor d',agubbio1 e l'onor di         
quell'arte          ,che alluminar e    
chiamata a ,parisi8        ,frate1      
diss'egli1 piu ridon le carte           
,che pennellegia ,franco ,bolognese3    
,l'onor e tutto or suo1 e mio in parte4 
,ben non sarei stato si cortese         
,mentre ch'io vissi per lo gran disio   
,dell'eccellenza1 ove mio cor intese4   
,di tal superbia qui si paga il fio4    
,with this narrative does the author    
proceed1 like a careful culturist1      
gently sprinkling with refreshing drops 

his pictoric tree1 whose seed he had    
shortly before planted1 in order to     
trace the whole derivation of early     
artists from the leading stock of       
,cimabue4 ,it has elsewhere been        
observed that this famous tree can boast
 no root in history2 that it sprung out 
of idle conjectures1 put together as an 
answer to the ,felsina ,pittrice of     
,malvasia1 in which the ,bolognese      
,school is made to appear1 as it were1  
autoctona1 derived only from itself4    
,now ,baldinucci1 in order to give its  
origin to ,florence1 would persuade us  
that ,oderigi1 a miniaturist1 and master
 of ,franco1 the first painter at       
,bologna on the revival of the arts1 had
 actually been a disciple of ,cimabue4  
,his argument amounts to this3 that     
,dante1 ,giotto1 and ,oderigi1 being    
known to have lived on the most intimate
 terms together1 and all three greatly  
devoted to the fine arts1 must have     
contracted their friendship in the      
school of ,cimabue2 as if such an       

intimacy might not have sprung up at any
 other time or place amongst three men  
who travelled4 ,it is besides difficult 
to believe that ,oderigi1 ambitious of  
the fame of a miniaturist in ornamenting
 books1 should have applied to ,cimabue1
 who in those times was not the best    
designer of figures1 though the most    
eminent painter in fresco1 and of grand 
figures4  ,a more probable supposition1 
therefore1 is that ,oderigi acquired the
 art from the miniaturists1 who then    
greatly abounded in ,italy1 and carried 
it to further perfection by his own     
design4 ,neither are the epochs         
themselves1 fixed upon by ,baldinucci1  
in favour of his system4 ,he would have 
it that ,giotto1 at ten years of age1   
being about the year #abhf1 began to    
design in the school of ,cimabue1 when  
the latter had attained his forty-sixth 
year2 nor could ,oderigi have been any  
younger1 whose death happened about     
#abii1 one year before that of ,cimabue1
 his equal in reputation1 and in the    

dignity of the pupil1 who already       
surpassed the master4 ,how difficult    
then to persuade ourselves that a       
genius1 described by ,dante as lofty and
 full of vaunting1 should demean himself
 by deigning to design at the school of 
a contemporary1 near the seat of a mere 
child2 and subsequently surviving only  
thirteen years1 should acquire the fame 
of the first miniaturist of his age1    
besides forming the mind of a pupil     
superior to himself4 ,it is no less     
incredible that ,oderigi1 after having  
seen ,giotto's specimens in miniature1  
should in a short time become famous4   
,giotto1 in #abih1 when twenty-two years
 of age1 was at ,rome in the service of 
the pope2 where1 observes ,baldinucci1  
he also illuminated a book for the ,car4
 ,stefaneschi2 a circumstance not       
mentioned by ,vasari1 nor supported by  
any historical document4 ,yet taking all
 this for granted1 what length of time  
is afforded for ,oderigi to display his 
powers1 on the strength of seeing       

,giotto's models2 for ,oderigi1 who     
having been already some time before    
deceased1 was found by ,dante in        
purgatory1 according to ,baldinucci's   
computation1 in the year #acjj8  ,i     
therefore refer this miniaturist to the 
,bolognese ,school1 most probably as a  
disciple1 assuredly as a master2 and1 on
 the authority of ,vellutello1 as the   
master of ,franco1 both a miniaturist   
and a painter4 ,franco is the first     
among the ,bolognese who instructed many
 pupils2 and he is almost deserving the 
name of the ,giotto of this school4     
,nevertheless he approached only at     
considerable distance1 the ,giotto of   
,florence1 as far as we can judge from  
the few relics which are now pointed out
 as his in the ,malvezzi museum4 ,the   
most undoubted specimen is one of the   
,virgin1 seated on a throne1 bearing the
 date of #acac2 a production that may   
compare with the works of ,cimabue1 or  
of ,guido da ,siena4 ,there are also two
 diminutive paintings1 displaying much  

grace1 and similar miniatures1 ascribed 
to the same hand4  ,the most eminent    
pupils educated by ,franco in his       
school1 according to ,malvasia1 are by  
name1 ,vitale1 ,lorenzo1 ,simone1       
,jacopo1 ,cristoforo2 specimens of whose
 paintings in fresco are still seen at  
the ,madonna di ,mezzaratta4 ,this      
church1 in respect to the ,bolognese1   
exhibits the same splendor as the ,campo
 ,santo of ,pisa1 in relation to the    
,florentine ,school2 a studio in which  
the most distinguished trecentisti who  
flourished in the adjacent parts1       
competed for celebrity4 ,they cannot1   
indeed1 boast all the simplicity1 the   
elegance1 the happy distribution1 which 
form the excellence of the ,giottesque2 
but they display a fancy1 fire1 and     
method of colouring1 which led          
,bonarruoti and the ,caracci1           
considering the times in which they     
lived1 not to undervalue them2 insomuch 
that1 on their shewing signs of decay1  
these artists took measures for their   

preservation4 ,in the forementioned     
church1 then1 besides the pupils of     
,franco already named1 ,galasso of      
,ferrara1 and an unknown imitator of the
 style of ,giotto1 asserted by ,lamo in 
his ,,ms4 to have been ,giotto himself1 
painted1 at different times1 histories  
from the ,old and ,new ,testament4 ,i am
 inclined rather to pronounce the       
unknown artist to be ,giotto's imitator2
 both because ,vasari1 in ,mezzaratta1  
makes no mention of ,giotto1 and        
because1 if the latter had painted1 he  
would have ranked with the most eminent1
 and would have been selected to pursue 
his labours1 not in that corner         
ornamented with paintings in the        
,florentine style1 but in some more     
imposing situation4  ,i ought not to    
omit to mention in this place1 that     
,giotto employed himself at ,bologna4   
,there is one of his altar-pieces still 
preserved at ,san ,antonio with the     
superscription of ,,magister ,,ioctus   
,,de ,,florentia4 ,we1 moreover1 learn  

from ,vasari that ,puccio ,capanna1 a   
,florentine1 and ,ottaviano da ,faenza1 
with one ,pace da ,faenza1 all pupils of
 ,giotto1 pursued their labours more or 
less at ,bologna4 ,of these1 if ,i      
mistake not1 there are occasional       
specimens still to be met with in       
collections and in churches4 ,nor are   
there wanting works of the successors of
 ,taddeo ,gaddi1 one of the school of   
,giotto1 which1 as ,i have seen great   
numbers in ,florence1 ,i have been able 
to distinguish with little difficulty   
among specimens of this other school4   
,besides this style1 another was        
introduced into ,bologna from ,florence1
 that of ,orcagna1 whose ,novissimi of  
,s4 ,maria ,novella were almost copied  
in a chapel of ,san ,petronio1 painted  
after the year #adjj2 the same edifice  
which ,vasari on the strength of popular
 tradition1 has asserted1 was ornamented
 by ,buffalmacco4 ,from this            
information1 we are brought to conclude 
that the ,florentines exercised an      

influence over the art1 even in         
,bologna2 nor can ,i commend ,malvasia1 
who1 in recounting the progress of his  
school1 gives them no place1 nor makes  
them any acknowledgment4 ,their models1 
which at that period were the most      
excellent in the art1 there is reason to
 suppose1 may in those times have       
afforded assistance to the young        
,bolognese artists1 as those of the     
school of ,caracci1 in another age1     
instructed the youth of ,florence4 ,it  
is time1 however1 to return to the      
pictures of ,mezzaratta4  ,the authors  
of those just recorded1 were1 some of   
them1 contemporary with the disciples of
 ,giotto2 others flourished subsequent  
to them2 nor is there any name more     
ancient than that of ,vital da ,bologna1
 called dalle ,madonne1 of whom there   
are accounts from #acbj till the year   
#acde4 ,this artist1 who painted for    
that church a picture of the ,nativity1 
and from whose hand one of ,s4          
,benedetto with other saints is seen in 

the ,malvezzi palace1 had more dryness  
of design than belonged to the disciples
 of ,giotto at that period2 and he      
employed compositions that differed from
 that school1 so extremely tenacious of 
,giotto's ideas4 ,if ,baldinucci        
ventured to assert of him that his      
style1 in every particular1 agrees with 
that of his ,florentine contemporaries1 
he wrote on the faith of others2 a      
sufficient reason with him for affirming
 that he was pupil to ,giotto1 or to    
some one of his disciples4 ,i would not 
venture so far2 but rather1 to judge    
from the hand of ,vitale1 which ,baldi1 
in his ,biblioteca ,bolognese1 entitles 
manum elimatissimam1 from the dryness of
 design1 and from his almost exclusive  
custom of painting ,madonnas1 ,i argue  
that he had not departed much from the  
example set by ,franco1 more of a       
miniaturist than a painter1 and that his
 school could not have been that school 
more elevated1 varied1 and rich in      
ideas1 formed by ,giotto4  ,lorenzo1 an 

artist1 as is elsewhere observed1 of    
,venice more probably than of           
,bologna1#d who produced the history of 
,daniel1 on which he inscribed his name1
 painted during the same period1 and    
attempted copious compositions4 ,he was 
greatly inferior to the ,memmi1 to the  
,laurati1 to the ,gaddi1 though he is   
represented as their equal in reputation
 by ,malvasia4 ,he betrays the infancy  
of the art1 no less in point of design  
than in the expressions of his          
countenances1 whose grief sometimes     
provokes a smile2 and in his forced and 
extravagant attitudes in the manner of  
the ,greeks4 ,hence it is here out of   
the question to mention ,giotto1 in     
whose school1 cautiously avoiding every 
kind of extravagance1 there predominates
 a certain gravity and repose1          
occasionally amounting to coldness2     
described by the author of the          
,bolognese ,guide as the statuary       
manner2 and it is one of those marks by 
which to distinguish that school from   

others of the same age4       ,footnote 
#d3 ,vol4 iii4 p4 #af4  ,at a later     
period flourished ,galasso1 who is to be
 sought for in the list of artists of   
,ferrara1 along with the three supposed 
disciples of ,vitale2 namely1           
,cristoforo1 ,simone1 and ,jacopo2 all  
of whom1 in mature age1 were engaged in 
pictures to decorate the church at      
,mezzaratta1 which were completed in    
#adjd4 ,vasari writes that he is        
uncertain whether ,cristoforo belonged  
to ,ferrara1 or da ,modena2 and whilst  
the two cities were disputing the       
honour1 the ,bolognese historians1      
,baldi1 ,masini1 and ,bumaldo1 adjusted 
the difference by referring him to their
 own ,felsina4 ,for me his country may  
remain matter of doubt1 though not so   
the school in which he flourished2      
inasmuch as he certainly resided1 and   
painted a great deal1 both on           
altar-pieces and on walls1 at ,bologna4 
,at that period1 he must have attracted 
the largest share of applause2 since to 

him was committed the figure of the     
altar1 which is still in existence1 with
 his name4 ,the ,signori ,malvezzi1     
likewise1 are in possession of one of   
his altar-pieces1 abounding with figures
 of saints1 and divided into ten        
compartments4 ,the design of these      
figures is rude1 the colouring languid2 
but the whole displays a taste assuredly
 not derived from the ,florentines1 and 
this is the principal difficulty in the 
question4  ,simone1 most commonly called
 in ,bologna ,da ,crocifissi1 was       
eminent in these sacred subjects4 ,at   
,s4 ,stefano1 and other churches1 he has
 exhibited several fine specimens1 by no
 means incorrect in the naked figure1   
with a most devotional cast of features1
 extended arms1 and a drapery of various
 colours4 ,they resemble ,giotto's in   
point of colouring1 and in the posture  
of the feet1 one of which is placed over
 the other1 but in other respects they  
approach nearer the more ancient4 ,i    
have seen also some ,madonnas painted by

 him2 sometimes in a sitting posture1 at
 others in half-size1 with drapery and  
with hands in the manner of the ,greek  
paintings4 ,in features1 however1 and in
 the attitudes1 they are both carefully 
studied and commendable for those times2
 a specimen of which is still to be seen
 at ,s4 ,michele in ,bosco4  ,among the 
,bolognese trecentisti ,jacopo ,avanzi  
is the most distinguished4 ,he produced 
the chief part of the histories at the  
church of ,mezzaratta1 many in          
conjunction with ,simone1 and a few of  
them alone2 as the miracle of the       
,probation1 at the bottom of which he   
wrote ,jacobus pinxit4 ,he appears to   
have employed himself with most success 
in the chapel of ,s4 ,jacopo al ,santo1 
at ,padua1 where1 in some very spirited 
figures1 representing some exploit of   
arms1 he may be said to have conformed  
his style pretty nearly to the          
,giottesque2 and even in some measure to
 have surpassed ,giotto1 who was not    
skilful in heroic subjects4 ,his        

masterpiece seems to have been the      
triumphs painted in a saloon at ,verona1
 a work commended by ,mantegna himself  
as an excellent production4 ,he         
subscribed his name sometimes ,jacobus  
,pauli2 which has led me to doubt       
whether he was not originally from      
,venice1 and the same artist who1       
together with ,paolo his father1 and his
 brother ,giovanni1 painted the ancient 
altar-piece of ,san ,marco at that      
place4 ,the time exactly favours such a 
supposition2 the resemblance between the
 countenances in the paintings at ,s4   
,marco and at the ,mezzaratta1 farther  
confirms it2 nor can ,i easily persuade 
myself that ,avanzi would have entitled 
himself ,jacobus ,pauli1 had there      
flourished another artist at the same   
period1 likely1 from similarity of      
signatures1 to create a mistake4 ,in the
 ,notizia of ,morelli1 p4 #e1 he is     
called ,jacomo ,davanzo1 a ,paduan1 or  
,veronese1 or as some maintain a        
,bolognese1 words which may create a    

doubt of the real place of his birth4   
,without entering on such a question1 ,i
 shall only observe1 that ,i incline to 
believe that his most fixed domicile1 at
 least towards the close of his days1   
was at ,bologna2 and it has already been
 remarked1 that some artists were       
accustomed to assume their place of     
residence for a surname4 ,it would seem 
that two painters of this age derive    
their parentage from him3 one who on an 
altar-piece at ,s4 ,michele in ,bosco   
signs himself ,petrus ,jacobi1 and the  
same ,orazio di ,jacopo mentioned by    
,malvasia4 ,at all events it is         
observable in each school1 that1 where  
an artist was the son of a painter1 he  
gladly adopted his father's name as a   
sort of support and recommendation of   
his own4 ,one ,giovanni of ,bologna1    
unknown in his own country1 has left at 
,venice a painting of ,s4 ,cristoforo1  
in the school of the ,merchants at ,s4  
,maria dell',orto1 to which he adds his 
name1 though without date2 and1 from his

 ancient manner1 we are authorized to   
believe that he really belongs to the   
place which is here assigned him4       
,lippo di ,dalmasio1 formerly believed  
to be a ,carmelite friar1 until the     
,turin edition of ,baldinucci proved    
that he had died married1 sprung from   
the school of ,vitale1 and was named    
,lippo dalle ,madonne4 ,it is not true1 
as reported1 that he instructed the     
,beata ,caterina ,vigri in the art1 by  
whom there remain some miniatures1 and  
an infant ,christ painted on panel4     
,lippo's manner scarcely varies from the
 ancient1 except perhaps in better      
harmony of tints and flow of drapery2 to
 which last1 however1 he adds fringes of
 gold lace tolerably wide1 a practice   
very generally prevalent in the early   
part of the fifteenth century4 ,his     
heads are beautiful and novel1 more     
particularly in several ,madonnas1 which
 ,guido ,reni never ceased to admire1   
being in the habit of declaring that    
,lippo must have been indebted to some  

supernatural power for his exhibition in
 one countenance of all the majesty1 the
 sanctity1 and the sweetness of the holy
 mother1 and that in this view he had   
not been equalled by any modern4 ,such  
is the account given by ,malvasia1 who  
relates it1 he adds1 as he heard it4 ,he
 moreover assures us1 on the authority  
of ,guido1 that ,lippo painted several  
histories of ,elias in fresco1 with     
great spirit2 while1 on the experience  
of ,tiarini1 he would persuade us that  
he painted in oil at ,s4 ,procolo in via
 ,s4 ,stefano1 and in private houses2 on
 which point he impugns the commonly    
received opinion respecting ,antonello1 
examined by us more than once4          
,contemporary with ,lippo must have     
flourished ,maso da ,bologna1 painter of
 the ancient cupola of the cathedral4   
,subsequent to #adji1 the latest epoch  
of the paintings of ,lippo1 the         
,bolognese ,school began to decline2 nor
 could it well be otherwise4 ,dalmatio1 
an instructor of youth1 was not by      

profession a painter of history2 and1 as
 portrait painters never particularly   
promoted the progress of any school1 so 
on his part he conferred little benefit 
on his own4 ,this decline has been      
attributed to some specimens of art     
brought from ,constantinople1           
overcharged with dark lines in the      
contours and folds1 and in the remaining
 parts resembling rather the dryness and
 inelegance of the ,greek               
mosaic-workers1 than the softness and   
grace then sought to be introduced by   
the most eminent ,italians in the art4  
,copies of these were eagerly inquired  
for in ,bologna1 and in all adjacent    
cities1 which produced that abundance of
 them1 still to be seen in the sale     
shops and private houses throughout     
those districts1 besides several in the 
city and state of ,venice4#e ,but1 in   
these instances1 they were only copied2 
in ,bologna they were imitated likewise 
by several pupils of ,lippo1 who1 either
 in part or altogether1 adopted that    

style in their own compositions4 ,one   
,lianori1 usually inscribing his name   
,petrus ,joannis1 and known by some     
works interspersed in different churches
 and collections1 is most accused of    
this extravagance2 an ,orazio di        
,jacopo1 7perhaps dell',avanzi7 of whom 
there remains a portrait of ,s4         
,bernardino1 at the church of the       
,osservanza2 a ,severo da ,bologna1 to  
whom is ascribed a rude altar-piece1 in 
the ,malvezzi ,museum2 with several     
others1 either little known or          
unmentioned1 whose names ,i am not      
surprised should be omitted by ,vasari1 
who1 in the same way1 passes over the   
least distinguished of his own country4 
,it is true1 he makes mention of one    
,galante da ,bologna1 who1 he avers1    
designed better than ,lippo1 his master2
 but in this he is still taken to task  
by ,malvasia1 who includes ,galante     
among the inferior pupils of ,dalmasio4 
,footnote #e3 ,the ,greeks1 during the  
earliest periods1 having      uniformly 

represented the ,virgin in so rude a    
style1 were      always pleased with    
similar paintings4 ,i state this to     
remove a very prevalent error1 that     
every ,madonna of ,greek      style1    
with distended eyes1 long fingers1 and  
dark      complexion1 in the style of   
that of ,pisa1 called ,degli            
,organi1 or those of ,cimabue1 is to be 
referred to the      remotest dates4    
,indeed ,i have seen specimens of the   
sixteenth1 seventeenth1 and even        
eighteenth centuries1      particularly 
in the ,classe ,museum1 in that of      
,cattaio1 and      in the palaces of    
,venetian nobles4 ,one in the possession
 of      the ,e4 ,e4 ,signori           
,giustiniani ,recanati1 has1            
notwithstanding      its very antique   
air1 red letters inscribed on a gold    
ground1 expressing1 ,,cheir ,,emmanouel 
,,iereos 44444 a 444 lx1      ,manus    
,emanuelis ,sacerdotis4 an4 #affj4 ,from
 the hand of the      same ,greek       
priest1 well known to ,venetian artists1

 there are      other altar-pieces with 
a similar inscription2 and it is        
still customary in that city to         
reproduce specimens of a      similar   
kind1 to satisfy the continual inquiries
 of the      ,greek merchants4 ,to judge
 correctly1 then1 of the age of         
such images1 we must look for other     
indications besides      their design1  
such as the letters1 7see vol4 i4 p4    
#di71      the fashion of the cornice1  
the method of colouring1 or      those  
cherubs1 holding a gold crown over the  
head of the      ,virgin1 in the edges  
and the folds of whose drapery are      
imprinted marks of ages nearer to our   
own4  ,nevertheless1 the germ of good   
painting was not wanting1 as far as the 
times permitted it to exist1 both in    
,bologna and throughout ,romagna4       
,malvasia commends one ,jacopo ,ripanda1
 who long flourished at ,rome1 where1 as
 is commemorated by ,volterrano1 he     
began to design the bassi-relievi of the
 ,trajan ,column2 one ,ercole1 a        

,bolognese1 who somewhat improved the   
symmetry of the human figure2 one       
,bombologno1 a carver of crucifixes1    
like ,simone1 but of more refined       
composition4 ,he more particularly      
celebrates a ,michel di ,matteo1 or     
,michel ,lambertini2 in whose           
commendation it may be enough to state1 
that ,albano praised one of his         
pictures1 supposed to be in oil1        
completed in #addc1 for the fish-market1
 and even preferred it for its softness 
to those of ,francia4 ,the few which we 
still possess in our own times1 both at 
the churches of ,s4 ,pietro and ,s4     
,jacopo1 might be put in competition    
with the contemporary works of almost   
any master4  ,but the artist who        
produced an epoch in his school is      
,marco ,zoppo1 who having transferred   
his education under ,lippo to the studio
 of ,squarcione1 rose to equal eminence 
with ,pizzolo and ,dario da ,trevigi2   
and1 like them1 vied with the genius of 
,mantegna1 and gave a farther spur to   

his exertions4 ,he also studied some    
time in the ,venetian ,school1 where he 
painted for the ,osservanti1 at ,pesaro1
 a picture of the ,virgin on a ,throne1 
crowned1 with ,s4 ,giovanni the         
,baptist1 ,san ,francesco1 and other    
saints1 and signed it ,marco ,zoppo da  
,bologna ,dip4 in ,vinexia1 #adga4 ,this
 is the most celebrated production which
 he left behind him2 from which1 and a  
few other pieces in the same church1 and
 at ,bologna1 we may gather some idea of
 his style4 ,the composition is that    
common to the quattrocentisti1          
particularly the ,venetians1 and which  
he probably introduced into ,bologna1 a 
style which continued to the time of    
,francia and his school1 for the most   
part unvaried1 except in the addition of
 some cherub to the steps of the throne1
 sometimes with a harp1 and sometimes   
without4 ,it is not a free and graceful 
style1 like that of ,mantegna1 but      
rather coarse1 particularly in the      
drawing of the feet2 yet less           

rectilinear in the folds1 and bolder1   
and more harmonious1 perhaps1 in the    
selection of the colours4 ,the fleshes  
are as much studied as in ,signorelli1  
and in others of the same age2 while the
 figures and the accessories are        
conducted with the most finished care4  
,marco was1 likewise1 a fine decorator  
of facades1 in which kind of painting he
 was assisted by his companion and      
imitator1 ,jacopo ,forti1 to whose hand 
is ascribed a ,madonna1 painted on the  
wall1 at the church of ,s4 ,tommaso1 in 
,mercato4 ,in the ,malvezzi collection  
there is also attributed to ,jacopo a   
,deposition of the ,saviour from the    
,cross2 a work which does not keep pace 
with the progressive improvements of    
that age4 ,the same remark will apply to
 a great number of others1 produced     
about the same period1 in the same city1
 which1 towards the close of the        
century1 displayed a striking deficiency
 in good artists4 ,it was owing to this 
circumstance that ,gio4 ,bentivoglio1   

then master of ,bologna1 wishing to     
ornament his palace1 which1 had fortune 
favoured him1 would one day have become 
that of all ,romagna1 invited a number  
of artists from ,ferrara and ,modena1   
who introduced a better taste into      
,bologna1 besides affording an occasion 
for the grand genius of ,francia to     
develop itself likewise in the art of   
painting1 as we shall proceed to shew4  
,this artist1 whose real name was       
,francesco ,raibolini1 was1 according to
 ,malvasia1 esteemed and celebrated as  
the first man of that age2 and he might 
have added1 in ,bologna1 where many so  
considered him2 being there1 as is      
attested by ,vasari1 held in the        
estimation of a god4 ,the truth is1 that
 he had a consummate genius for working 
in gold2 on which account the medals and
 coins taken with his moulds rivalled   
those of ,caradosso1 the ,milanese2 and 
he was also an excellent painter1 in    
that style which is termed modern       
antique1 as may be gathered from a great

 number of collections1 where his       
,madonnas rank at the side of those of  
,pietro ,perugino and ,gian ,bellini4   
,raffaello1 too1 compares him with them1
 and even greater artists1 in a letter  
dated #aejh1 edited by ,malvasia1 in    
which he praises his ,madonnas1 never   
having beheld any more beautiful1 more  
devotional in their expression1 and more
 finely composed by any artist4 ,his    
manner is nearly between that of these  
two heads of their schools1 and         
participates in the excellence of both2 
it boasts ,perugino's choiceness and    
tone of colours2 while1 in the fulness  
of its outlines1 in the skill of the    
folding1 and ample flow of the          
draperies1 it bears greater resemblance 
to ,bellini4 ,his heads1 however1 do not
 equal the grace and sweetness of the   
former2 though he is more dignified and 
varied than the latter4 ,in the         
accessories of his landscapes he rivals 
both2 but in landscape itself1 and in   
the splendor of his architecture1 he is 

inferior to them4 ,in the composition of
 his pictures he is less fond of placing
 the divine infant in the bosom of the  
,virgin than upon a distinct ground1 in 
the ancient manner of his school2 and he
 sometimes adds to them some half       
figures of saints1 as was customary with
 the ,venetians of that period4 ,on the 
whole1 however1 he approaches nearer to 
the ,roman ,school2 and1 not            
unfrequently1 as is noticed by          
,malvasia1 his ,madonnas have been      
ascribed by less expert judges to       
,pietro ,perugino4 ,he likewise produced
 works in fresco at ,bologna1 commended 
by ,vasari2 and both there and elsewhere
 are many of his altar-pieces yet       
remaining1 displaying figures of larger 
dimensions than those usually painted by
 ,bellini and ,perugino2 the peculiar   
merit of the ,bolognese ,school1 and by 
degrees extended to others1 augmenting  
at once the grandeur of painting and of 
the temples it adorned4  ,but the chief 
praise due to him yet remains to be     

recorded1 and this is1 that he did not  
begin to exercise his pencil until he   
had arrived at manhood1 and1 in the     
course of a few years1 displayed the    
rare example of becoming a scholar and a
 master1 able to compete with the best  
artists of ,ferrara and ,modena4 ,these1
 as we have mentioned1 were invited by  
,gio4 ,bentivoglio1 in order to decorate
 his palace4 ,there1 too1 ,francia was  
employed2 and he was afterwards         
commissioned to paint the altar-piece of
 the ,bentivogli chapel1 in #adij1 where
 he signed himself ,franciscus ,francia 
,aurifex1 as much as to imply that he   
belonged to the goldsmith's art1 not to 
that of painting4 ,nevertheless1 that   
work is a beautiful specimen1 displaying
 the most finished delicacy of art in   
every individual figure and ornament1   
especially in the arabesque pilasters1  
in the ,mantegna manner4 ,in process of 
time he enlarged his style2 a           
circumstance that induced historians to 
make a distinction between his first and

 second manner4 ,cavazzoni1 who wrote   
respecting the ,madonnas of ,bologna1   
wishes to persuade us that ,raffaello   
himself had availed himself of          
,francia's models1 in order to dilate   
that dry manner which he imbibed from   
,perugino4 ,we shall award this glory to
 the genius of ,raffaello1 whose        
youthful performances at ,san ,severo of
 ,perugia1 display a greater degree of  
softness than those of his master and of
 ,francia2 and after his genius1 to the 
examples of ,f4 ,bartolommeo della      
,porta1 and of ,michelangiolo2 leaving1 
we fear1 no room to include the name of 
,francia4 ,when ,raffaello1 at ,rome1   
was regarded rather in the light of an  
angel than a man1 and had already       
executed some works at ,bologna1 he     
began a correspondence with ,francia1   
urged to it by his letters2 ,raffaello  
became his friend2 and1 on sending to   
,bologna his picture of ,s4 ,cecilia1 he
 intreated him1 on discovering any error
 in it1 to correct it2 an instance of   

modesty in our ,apelles1 more to be     
admired even than his paintings4 ,this  
occurred in #aeah1 in which year ,vasari
 closes his life of ,francia1 who he    
declares died with excess of passion1 on
 first beholding that grand performance4
 ,malvasia1 however1 refutes him1 by    
proving ,francia to have lived many     
years afterwards1 and when aged and     
declining1 even to have changed his     
manner2 and in what way1 except upon the
 models of ,raffaello8 ,in his new      
manner he painted and exhibited1 in a   
chamber of the ,mint1 his celebrated    
piece of ,s4 ,sebastian1 which1         
according to a tradition handed from the
 ,caracci to ,albano1 and from the      
latter to ,malvasia1 served as a studio 
for the ,bolognese pupils1 who copied   
its proportions with as much zeal as the
 ancients would have done those of a    
statue of ,polycletes1 or the moderns of
 the ,apollo1 or of the supposed        
,antinous of ,belvidere4 ,albani has    
added that ,francia1 on perceiving the  

concourse of people increase round his  
picture1 and diminish round the ,st4    
,cecilia of ,raffaello1 then dead1      
apprehensive lest they should suspect   
him of having executed and exhibited his
 own in competition with such an artist1
 instantly removed and placed it in the 
church of the ,misericordia1 where1 at  
this time1 there remains a copy of it4  
,the precise year of his decease1       
hitherto unknown1 has been communicated 
to me by the ,sig4 ,cav4 ,ratti1 who    
found on an ancient drawing of a female 
saint1 now in possession of ,sig4       
,tommaso ,bernardi1 a noble of ,lucca1 a
 memorandum of this event having        
occurred on the seventh day of ,april1  
#aecc4  ,francia1 in addition to his    
cousin ,giulio1 who devoted himself but 
little to painting1 gave instructions in
 the art to his own son of the name of  
,giacomo4 ,it is often doubtful1 as we  
find in the ,gallery of the princes     
,giustiniani1 whether such a ,madonna is
 by the hand of ,francesco ,francia1 or 

by that of his son1 who1 in similar     
pictures imitated closely his father's  
style1 although1 in ,malvasia's         
judgment1 he never equalled it4 ,in     
works on a larger scale too1 he is      
sometimes to be pronounced inferior1 in 
comparison with his father1 as in ,s4   
,vitale1 at ,bologna1 where ,francesco  
painted the cherubs round a ,madonna1 in
 his first manner1 somewhat meagre1     
perhaps1 but still beautiful and full of
 animated movements1 while ,giacomo drew
 the figures1 representing a ,nativity  
of our ,lord1 more soft in point of     
design1 but with features less          
beautiful1 and in attitudes and         
expressions bordering on extravagance4  
,at other times1 the son seems to have  
surpassed the father1 as at ,s4         
,giovanni1 of ,parma1 where there is no 
artist who would not wish to have       
produced that fine picture by ,giacomo1 
marked with the year #aeai1 rather than 
the ,deposition from the ,cross1 by     
,francesco4 ,elsewhere too1 as in the   

picture of ,s4 ,giorgio1 at the church  
of ,san ,francesco in ,bologna1 he      
rivals1 perhaps1 the finest works by his
 father2 insomuch that this specimen was
 ascribed to the latter1 until there was
 recently noticed the signature ,i41    
7meaning ,jacobus7 ,francia1 #aebf4 ,he 
appears1 from the first1 to have        
practised a design approaching that of  
the moderns2 neither have ,i observed in
 his paintings such splendid gildings1  
nor such meagre arms1 as for some time  
distinguished the elder ,francia4 ,he   
rather1 in progress of time1 continued  
to acquire a more free and easy manner1 
insomuch that a few of his ,madonnas    
were more than once copied and engraved 
by ,agostino ,caracci4 ,his heads were  
extremely animated1 though generally    
less select1 less studied1 and less     
beautiful1 than his father's4 ,he had a 
son1 named ,giambatista1 by whom there  
remains1 at ,s4 ,rocco1 an altar-piece1 
and a few other specimens1 displaying   
mere mediocrity4  ,among the foreign    

pupils of ,francia1 the ,bolognese      
enumerated ,lorenzo ,costa1 and1 indeed1
 he thus ranks himself1 by inscribing   
under the portrait of ,gio4             
,bentivoglio1 ,l4 ,costa ,franciae      
discipulus4 ,true it is1 that such      
inscriptions1 as ,i have frequently     
found1 might come from another hand2 or 
that1 granting he wrote it1 he may have 
done so more out of regard to such a    
man1 than for the sake of acquainting   
the world1 as ,malvasia contends1 that  
he had been his sole master4 ,vasari is 
of a different opinion1 introducing him 
to us at ,bologna as an established     
artist1 already employed in several     
considerable cities1 and bestowing the  
highest eulogium on his earliest        
production1 the ,s4 ,sebastiano at the  
church of ,s4 ,petronio1 declaring it   
the best specimen in water-colours that 
had1 till then1 been seen in the city4  
,add to this1 that ,francia exhibited   
his first altar-piece in the ,bentivogli
 chapel in #adij1 a few years after he  

had devoted himself to the art2 and     
there ,costa placed the two lateral     
pictures1 tolerably excellent in point  
of composition1 and filled with those   
very spirited portraits of his in #adhh4
 ,now had he boasted only ,francia for  
his master1 of what rapid improvement   
must we suppose him to have been        
capable6 ,besides1 would not his style  
almost invariably resemble that of      
,francia1 at least in the works he      
produced at ,bologna8 ,yet the contrary 
is the case2 and from his less free1 and
 sometimes ill drawn figures2 from the  
coarser expression of his countenances1 
his more hard and dull colouring1 and   
his abundance of architecture1 with the 
taste shewn in his perspective1 it is   
evident he must have studied elsewhere4 
,still ,i believe that he received the  
rudiments of his education in his own   
country2 that then passing into         
,tuscany1 he formed himself1 not by the 
voice1 but1 as ,vasari avers1 upon the  
pictures of ,lippi and ,gozzoli2 and    

that finally seeking ,bologna1 he       
painted for the ,bentivogli1 and resided
 also with ,francia rather in quality of
 an assistant than a pupil4 ,a farther  
proof ,i gather from ,malvasia himself2 
that in the journals of ,francesco1 in  
which he read the names of two hundred  
and twenty pupils1 he found no mention  
of ,costa4 ,in the rest1 however1 ,i    
concur2 as to his having availed himself
 of the works of ,francia1 in imitation 
of whom a number of ,madonnas are seen  
in the collections at ,bologna1 much    
inferior to the paintings of the        
supposed master2 but occasionally not   
unworthy of being compared with them4   
,such is an altar-piece1 divided into   
several compartments1 removed from      
,faenza into the ,casa ,ercolani2 a     
production characterized by ,crespi1 in 
his annotations to ,baruffaldi1 as being
 executed with a fervour1 a refinement1 
softness1 and a warmth which may be     
pronounced altogether ,raffaellesque4   
,he particularly shone in his           

countenances of men1 as may be seen from
 those of the apostles at ,s4 ,petronio1
 and from his ,san ,girolamo1 which     
there offers the finest specimen of his 
art4 ,he was less employed in his own   
country than in ,bologna1 though he gave
 several pupils to the former2 among    
others the celebrated ,dosso and ,ercole
 of ,ferrara4 ,he mostly resided at     
,mantua1 at which court he was highly   
appreciated1 although ,mantegna had been
 his immediate predecessor1 and ,giulio 
,romano succeeded him4 ,i may refer to  
what ,i there wrote respecting this     
artist4  ,a less doubtful pupil of      
,francia's was ,girolamo ,marchesi da   
,cotignola4 ,his portraits are much     
praised by ,vasari1 but his compositions
 much less so4 ,he was by no means happy
 in all2 and in particular one which he 
produced at ,rimini1 is severely        
criticised by the historian4 ,there are 
various altar-pieces by him at ,bologna 
and elsewhere1 all of the usual         
composition of the quattrocentisti1     

which goes to redeem his fault4 ,one of 
these1 exhibiting very beautiful        
perspective1 is in possession of the    
,serviti at ,pesaro1 where the ,virgin  
is seen on a throne1 before which1 in a 
kneeling posture1 is the ,marchesa      
,ginevra ,sforza1 with her son          
,constantius ,,ii42 nor is this the only
 specimen of his works conducted in the 
service of royal houses4 ,the design is 
rather dry1 but the colour very         
pleasing2 the heads grand1 the draperies
 well disposed2 and in short1 were it   
the only production of his hand1 he     
would well deserve to rank among the    
most illustrious painters in the old    
style4 ,that he obtained no reputation  
at ,rome1 or ,naples1 as ,vasari        
observes1 was owing to his arriving in  
those cities too late1 namely1 in the   
pontificate of ,paul ,,iii42 so that his
 style being then regarded merely in the
 light of an article out of fashion1 he 
was unable to make his way4 ,he died    
during the same pontificate1 between the

 interval of #aecd and #aedi4 ,orlandi1 
who brings in the decease of ,cotignola 
as early as #aeah1 is not only refuted  
by the above dates marked by ,vasari1   
and1 with slight difference1 by         
,baruffaldi1 but moreover by a picture  
of ,s4 ,girolamo at the church of the   
conventual friars of ,s4 ,marino1       
executed in #aebj4  ,amico ,aspertini is
 enrolled by ,malvasia 7pp4 #eh1 #ei7 in
 the school of ,francia1 a fact that    
,vasari did not choose to notice1 being 
wholly bent on amusing posterity with a 
portrait of the person and manners of   
,mastro ,amico1 who was indeed a        
compound of pleasantry1 eccentricity1   
and madness4 ,he had adopted a maxim in 
painting1 which in regard to literature1
 was commonly received in that age2 to  
wit1 that every individual ought to     
impress upon his works the image of his 
own genius2 and1 like ,erasmus1 who     
exposed to ridicule ,cicero's imitators 
in writing1 this artist was fond of     
deriding those of ,raffaello in         

painting4 ,it was his leading principle 
to take the tour of ,italy1 to copy here
 and there1 without discrimination1     
whatever most pleased him1 and          
afterwards to form a style of his own1  
like an experienced inventor1 to        
preserve an expression of ,vasari4      
,conducted on this plan is a ,pieta by  
him1 in the church of ,s4 ,petronio1    
which may be compared with the          
trecentisti in point of forms1 the      
attitudes1 and the grouping of the      
figures4 ,we may add1 however1 with     
,guercino1 that this artist seemed to   
handle two pencils2 with one of which he
 painted for low prices1 or out of      
despite1 or for revenge2 and this he    
made use of in ,s4 ,petronio and several
 other pieces2 the other he practised   
only on behalf of those who remunerated 
him honourably for his labours1 and were
 cautious how they provoked him2 and    
with this he displayed his art in       
various facades of palaces1 commended by
 ,vasari himself2 in the church of ,s4  

,martino2 and in many other works cited 
by ,malvasia1 who describes him as a    
good imitator of ,giorgione4  ,he had an
 elder brother of the name of ,guido1 a 
youth who employed uncommon diligence   
and care1 carried perhaps to excess1 in 
his art4 ,he died at the age of         
thirty-five1 and was lamented by his    
more poetical fellow citizens in elegiac
 strains4 ,malvasia is of opinion1 that1
 had he survived1 he would have equalled
 the fame of ,bagnacavallo2 such was the
 promise held forth by a painting of the
 ,crucifixion under the portico of ,s4  
,pietro1 and by his other works4        
,according to the same biographer1 it   
was ,vasari's malice which led him to   
assign ,ercole of ,ferrara for ,guido's 
master1 being jealous of affording ,m4  
,amico the fame of forming such a pupil4
 ,i feel persuaded1 with ,vasari1 no    
less from the age of ,guido than from   
his taste1 and from the date of #adia1  
which he inscribed on this highly       
commended picture1 that assuredly it    

cannot belong to the pupil of a pupil   
formed by ,francia4 ,similar critical   
errors we have already noticed in       
,baldinucci2 and they are not very      
easily to be avoided where a party      
spirit is apt to prevail4  ,gio4 ,maria 
,chiodarolo1 a rival of the preceding1  
and subsequently of ,innocenzo da       
,imola1 in the palace of ,viola1 left   
behind him a name above the generality  
of this school4 ,malvasia mentions      
twenty-four other scholars of ,francesco
 ,francia1 in which he was followed by  
,orlandi1 when treating of ,lorenzo     
,gandolfi4 ,by some mistake these pupils
 are referred by him to ,costa2 while   
,bottari1 misled by ,orlandi1 fell into 
the same error1 although he laments that
 men1 in order to spare trouble1 are apt
 to follow one another like sheep or    
cranes4 ,yet in very extensive and      
laborious works it is difficult         
sometimes not to nod2 nor should ,i     
occasionally note down others'          
inequalities1 except in the hope of     

finding readers considerate enough to   
extend the same liberality towards mine4
 ,the forementioned names will prove of 
much utility to those who1 in ,milan1 in
 ,pavia1 in ,parma1 and other places in 
,italy1 may turn their attention to     
works in the ancient ,bolognese style1  
and may hear them attributed1 as it     
often happens1 to ,francia1 instead of  
the pupils formed by him to practice in 
those districts1 and invariably         
tenacious of his manner4 ,he had also   
others1 who from their intercourse with 
more modern artists1 claim place in a   
better epoch2 and for such we shall     
reserve them4  ,we must previously      
however take a survey of some cities of 
,romagna1 and select what seems to      
belong to our present argument4 ,we     
shall commence with ,ravenna1 a city    
that preserved design during periods of 
barbarism better than any other in      
,italy4 ,nor do we elsewhere meet with  
works in mosaic so well composed1 and in
 ivory1 or in marble1 cut in so able a  

manner2 all vestiges of a power and     
grandeur worthy of exciting the jealousy
 of ,rome1 when the seat of her princes 
and exarchs was removed to ,ravenna4    
,this city too having fallen from its   
splendour1 and after many vicissitudes  
being governed by the ,polentani1 was no
 less indebted to them for an           
illustrious poet in the person of       
,dante1 than a great painter in         
,giotto4#f ,this artist painted in the  
church called ,porto di ,fuori1 several 
histories from the evangelists1 which   
still remain there2 and at ,s4          
,francesco and other places in the city1
 we may trace reliques of his pencil1 or
 at least of his style4 ,the ,polentani 
being expelled1 and the state brought   
under the subjection of ,venice1 from   
this last capital the city of ,ravenna  
derived the founder of a new school4    
,footnote #f3 ,it is remarkable that1 a 
century previous to the      arrival of 
,giotto1 we find in ,ravenna one        
,johannes ,pictor2      a fact supplied 

by the learned ,count ,fantuzzi1 to whom
 both      ,ravenna and the public owe  
so much valuable information4 ,see      
his ,monumenti ,ravennati1 during the   
middle ages1 for the      most part     
inedited1 vol4 i4 p4 #cdg4 ,in vol4 ii4 
p4 #baj1      there is mention of a     
parchment of #abdf1 in which one        
,graziadeo1 a notary1 orders that in the
 ,portuense church      there be made   
imagines magnae et spatiosae ad aurum1  
which      means mosaic1 or painting    
upon a gold ground1 a custom so         
much practised in those times4  ,this   
was ,niccolo ,rondinello1 mentioned by  
,vasari as one who1 above all others1   
imitated ,gian ,bellini1 his master1 to 
whom he did credit1 and assisted him in 
all his works4 ,in the life of ,bellini1
 and in that of ,palma1 ,vasari gives a 
list of his best paintings1 exhibited in
 ,ravenna4 ,in these his progress is    
very perceptible4 ,he displays most of  
the antique in his picture of ,s4       
,giovanni1 placed in that church1 for   

which he also executed one of the       
,virgin1 upon a gold ground4 ,his taste 
is more modern in the larger altar-piece
 of ,san ,domenico2 whose composition   
rises above the monotony of the age1    
giving a representation of saints in    
great variety of attitudes and          
situations4 ,the design is exact1 though
 always inclining to dryness1 the       
countenances less select1 and the       
colouring less vivid than those of his  
master2 with equal care in his          
draperies1 richly ornamented with       
embroidery in the taste of those times4 
,it is1 however1 uncertain whether he   
had obtained any idea of the last and   
most perfect style of ,bellini4 ,he had 
a pupil and successor in his labours at 
,ravenna in ,francesco da ,cotignola1   
whom ,bonoli1 in his history of ,lugo1  
and that of ,cotignola1 as well as the  
describer of the ,parmese paintings1    
agree in surnaming ,marchesi1 while in  
the ,guide to ,ravenna1 he is           
denominated ,zaganelli4 ,vasari commends

 him1 as a very pleasing colourist2     
although inferior to ,rondinello in     
point of design1 and still more of      
composition4 ,in this he was not happy1 
if we except his celebrated             
,resurrection of ,lazarus1 which is to  
be seen at ,classe2 his extremely       
beautiful baptism of ,jesus ,christ1 at 
,faenza1 and a few other histories1     
where he checks his ardour1 and more    
carefully disposes his figures1 for the 
most part fine and well draped2         
occasionally whimsical1 and in          
proportions less than life4 ,one of his 
most extraordinary productions is a     
large altar-piece at the church of the  
,osservanti1 in ,parma1 where he        
represented the ,virgin between several 
,saints1 enlivened by several portraits 
in the background4 ,he never1 in my     
opinion1 produced any work more solid in
 conception1 nor more harmoniously      
disposed1 nor more ingenious in the     
colonnade1 and the other accessary      
parts4 ,here he preserved the most      

moderate tints1 contrary to his usual   
practice1 which was glowing and highly  
animated1 and distributed more in the   
manner of ,mantegna1 than of any other  
master4 ,he had a brother named         
,bernardino1 with whom1 in #aejd1 he    
painted a very celebrated altar-piece1  
representing the ,virgin between ,s4    
,francesco and the ,baptist1 placed in  
the interior chapel of the ,padri       
,osservanti1 in ,ravenna2 and another to
 be seen at ,imola1 in the church of the
 ,riformati1 with the date #aeji4       
,bernardino1 likewise1 displayed        
tolerable ability alone1 and among the  
paintings at ,pavia1 there is one at the
 ,carmine1 inscribed with his name2 a   
fact that may correct an error of       
,crespi1 who names the elder brother    
,francesco ,bernardino1 making the two  
into one artist4  ,contemporary with    
him1 ,baldassare ,carrari was employed  
at ,ravenna along with his son ,matteo1 
both natives of that state4 ,they       
painted for ,san ,domenico the          

celebrated altar-piece of ,s4           
,bartolommeo1 with the grado1 containing
 very elegant histories of the ,holy    
,apostle4 ,such is its merit1 as hardly 
to yield to the gracefulness of ,luca   
,longhi1 who placed one of his own      
pictures near it4 ,it was one of the    
earliest which was painted in oil in    
,ravenna2 and it deserved the eulogium  
bestowed by ,pope ,julius ,,ii41 who on 
beholding it1 in #aeaa1 declared1 that  
the altars of ,rome could boast no      
pieces which surpassed it in point of   
beauty4 ,the painter there left his     
portrait in the figure of ,s4 ,pietro1  
and that of ,rondinello in the ,s4      
,bartolommeo1 somewhat older2 an        
observance shewn in those times by the  
pupils towards their masters4 ,yet ,i   
should not here pronounce it such1 as   
,vasari is not only wholly silent as to 
his school1 but omits even his name4    
,at ,rimini1 where the ,malatesti spared
 no expense to attract the best masters1
 the art of painting flourished4 ,it was

 at this time that the church of ,san   
,francesco1 one of the wonders of the   
age1 was nobly erected1 and as richly   
decorated4 ,a number of artists at      
,rimini had succeeded ,giotto in his    
school2 and it is to them the author of 
the ,guide ascribes the histories of the
 ,b4 ,michelina1 which ,vasari conceived
 were from ,giotto's own hand4#g ,at a  
later period one ,bitino1 whose name ,i 
am happy to rescue from oblivion1 was   
employed at the same place2 an artist   
not perhaps excelled in ,italy1 about   
the year #adjg1 when he painted an      
altar-piece of the titular saint1 for   
the church of ,s4 ,giuliano4 ,around it 
he represented the discovery of his     
body1 and other facts relating to the   
subject2 extremely pleasing in point of 
invention1 architecture1 countenances1  
draperies1 and colouring4#h ,another    
noble production is a ,s4 ,sigismondo1  
at whose feet appears ,sigismondo       
,malatesta1 with the inscription1       
,franciscus de ,burgo1 f4 #addf2 and by 

the same hand there is the ,scourging of
 our ,saviour4 ,both these paintings are
 seen on the wall of ,s4 ,francesco2    
abounding in perspectives and capricci1 
with character approaching so nearly to 
the taste of ,pietro della ,francesca1  
then living1 as to induce me to believe1
 that they are either by him1 and that  
he has thus ,latinized the name of his  
house1 or by some one of his pupils1    
whose name has perished4 ,not such has  
been the fate of ,benedetto ,coda1 of   
,ferrara1 who flourished at ,rimini1 as 
well as his son ,bartolommeo1 where they
 left a number of their works4 ,vasari1 
in his life of ,gio4 ,bellini1 makes    
brief mention of them1 describing       
,benedetto as ,bellini's pupil1 though  
he derived small advantage from it4 ,yet
 the altar-piece representing the       
,marriage of the ,virgin1 which he      
placed in the cathedral1 with the       
inscription of ,opus ,benedicti1 is a   
very respectable production2 while that 
of the ,rosary1 in possession of the    

,dominicans1 is even in better taste1   
though not yet modern4 ,this1 however1  
cannot be said of the son1 one of whose 
pictures ,i saw at ,s4 ,rocco da        
,pesaro1 painted in #aebh1 with such    
excellent method1 as almost to remind us
 of the golden age4 ,it represents the  
titular saint of the church along with  
,s4 ,sebastiano1 standing round the     
throne of the ,virgin1 with the addition
 of playful and beautiful cherubs4      
,another pupil of ,gio4 ,bellini is     
noticed by ,ridolfi4 ,lattanzio da      
,rimino1 or ,lattanzio della ,marca1    
referred by others to the school of     
,pietro ,perugino1 which1 perhaps too1  
produced ,gio4 da ,rimino1 one of whose 
pictures1 bearing his signature1 belongs
 to the grand ,ercolani collection at   
,bologna4#i       ,footnote #g3 ,to this
 period belonged that ,joannes ,rimerici
      ,pictor ,arimini1 who is pointed  
out to us in #achf by ,count      ,marco
 ,fantuzzi1 in his ,monumenti           
,ravennati1 vol4 vi4      edited in the 

year #ahjd4       ,footnote #h3 ,in the 
above named volume 7vi7 we find mention 
of the son of this distinguished man3   
,magister ,antonius      ,pictor quondam
 ,mag4 ,bictini ,pictoris de ,arimino1  
#adef4       ,footnote #i3 ,i made a    
mistake in my former edition in         
supposing him to have been a pupil of   
,bellino1 who died in      #aeaf4       
,concerning this ,gio4 who subscribed   
himself likewise      ,gio4 ,francesco1 
we observe that ,oretti1 in his         
,memorie1      ,,mss41 points out two   
pictures with the dates of #adei and    
#adfa4 ,he adds1 that there are accounts
 of his having been      living in      
#adgj4  ,forli1 as far as ,i can learn1 
boasts no artist earlier than ,guglielmo
 da ,forli1 a pupil of ,giotto4 ,his    
paintings in fresco1 conducted at the   
,francescani1 no longer survive1 nor in 
the church of that order could ,i meet  
with any specimen of the thirteenth     
century1 besides a ,crucifix by some    
unknown hand4 ,from that period1        

perhaps1 a succession of artists        
appeared1 there being no scarcity of    
anonymous paintings from which to       
conjecture such a fact2 but history is  
silent until the time of ,ansovino di   
,forli1 who has already been included   
among the pupils of ,squarcione4 ,i have
 my doubts whether this artist could be 
the master of ,melozzo1 a name venerated
 by artists1 inasmuch as he was the     
first who applied the art of            
foreshortening1 the most difficult and  
the most severe1 to the painting of     
vaulted ceilings4 ,considerable progress
 was made in perspective after the time 
of ,paolo ,uccello1 with the aid of     
,piero della ,francesca1 a celebrated   
geometrician1 and of a few ,lombards4   
,but the ornamenting of ceilings with   
that pleasing art and illusion1 which   
afterwards appeared1 was reserved for   
,melozzo4 ,it is observed by ,scannelli1
 and followed by ,orlandi1 that in order
 to acquire the art he studied the works
 of the best ancient artists1 and though

 born to fortune1 he did not refuse to  
lodge with the masters of his times1 in 
quality of attendant and compounder of  
their colours4 ,some writers give him as
 a pupil to ,pietro della ,francesca4   
,it is at least probable1 that ,melozzo 
was acquainted with him and with        
,agostino ,bramantino1 when they were   
employed at ,rome by ,nicholas ,v41     
towards the year #adee4 ,however this   
may be1 ,melozzo painted on the ceiling 
of the great chapel1 at ,santi          
,apostoli1 the ,ascension of our ,lord1 
where1 says ,vasari1 the figure of      
,christ is so admirably foreshortened as
 to appear to pierce the vault2 and in  
the same manner the angels are seen     
sweeping through the field of air in two
 opposite directions4 ,this painting was
 executed for ,card4 ,riario1 nephew to 
,pope ,sixtus ,,iv4 about the year      
#adgb2 and when that edifice required to
 undergo repairs1 it was removed and    
placed in the ,quirinal palace in #agaa2
 where it is still seen1 bearing this   

inscription3 ,opus ,melotii             
,foroliviensis1 qui summos fornices     
pingendi artem vel primus invenit vel   
illustravit4 ,several heads of the      
apostles which surrounded it1 and were  
likewise cut away1 were deposited in the
 ,vatican palace4 ,taken as a whole1 he 
approaches ,mantegna and the ,paduan    
,school nearer than any other in point  
of taste2 finely formed heads1 fine     
colouring1 fine attitudes1 and almost   
all as finely foreshortened4 ,the light 
is well disposed and graduated1 the     
shadows are judicious1 so that the      
figures seem to stand out and act in    
that apparent space2 dignity and        
grandeur in the principal figure1 and   
white drapery that encircles it2 with   
delicacy of hand1 diligence and grace in
 every part4 ,what pity that so rare a  
genius1 pronounced by his contemporaries
 an incomparable painter1 and the       
splendour of all ,italy1#aj should not  
have had a correct historian to have    
described his travels and his pursuits1 

which must have been both arduous and   
interesting1 before they raised him to  
the eminence he attained1 in being      
commissioned by ,card4 ,riario to       
execute so great a work4 ,at ,forli1    
there is still pointed out the facade of
 an apothecary's shop1 displaying       
,arabesques in the first style2 and over
 the entrance appears a half-length     
figure1 well depicted1 in the act of    
mixing drugs1 said to have been the work
 of ,melozzo4 ,vasari states1 that in   
the villa of the ,dukes of ,urbino1     
named the ,imperial1 ,francesco di      
,mirozzo1 from ,forli1 had been employed
 a long while previous to ,dosso2 and it
 would appear that we are here to       
substitute the name of ,melozzo1 to     
correct one of those errors which we    
have so frequently before remarked in   
,vasari4 ,in the lives of the ,ferrarese
 painters there is named a ,marco       
,ambrogio1 detto ,melozzo di ,ferrara1  
who seems to be confounded with the     
inventor of foreshortening2 but it is my

 opinion that this was quite a different
 artist1 of which his name itself gives 
us reasons to judge4 ,melozzo di ,forli 
was still alive in #adid3 since ,f4     
,luca ,paccioli1 publishing the same    
year his ,summa d',aritmetica e         
,geometria1 ranks him among painters in 
perspective1 men famous and supreme1 who
 flourished in those days4              
,footnote #aj3 ,morelli ,notizie1 p4    
#aji4  ,towards the beginning of the    
sixteenth century1 or shortly           
afterwards1 ,bartolommeo di ,forli      
flourished in the same city1 a pupil of 
,francia1 noticed by ,malvasia1 whose   
style was more dry than that of the     
generality of his fellow pupils4 ,next  
to him ,i place ,palmegiani1 transformed
 by ,vasari into ,parmegiano2 a good1   
yet almost unknown artist1 of whom1 in  
books upon the art1 ,i have found       
mention only of two works1 although ,i  
have myself seen a great number4 ,he was
 cautious too that posterity should not 
forget him1 for the most part inscribing

 his name and country upon his          
altar-pieces1 and upon pictures for     
private ornament1 as follows3 ,marcus   
,pictor ,foroliviensis3 or ,marcus      
,palmasanus ,p4 ,foroliviensis pinsebat4
 ,he seldom adds the year1 as in two in 
possession of prince ,ercolani1 on the  
first of which we find the date of      
#aeac1 and on the second that of #aecg4 
,in the forementioned pictures1 and more
 particularly in those of ,forli1 we may
 perceive that he practised more than   
one style4 ,his earliest was in common  
with that of the quattrocentisti1 in the
 extremely simple position of the       
figures1 in the gilt ornaments in study 
of each minute part1 as well as in the  
anatomy1 which in those times consisted 
almost wholly in drawing with some skill
 a ,s4 ,sebastian1 or some holy         
anchorite4 ,in his second manner he was 
more artificial in his grouping1 fuller 
in his outlines1 and greater in his     
proportions2 though at times more free  
and less varied in his heads4 ,he was   

accustomed to add to his principal      
subject some other unconnected with it1 
as in his picture of the ,crucifixion1  
at ,s4 ,agostino di ,forli1 where he    
inserted two or three groups on         
different grounds2 in one of which is   
seen ,s4 ,paul visited by ,s4 ,antony2  
in another1 ,s4 ,augustine convinced by 
the angel on the subject of the         
incomprehensibility of the ,supreme     
,triad2 and in these diminutive figures1
 which he inserted either in the        
altar-pieces or on the steps1 he        
displays an art extremely refined and   
pleasing4 ,his landscape is likewise    
animated1 and his architecture          
beautiful1 while his ,madonnas and other
 portraits are superior in point of     
beauty to those of ,costa1 but not equal
 to ,francia1 whose style of colouring  
he less resembles than that of          
,rondinello2 a circumstance which led   
,vasari to attribute to the artist of   
,ravenna an altar-piece in the          
cathedral1 undoubtedly from the hand of 

,palmegiani4 ,the works of the latter   
are very numerous in ,romagna2 and exist
 in the state of ,venice4 ,one of his   
,madonnas was in possession of the ,ab4 
,facciolati1 in ,padua1 and mentioned by
 ,bottari2 and another belongs to the   
,sig4 ,dottore ,antonio ,larber1 at     
,bassano4 ,the select gallery of ,count 
,luigi ,tadini1 at ,crema1 possesses a  
third2 the going up of ,jesus to ,mount 
,calvary2 and ,i saw a ,dead ,christ1   
between ,nicodemus and ,joseph1 in the  
,vicentini palace at ,vicenza2 a very   
beautiful picture1 in which the dead has
 truly the appearance of death1 and     
those living of real life4 ,i had long  
entertained a curiosity to learn whose  
pupil so considerable an artist could   
have been2 until ,i was gratified by    
finding that ,paccioli1 in his          
dedication of the above cited volume1   
addressed to ,guidubaldo1 ,duke of      
,urbino1 calls him the attached disciple
 of ,melozzo4  ,i was made acquainted   
with an artist of ,forli1 who flourished

 at the period of ,palmegiani1 by his   
,eminence ,card4 ,borgia1 who in the    
church of ,s4 ,maria dell',orto1 at     
,velletri1 transcribed the following    
inscription3 ,jo4 ,baptista de ,rositis 
de ,forlivio pinxit1 ,i4 ,s4 ,o4 ,o4 de 
,mense ,martii4 ,the picture is on      
panel1 and displays both good design and
 good colouring4 ,it represents the     
,virgin1 with the holy child in her     
arms1 seated in a round temple supported
 by four columns1 and each of these     
columns is clasped by an angel1 as if   
bearing the temple in procession through
 the air4 ,the angels are wholly arrayed
 in heroic dress4 ,for this description 
,i am indebted to the very worthy       
cardinal4  ,in respect to the other     
cities of ,romagna1 ,i can easily       
suppose that ,i am rather in want of    
materials1 than that these have had no  
artists to boast4 ,i have recorded1 not 
long since1 one ,ottaviano1 and also one
 ,pace da ,faenza1 pupils of ,giotto2   
and there was pointed out to me as the  

production of the latter1 an ancient    
figure of our ,lady1 in a church of the 
same city1 an edifice formerly belonging
 to the ,templars4 ,giacomo ,filippo    
,carradori is included1 from his style1 
among the ancients2 in other points it  
is hardly possible that he could have   
reached the fifteenth century4 ,there   
are more especially two pictures1 in    
which he exhibits a change of style1    
although he never displayed the powers  
of a superior artist4 ,one of them bears
 the date of #aehj2 the other that of   
#aehb4  ,another artist of ,faenza      
better deserved mention in the first    
edition1 but ,i had then no account of  
him4 ,this was ,giambatista da ,faenza1 
one of whose pictures is preserved in   
the ,communal ,collection of the        
,lyceum1 with the author's name1 and    
dated #aejf4 ,it exhibits the ,holy     
,virgin2 on whose right two angels      
support the mantle1 and on the steps of 
the throne appear ,st4 ,john the        
,baptist1 a youth1 and another cherub1  

in the act of playing on the harp4 ,it  
is correct in point of design1 the tints
 are very pleasing1 and the folds       
something similar to those of ,albert   
,durer2 in other respects1 equal to     
,costa1 and perhaps1 also1 not inferior 
to ,francia4 ,he was the father of      
,jacopone da ,faenza1 and of his        
brother1 ,raffaello1 from whom descended
 ,gio4 ,batista ,bertuzzi1 likewise an  
artist4  ,there is a ,francesco         
,bandinelli da ,imola1 a pupil of       
,francia1 pointed out by ,malvasia2 and 
one ,gaspero1 also of ,imola1 was       
employed in painting at ,ravenna4 ,in   
his native state1 there is to be seen1  
at the ,conventual friars1 a picture of 
our ,lady1 between ,saints ,rocco and   
,francis1 in a style inclining to the   
modern1 accompanied with two portraits1 
very animated in point of expression4   
,,school ,,of ,,bologna4                
,,epoch ,,ii4       ,various styles from
 the time of ,francia to that of the    
,caracci4   ,subsequent to the discovery

 of the new style1 when every school of 
,italy was devoted to its cultivation in
 the track of one of its masters1 the   
,bolognese artists having none at home  
from whom to acquire it1 either removed 
elsewhere to study it under the eye of  
living masters1 or1 if remaining in     
their native place1 they contrived to   
attain it from such foreigners as had   
there conducted1 or at least sent       
thither their works4 ,of these they     
possessed1 besides the ,st4 ,cecilia1   
and a few small paintings by ,raffaello1
 other productions by his pupils1 such  
as the ,st4 ,john1 coloured by ,giulio1 
and the ,st4 ,zacchary1 a work by       
,garofolo4 ,nor was it long before the  
,lombard style was introduced into      
,bologna1 ,parmigianino having there    
produced his ,st4 ,rocco and his ,st4   
,margaret1 pictures which are enumerated
 among his happiest efforts1 and        
,girolamo da ,carpi1 and ,niccolo       
dell',abate having long resided1 and    
left there many fine specimens of their 

mixed style1 between the ,lombard and   
the ,roman4 ,another artist sojourning  
there was ,girolamo da ,trevigi1 an     
imitator of ,raffaello1 not without some
 mixture of ,venetian taste1 some of    
whose productions are still seen at     
,bologna4 ,a still more constant        
resident there was ,tommaso ,laureti1 a 
,sicilian1 a pupil1 according to        
,vasari1 of ,sebastian del ,piombo1 and 
assuredly a more powerful colourist than
 most of his age4 ,he there conducted a 
number of works1 and among others the   
painting of a recess di sotto in su1 for
 the house of ,vizzani1 which ,father   
,danti1 commending ,vignola's           
perspective1 pronounces perfectly unique
 in its kind4 ,at the same place he left
 compositions abounding in figures1     
displaying much fancy1 not however to be
 placed in competition with the history 
of ,brutus1 which he afterwards         
completed1 along with several more in   
the ,campidoglio at ,rome1 where he long
 resided and taught4 ,at ,bologna is    

also the altar-piece of ,boldraffio1    
pupil to ,vinci1 and various other      
pieces by a ,florentine1 who signs      
himself ,iul4 ,flor4 read by some for   
,julius1 and by others ,julianus4       
,possibly he might be that ,giulian     
,bugiardini1 poor both as inventor and  
composer1 but excellent in point of     
copying and colouring4 ,whoever he may  
have been1 the whole of his productions1
 particularly his ,st4 ,john1 which     
adorns the ,sacristy of ,st4 ,stephen's1
 shew him to have been an imitator of   
,vinci1 almost on a par with the ,luini1
 and the best known ,milanese artists4  
,michelangiolo shone there in the       
character of a statuary in the time of  
,julius ,,ii41 but neither produced any 
paintings1 nor left behind him1 among   
artists1 any wish for his return1 having
 for some little indiscreet word treated
 ,francia and ,costa with the most      
sovereign contempt1 in the same manner  
as at another period he criticised      
,pietro ,perugino4 ,his style1          

nevertheless1 took root in ,bologna     
within a very few years1 no less from   
the studies pursued by ,tibaldi at      
,rome1 as will be seen1 than from the   
examples left by ,giorgio ,vasari at    
,san ,michele in ,bosco1 in ,bologna1 in
 ,michelangiolo's style4 ,nor did these 
examples prove more useful to the       
,bolognese than they had done to the    
,florentine artists2 and here also they 
opened the path to a less correct style4
 ,it is known that ,vasari's works were 
much commended there1 and copied by     
young artists2 that he had1 moreover1   
assistants among the ,bolognese1 such as
 ,bagnacavallo1 the younger1 and        
,fontana1 who instructed not a few of   
his fellow citizens in the art4 ,to     
these causes we may attribute the       
circumstance1 that those ,bolognese     
artists1 nearest to the ,caracci1 were  
accustomed to colour1 for the most part1
 like the ,florentines of the third     
epoch1 that several were extremely      
careless of the chiaroscuro1 and        

frequently pursued the ideal and the    
practical1 more than nature and truth4  
,yet these complaints do not apply      
either to so great a number of          
,bolognese1 or to so long a period1 as  
to give a different aspect to the whole 
epoch4 ,the one which we are now about  
to describe1 abounds with excellent     
artists2 and to this shortly succeeded  
the epoch of the ,caracci1 which        
improved the good1 and brought many     
extravagant artists into a correct      
method4  ,the earliest founders of the  
new school were ,bartolommeo ,ramenghi1 
called ,bagnacavallo1 being sprung from 
thence1 and ,innocenzio ,francucci da   
,imola4 ,both educated by ,francia1 the 
former subsequently went to ,rome1 where
 we have given an account of him among  
,raffaello's assistants2 the latter to  
,florence1 where he attached himself to 
the school of ,albertinelli1 besides    
studying very accurately1 if ,i mistake 
not1 the works of ,frate and ,andrea del
 ,sarto4 ,both1 on returning to         

,bologna1 met with rivals1 though less  
with the pencil than the tongue1 in     
,aspertini and ,cotignuola1 artists     
whose works present no instance of a    
style wholly modern4 ,one master1       
,domenico1 a ,bolognese1 then           
flourished1 equal to compete with the   
first names1 but who resided out of his 
native place4 ,his name1 lost during two
 or more centuries1 was brought to      
light1 a few years ago1 from the        
archives of ,s4 ,sigismondo of ,cremona1
 in whose church he executed1 upon the  
ceiling1 a picture of ,jonah ejected    
from the whale1 which1 in respect of the
 di sotto in su1 is most admirable4 ,it 
was completed in #aecg1 when this art   
was yet new in ,italy2 and ,i am at a   
loss to say whether ,domenico acquired  
it from ,coreggio1 or1 as is more       
likely1 from ,melozzo1 whose style he   
most resembles of the two4 ,i have seen 
no other work1 nor met with any other   
notice of this artist1 unknown even to  
the ,bolognese historians1 perhaps on   

account of his constant residence out of
 the place4  ,the first artist1         
therefore1 who introduced a new style   
into ,bologna1 and established it there1
 was ,bagnacavallo1 who had practised at
 ,rome under ,raffaello1 and not without
 advantage4 ,he had not the depth of    
design possessed by ,giulio ,romano1 or 
,perino2 but he nearly approached to the
 latter1 and was perhaps equal to him in
 taste of colouring1 while1 in the      
gracefulness of his countenances1 at    
least of the infantine and boyish1 he   
surpassed him4 ,in his composition he   
most affected ,raffaello1 as may be     
gathered from the celebrated ,dispute of
 ,st4 ,augustine at the ,scopetini1     
where the maxims of the ,school of      
,athens1 and of other copious and noble 
conceptions of ,sanzio1 are apparent4   
,indeed in those subjects1 treated by   
the latter1 ,bagnacavallo contented     
himself with being a mere copyist1      
declaring that it was madness to attempt
 to do better2 in which it would seem he

 followed ,vida's opinion1 and that of  
other poets of his age1 who inserted in 
their pages fragments of ,virgil1       
because they despaired of excelling him4
 ,such a maxim1 which1 whatever truth it
 may contain1 opens a wide field for    
indolence and plagiarism1 very probably 
injured him in the eyes of ,vasari1 who 
confers on him the praise due to a good 
practitioner rather than to a master    
grounded in the theory of his art4      
,still he conducted some paintings1 on  
the strength of his own invention1 at   
,s4 ,michele in ,bosco1 at ,s4 ,martino1
 and at ,s4 ,maria ,maggiore1 which     
absolve him from such an accusation2 nor
 can ,i believe that the ,caracci1      
,albano1 and ,guido1 would have copied  
from him and imitated his works1 had    
they not recognized in them the hand of 
a master4  ,there was a son of          
,bagnacavallo1 named ,gio4 ,batista1 who
 was employed as an assistant to ,vasari
 in the palace of the chancery at ,rome1
 and to ,primaticcio in the court of    

,france4 ,he likewise left various      
original works in ,bologna1 more nearly 
inclining1 if ,i judge rightly1 to the  
decline of the art in his own time1 than
 to the examples of his father4 ,in     
addition to his son1 mention ought here 
to be made of ,bagnacavallo's companion1
 called ,biagio ,pupini1 and sometimes  
,maestro ,biagio dalle ,lamme1 who1     
having been at ,rome with ,ramenghi1    
contracted with him at ,bologna a       
community of labours and of interests1  
and assisted him in the ,dispute just   
before mentioned1 as well as in other   
works4 ,he formed the same connexion    
with ,girolamo da ,trevigi and others1  
uniformly acquiring1 if we are to credit
 ,vasari1 more money than reputation1   
and at times injuring that of his       
companion by his eagerness to finish4   
,whatever opinion we may entertain      
regarding such facts1 this artist by no 
means merits contempt2 and perhaps      
,vasari might have treated him with more
 lenity1 had there not existed between  

them mutual rivalship and disgust4 ,in  
,pupini's style1 where he exerted his   
powers1 we trace the manner of          
,francesco ,francia1 his master1 though 
a good deal enlarged1 with the relief1  
and the various other characteristics of
 the good age4 ,of this taste is a      
,nativity of our ,lord which he painted 
at ,bologna1 and which now adorns the   
institution of that place4  ,innocenzio1
 born at ,imola1 but residing always in 
,bologna1 was admitted into the school  
of ,francia in #aejf2 from which we are 
not to infer1 with ,malvasia1 that he   
did not spend some years at ,florence in
 company with ,albertinelli4 ,this is   
attested by ,vasari1 and confirmed by   
the resemblance of his style to that of 
the most distinguished ,florentines of  
the age4 ,he produced several           
altar-pieces1 composed in the taste of  
the fourteenth century2 but following   
the example of ,frate and of ,andrea1 he
 placed the ,virgin above1 without the  
ancient gildings1 and with great art he 

grouped and disposed the saints who     
attend her2 while1 with equal novelty1  
he distributed the train of cherubs over
 the steps and through the surrounding  
space4 ,sometimes1 as in the            
extraordinary picture displayed in the  
cathedral of ,faenza1 and another in    
possession of prince ,ercolani1 he added
 some noble architecture1 bold and drawn
 from the antique4 ,in other instances1 
as in the church of the ,osservanti1 at 
,pesaro1 we observe the most attractive 
landscape1 combined with an aerial      
perspective1 sufficient to remind us of 
,vinci4 ,he was accustomed too to insert
 little histories1 as in ,s4 ,giacomo at
 ,bologna1 where1 at the foot of the    
picture1 he painted a ,christ in the    
manger1 of which it is enough to add1   
that it is perfectly ,raffaellesque4    
,this1 indeed1 was the style to which he
 invariably aspired1 and so nearly      
attained1 that very few of ,raffaello's 
own pupils could equal him4 ,those who  
may be desirous of convincing           

themselves1 may examine the altar-piece 
at ,faenza in all its parts1 and that of
 ,s4 ,michele in ,bosco2 to say nothing 
of his ,madonnas and his ,holy          
,families1 interspersed throughout the  
,bolognese collections1 and in the      
adjacent cities4 ,he is preferred to    
,francia and to ,bagnacavallo1 in all   
that relates to erudition1 majesty1 and 
correctness4 ,i am not aware that he    
executed compositions very new1 or      
subjects requiring fire and vigour1 nor 
would they have been consistent with his
 genius1 which is described as of a     
gentle and tranquil cast4  ,the fame of 
the two masters1 just celebrated1 did   
not then extend far beyond their native 
districts1 being eclipsed by the        
celebrity of many contemporaries1 who   
swayed the regions of the art2 in the   
list of whom was ,giulio ,romano4 ,his  
reputation drew to ,mantua ,francesco   
,primaticcio1 instructed in design by   
,innocenzio1 and by ,bagnacavallo in    
colouring4 ,under ,giulio he afterwards 

became a painter on a great scale1 and a
 very copious composer of large         
histories1 as well as a decorator in    
wood and stucco in a magnificent style  
suitable only for a palace4 ,in this    
way1 having studied six years in        
,mantua1 he was sent by ,giulio to the  
court of the ,french king ,francis1 and 
there1 though ,rosso the ,florentine had
 arrived a year before1 and executed a  
variety of works1 yet we learn that the 
first stuccos and the first works in    
fresco of any consideration in ,france1 
took their rise from ,primaticcio1 in   
the words of ,vasari4 ,nor has he       
omitted to mention1 that the king       
bestowed upon this artist the abbey of  
,st4 ,martin1 though he did not add that
 it brought him an annual income of     
eight thousand crowns1 while ,rosso     
possessed only a canonship worth one    
thousand4 ,in regard to this last       
omission he is severely taxed with      
malice by ,malvasia1 with what reason   
the reader will best judge for himself4 

,we farther learn from ,vasari that this
 artist employed himself1 as well as his
 young assistants1 in decorating a      
number of the halls and chambers at     
,fontainebleau1 that he supplied the    
court with many ancient marbles1 and    
many moulds of excellent sculpture1 from
 which he had casts afterwards taken in 
bronze2 in a word1 that he was like     
another ,giulio1 if not in architecture1
 at least in every other kind of        
knowledge appertaining to the arts4 ,the
 works conducted by him in ,france have 
been described by ,felibien1 and from   
the same pen is that appropriate        
eulogy--that the geniuses of ,france are
 indebted to ,primaticcio and to ,m4    
,niccolo1 7dell',abate7 for many        
exquisite productions1 and that they are
 entitled to the fame of having been the
 first who introduced ,roman taste into 
,france1 with all the beau ideal of     
ancient painting and sculpture4 ,at the 
,te of ,mantua there remains the frieze 
of stuccos1 so highly commended by      

,vasari1 from ,primaticcio's own hand1  
as well as a few pictures1 which last1  
however1 are not so assuredly his4 ,his 
pictures indeed are objects of the      
utmost rarity in ,italy1 and in ,bologna
 itself4 ,in the grand ,zambeccari      
gallery there is a concert by him1 with 
three female figures1 altogether        
enchanting2 the forms1 the motions1 the 
colouring1 the taste of the lines and   
folding so easy and chaste1 all combined
 with a certain originality pervading   
the whole1 are well calculated to       
attract and rivet the eye at the first  
moment4 ,when dying1 he assigned        
,niccolo ,abati1 called too dell',abate1
 to continue his grand works1 because he
 had brought him from ,bologna1 and laid
 the ground-work of his fortunes4 ,an   
account of this delightful painter may  
be found in the ,modenese ,school4 ,he  
was not ,primaticcio's pupil1 but one   
,ruggiero ,ruggieri was1 and conducted  
by him into ,france1 he left few        
paintings in his own country2 to whom we

 may perhaps add one ,francesco         
,caccianemici1 called by ,vasari his    
disciple1 from whose hand1 at ,bologna1 
there only remain a few doubtful        
specimens4  ,much under the same        
circumstances as ,primaticcio and ,abati
 appeared ,pellegrino ,pellegrini1 whose
 patronymic was ,tibaldi1 a native of   
,valdelsa in the ,milanese2 though      
residing from his childhood1 educated1  
and established at ,bologna4 ,he next   
filled the same situation at the court  
of ,spain1 as the two preceding had done
 at that of ,france2 he decorated it    
with his paintings1 improved its taste  
in architecture1 formed pupils1 and rose
 in fortune until he at length became   
,marquess of that ,valdelsa1 where his  
father and uncle had resided as poor    
masons before they went to ,bologna4 ,it
 is not known who first imbued his      
liberal spirit with the elements of     
learning2 but ,vasari traces his        
progress from some pictures of his in   
the refectory of ,s4 ,michele in ,bosco1

 copied by ,tibaldi when young1 along   
with other select pieces at ,bologna4   
,from this place he follows him to ,rome
 in #aedg1 eager to study the finest    
works in that capital1 where1 after     
three years' residence1 he re-conducts  
him to ,bologna1 still very young1 but  
advanced in the knowledge of his art4   
,his style was in great part formed upon
 the models of ,michelangiolo--vast1    
correct in drawing1 bold1 and happy in  
his foreshortenings2 yet1 at the same   
time1 tempered with so much mellowness  
and softness1 as to induce the ,caracci 
to denominate him the reformed          
,michelangiolo4 ,the first work which he
 conducted1 subsequent to the year      
#aeej1 is in the ,bolognese             
,institution1 and it is the most        
perfect1 in ,vasari's opinion1 ever     
executed by him4 ,it contains in        
particular various stories from the     
,odyssey1 and this work1 with that by   
,niccolino1 mentioned elsewhere1#aa both
 executed for the ,institution1 were    

afterwards finely engraved by ,sig4     
,antonio ,buratti of ,venice1           
accompanied with the lives of the two   
painters1 written by ,zanotti4 ,both    
there1 and in the great merchants' hall 
at ,ancona1 where he subsequently       
represented ,hercules1 the              
monster-slayer1 ,tibaldi exhibited the  
true method of imitating the terrible in
 the style of ,michelangiolo1 which     
consisted in a fear of too nearly       
approaching him4 ,although ,vasari      
greatly commends these works1 the       
,caracci1 to whose judgment we would    
rather defer1 have bestowed higher      
praises on those executed by ,pellegrino
 for the church of ,s4 ,jacopo2 and it  
was on these pictures that both the     
,caracci and their pupils bestowed most 
study4 ,in one is represented the       
preaching of ,st4 ,john in the desert2  
in another the separation of the elect  
from the wicked1 where1 in the features 
of the celestial messenger announcing   
the tidings1 ,pellegrino displayed those

 of his favourite ,michelangiolo4 ,what 
a school for design and for expression  
is here6 ,what art in the distribution  
of such a throng of figures1 in varying 
and in grouping them6 ,in ,loreto too1  
and in different adjacent cities1 he    
produced other histories1 less          
celebrated perhaps1 but all nearly as   
deserving of the burin as those executed
 at ,bologna4 ,such is the ,entrance of 
,trajan into ,ancona1 in possession of  
the ,marchese ,mancinforte2 and various 
exploits of ,scipio1 belonging to the   
accomplished nobleman1 ,marchese        
,ciccolini1 which decorate one of his   
halls1 where he himself pointed them out
 to me4 ,it is a work conceived in a    
more refined and graceful taste than we 
meet with in other compositions of      
,tibaldi2 and of the same composition ,i
 have seen some of his pictures on a    
very small scale2 but rare1 like all his
 pieces in oil2 wrought with the        
exquisite finish of a miniaturist2      
mostly rich in figures1 full of fine    

spirit1 vivid colouring1 and decorated  
with all the pleasing perspectives that 
architecture could afford4 ,this indeed 
was his favourite art2 which1 after he  
had afforded some beautiful specimens of
 it in ,piceno1 and next at ,milan1     
procured him an appointment from ,philip
 ,,ii4 to superintend the engineers at  
the ,spanish ,court4 ,there again1 after
 the lapse of twenty years1 during which
 he never touched the easel1 he resumed 
the art of painting2 and we meet with a 
list of his works in the ,escurial of   
,mazzolari4       ,footnote #aa3 ,in    
vol4 iv4 p4 #dg4  ,domenico ,tibaldi de'
 ,pellegrini1 once conjectured to be the
 son1 was the pupil and brother of      
,pellegrino2 and his name is in great   
repute among the architects and         
engravers of ,bologna4 ,his epitaph at  
,san ,mammolo states him also to have   
been a distinguished painter2 but we    
must receive the authority of epitaphs  
with some caution2 and not even a       
portrait from his hand is to be met     

with4 ,faberio speaks less highly of his
 powers1 and in the funeral oration upon
 ,agostino ,caracci1 whose master he had
 been1 he mentions him as an able       
designer1 engraver1 and architect4      
,pellegrino's pupils in painting1 and no
 obscure artists1 were ,girolamo        
,miruoli1 commended by ,vasari among the
 artists of ,romagna1 who left one of   
his frescos at the ,servi1 in ,bologna1 
and several other pieces at ,parma1     
where he filled the office of           
court-painter1 and there died2 and      
secondly1 ,gio4 ,francesco ,bezzi1      
called ,nosadella1 who painted a great  
deal at ,bologna and in other cities1 in
 the style of his master1 exaggerating  
it in point of power1 but not equalling 
it in care1 and in short1 reducing it to
 mere mechanic labour and despatch4     
,vasari1 in his life of ,parmigianino1  
has mentioned with praise ,vincenzio    
,caccianemici1 of a good family in      
,bologna1 respecting whom there have    
been some discussions1 to avoid         

confounding him with ,francesco1 who    
bore the same surname4 ,the correctors  
of the old ,guide suppose him to be the 
author of a ,decollation of ,st4 ,john1 
placed at ,s4 ,petronio1 in the family  
chapel2 a picture well designed and     
better coloured1 and executed1 as they  
observe1 in the style of ,parmigianino4 
,whilst the three great geniuses of the 
,bolognese ,school were residing abroad1
 the two first mentioned in ,france1 and
 the third in ,milan1 and afterwards in 
,spain1 the art continued stationary1   
or1 more correctly1 declined in         
,bologna4 ,in the year #aefi three      
masters are pointed out by ,vasari1     
namely1 ,fontana1 ,sabbatini1 and       
,sammachini1 whom he calls ,fumaccini4  
,for what reason he excluded ,ercole    
,procaccini1 an artist1 if not of great 
genius1 at least of finished execution1 
,i am unable to say4 ,certain it is that
 ,lomazzo1 whilst he resided with him in
 ,milan1 mentioned him in the highest   
terms1 and enumerated in the list of his

 pupils ,sabbatini1 and ,sammachini too4
 ,i shall not here repeat what ,i have  
detailed in the ,milanese ,school       
respecting ,ercole and his sons2 but1   
passing on to the others1 ,i shall begin
 with ,fontana1 the principal cause of  
the decline above alluded to4  ,the long
 protracted life of this artist         
comprehended the whole of the period now
 under our view1 and even extended      
beyond it4 ,born in the time of         
,francia1 educated by ,imola1 who at his
 death selected him to finish one of his
 pictures1 and subsequently employed for
 a long period as the assistant of      
,vaga1 and of ,vasari1 he continued to  
labour and to teach without             
intermission1 until the ,caracci1 once  
his disciples1 drew all his commissions 
and followers to themselves4 ,for this  
result he was indebted to his own       
conduct4 ,devoted to pleasure 7the most 
fatal enemy to an artist's reputation7  
he could only provide the means of      
gratification by burthening himself with

 works1 and executing them with little  
care4 ,he possessed a fertility of      
ideas1 a vehemence1 and a cultivation of
 mind1 well adapted for works of        
magnitude4 ,abandoning1 therefore1 the  
careful finish of ,francucci1 he adopted
 the method of ,vasari1 and like him    
covered with his works a vast number of 
walls in a short space of time1 and     
nearly in the same taste4 ,in design he 
is more negligent than ,vasari1 in his  
motions more energetic2 his colours have
 the same yellow cast1 but rather more  
delicacy4 ,in ,citta di ,castello a hall
 of the noble family of ,vitelli is     
filled with family histories1 painted by
 him in a few weeks1 as ,malvasia       
informs us1 and the work confirms the   
assertion4 ,similar specimens1 or but   
little superior1 are met with in ,rome1 
at the ,villa ,giulia1 and at the       
,palazzo di ,toscana1 in the ,campo     
,marzio1 and in various houses in       
,bologna4 ,yet in other places he       
appears an artist of merit for a        

declining age2 as in his ,epiphany1 at  
the ,grazie1 where he displays a        
facility1 a pomp of drapery1 and a      
magnificence nearly approaching the     
style of ,paul ,veronese4 ,this work    
bears the name of the painter written in
 letters of gold4 ,but his best claim to
 distinction is founded on his          
portraits1 which are more highly prized 
in cabinets than are his compositions in
 the churches4 ,it was this talent which
 induced ,michelangiolo to present him  
to ,julius ,,iii4 by whom he was        
pensioned as one of the ,palatine       
painters of his time4  ,he had a        
daughter and a pupil in ,lavinia        
,fontana1 named also ,zappi1 from the   
family of ,imola1 into which she was    
married4 ,this lady executed several    
altar-pieces at ,rome and at ,bologna in
 the paternal style1 as far as regards  
colouring2 but less successful in point 
of design and composition4 ,she felt the
 inferiority1 as is observed by         
,baglione1 and sought reputation from   

portrait-painting1 a branch in which she
 is preferred by some to ,prospero4 ,it 
is certain that she wrought with a sort 
of feminine perseverance1 in order that 
her portraits should more faithfully    
express every line and feature of nature
 in the countenances1 every refinement  
of art in the drapery4 ,she became      
painter to ,pope ,gregory ,,xiii41 and  
was more particularly applied to by the 
,roman ladies1 whose ornaments she      
displayed more perfectly than any male  
artist in the world4 ,she attained to so
 high a degree of sweetness and softness
 in the art1 especially after knowing   
the works of the ,caracci1 that one or  
two of her portraits have been          
attributed to ,guido4 ,with equal       
ability she produced a number of cabinet
 pictures1 such as that ,holy ,family   
for the ,escurial1 so much commended by 
,mazzolari1 and her ,sheba at the throne
 of ,solomon1 which ,i saw in the       
collection of the late ,marchese        
,giacomo ,zambeccari4 ,she has there    

expressed1 in the form of allegory1 the 
,duke and ,duchess of ,mantua1          
surrounded by many lords and ladies of  
their court1 arrayed in splendid style2 
a painting that would reflect credit on 
the ,venetian ,school4 ,gifted with such
 genius1 she was by no means chary of   
her own likenesses executed by herself1 
which ornament the royal gallery of     
,florence and other collections4 ,but   
there remains no specimen more truly    
speaking and delightful than the one    
belonging to the ,conti ,zappi1 at      
,imola1 where it is accompanied by the  
portrait of ,prospero in his declining  
days1 also painted by her4  ,lorenzo    
,sabbatini1 called likewise ,lorenzin di
 ,bologna1 was one of the most graceful 
and delicate painters of his age4 ,i    
have heard him enumerated among the     
pupils of ,raffaello by keepers of the  
galleries1 deceived doubtless by his    
,holy ,families1 designed and composed  
in the best ,roman taste1 although      
invariably more feebly coloured4 ,i have

 also seen some of his ,holy ,virgins   
and ,angels painted for private         
ornament1 which resemble ,parmigianino4 
,nor were his altar-pieces inferior2 the
 most celebrated of which is that of    
,st4 ,michael1 engraved by ,agostino    
,caracci1 from an altar of ,s4 ,giacomo 
,maggiore2 and this he held up as an    
example of gracefulness and beauty1 to  
his whole school4 ,he was1 moreover1 a  
fine fresco painter1 correct in design1 
of copious invention1 universal master  
in the subjects of the piece1 and what  
is still more remarkable1 most rapid in 
point of execution4 ,endowed with such  
qualities1 he was engaged by many noble 
houses in his native place2 but on      
proceeding to ,rome in the pontificate  
of ,gregory ,,xiii41 according to       
,baglione1 he there met with success2   
insomuch1 that even his fleshes and     
naked figures were highly commended1    
though this was by no means a branch of 
his pursuits at ,bologna4 ,in the       
,capella ,paolina1 he represented the   

histories of ,st4 ,paul2 in the royal   
hall1 the picture of ,faith1 shewn in   
triumph over ,infidelity2 in the gallery
 and the lodges a variety of other      
pieces1 always in competition with the  
best masters1 and always with equal     
applause4 ,hence1 in the immense list of
 artificers at that period congregated  
at ,rome1 he was selected to preside    
over the labours of the ,vatican1 in the
 enjoyment of which honourable post he  
died at an early age in #aegg4  ,it is  
difficult to believe1 as asserted by    
some writers1 that ,giulio ,bonasone was
 his pupil1 an artist who practised     
engraving in copper as early as #aedd4  
,on reaching a more mature age1 he seems
 to have devoted himself to painting1   
leaving several paintings on canvass1   
but feeble and varying in their style4  
,at ,s4 ,stefano there is one of        
,purgatory1 in the style of ,sabbatini1 
extremely fine1 and composed1 as it is  
conjectured1 with the assistance of     
,lorenzino4 ,the productions1 also1 of  

,cesare ,aretusi1 of ,felice            
,pasqualini1 and of ,giulio ,morina1 are
 in existence1 though the name of       
,sabbatini might perhaps be justly      
substituted for theirs2 such was the    
part he took in their labours4 ,the     
latter1 with ,girolamo ,mattioli1 after 
the celebrity gained by the ,caracci1   
became their eager followers4 ,the      
labours of ,mattioli1 who died young1   
were distributed among different private
 houses1 particularly in that of the    
noble family of ,zani3 those of ,morina 
are seen in various churches at         
,bologna1 and for the most part betray a
 degree of affectation of the style of  
,parma1 at which city he some time      
painted in the service of the duke4     
,orazio ,samacchini1 the intimate friend
 of ,sabbatini1 his contemporary1 and   
who followed him at a short interval to 
the tomb1 began his career by imitating 
,pellegrino and the ,lombards4          
,proceeding next to ,rome1 and employed 
in painting for the royal hall1 under   

,pius ,,iv42 he succeeded in catching   
the taste of the ,roman ,school1 for    
which he was praised by ,vasari1 7who   
calls him ,fumaccini7 and afterwards by 
,borghini and ,lomazzo4 ,in the display 
of this his new style1 however1 he      
contrived to please others more than    
himself2 and returning to ,bologna1 he  
was accustomed to lament that he had    
ever removed from upper ,italy1 where he
 might have carried his early manner to 
greater perfection1 without deviating in
 search of a new4 ,still he had no      
reason to feel dissatisfied with that   
which he had thus formed of various     
others1 and so moulded by his own       
genius1 as to exhibit something singular
 in its every character4 ,in his        
altar-piece of the ,purification1 at ,s4
 ,jacopo1 it is all exquisite delicacy1 
in which the leading figures enchant us 
with at once a majestic and tender      
expression of piety2 while those infant 
figures seen conversing near the altar1 
and that of the young girl holding a    

little basket with two doves1 gazing on 
them in so peculiar a manner1 delight us
 with their mingled simplicity and      
grace4 ,skilful judges even can take no 
exceptions but to the display of too    
great diligence1 with which1 during     
several years1 he had studied and       
polished this single painting4 ,this1   
however1 as one of the most celebrated  
of its school1 was engraved by          
,agostino1 and it would seem that even  
,guido availed himself of it in his     
,presentation1 painted for the cathedral
 of ,modena1 yet he was an equally      
powerful artist where his subjects      
required it of him4 ,his chapel1 of     
which we gave an account in the ,parmese
 ,school1 is highly commended1 though   
his most vigorous effort is shewn in the
 ceiling of ,s4 ,abbondio1 at ,cremona4 
,the grand and the terrible seem to     
strive for mastery in the figures of the
 prophets1 in all their actions and     
positions2 the most difficult from      
confinement of space1 yet the best      

arranged and imagined4 ,there is1       
moreover1 a truth in the shortenings1   
and a skilful use of the sotto in su1#ab
 which appears in this instance to have 
selected the most difficult portion of  
the art1 in order to triumph over it4   
,his forte is believed to have consisted
 in grand undertakings in fresco1 on    
which he impressed1 as it were1 the seal
 of a vast spirit1 at once resolute and 
earnest1 without altering it by         
corrections and retouches1 with which he
 laboured his paintings in oil1 as we   
have stated4       ,footnote #ab3       
,foreshortening figures2 here meant on a
 ceiling4  ,bartolommeo ,passerotti has 
been commended by ,borghini and         
,lomazzo2 and he is casually named also 
by ,vasari among the assistants of      
,taddeo ,zuccaro2 indeed1 it may rather 
be said1 this is the artist with whom   
,vasari ceases to write1 and ,malvasia  
to inveigh4#ac ,he possessed excellent  
skill in designing with his pen2 a gift 
which drew to his school ,agostino      

,caracci1 and which assisted the latter 
as a guide in the art of engraving4 ,he 
likewise wrote a book1 from which he    
taught the symmetry and anatomy of the  
human body1 essential to the artist2 and
 was the first who1 to make a grander   
display1 began to vary scriptural       
histories at ,bologna by drawing the    
naked torsi4 ,the finest of these       
specimens are1 the ,beheading of ,st4   
,paul1 at ,rome1 in the ,tre ,fontane2  
and at ,s4 ,giacomo1 of ,bologna1 a     
picture of the ,virgin among various    
saints2 a work meant to compete with the
 ,caracci1 and embellished by their     
praise4 ,one of his pictures too of     
,tizio was much celebrated1 which1 being
 exhibited to the public1 was supposed  
by the professors of ,bologna to have   
been the work of ,michelangiolo4 ,this  
exquisite degree of diligence and       
refinement he rarely used2 most         
generally he was bold and free1 somewhat
 resembling ,cesare1 only more correct4 
,in his portraits1 however1 he is by no 

means a common painter4 ,after ,titian1 
,guido included him among the very      
first1 not preferring before him the    
,caracci themselves1 whose name1 indeed1
 in several galleries1 is attached to   
the portraits of ,passerotti4 ,the most 
commendable of all however1 are those he
 executed for the noble family          
,legnani--entire figures extremely      
varied in costume1 in action1 and       
attitudes2 it being his usual custom to 
compose portraits1 such as ,ridolfi     
described of ,paris1 which should appear
 ideal pictures4 ,by means of such a    
talent1 which made him agreeable to the 
great1 by his polite and refined manners
 and malicious strictures1 he became a  
match for the ,caracci2 for whom he also
 prepared rivals in a number of his     
sons1 whom he carefully instructed in   
the art4 ,among these1 ,tiburzio        
possessed real merit1 of which his fine 
picture of the ,martyrdom of ,st4       
,catherine1 conducted in the taste of   
his father1 displays sufficient proof4  

,passerotto and ,ventura1 however1 were 
below mediocrity4 ,aurelio was a good   
miniaturist1 and in the same branch     
,gaspero1 a son of ,tiburzio1 also met  
with success4 ,in the works of          
,bartolommeo we often meet with a       
sparrow1 the symbol of his own name2 a  
custom derived from the ancients1 and   
followed by many of our own artists4 ,it
 is a well-known fact relating to two   
sculptors1 ,batraco and ,sauro1 that for
 their proper names they substituted1   
the former a frog1 and the latter a     
lizard4       ,footnote #ac3 ,this      
worthy writer would appear to have been 
aware that he sometimes exceeded due    
bounds4 ,in the course      of that work
 we meet with other expressions highly  
creditable to ,vasari2 and it is well   
known1 that having      spoken          
contemptuously of ,raffaello1 by        
designating him      boccalaio          
,urbinate1 the potter of ,urbino1       
because some      vases there had been  
painted from his designs1 he repented   

of the expression so much as to lead him
 to erase it from as      many copies of
 the work as he could meet with4 ,lett4 
,pitt4 vol4 vii4 p4 #acj4  ,dionisio    
,calvart1 born at ,antwerp1 and hence   
also called ,dionisio the ,fleming1     
came1 when young1 into ,bologna1 and    
displayed some ability in landscape     
painting4 ,in order to become a figure  
painter1 he entered first the school of 
,fontana1 and next that of ,sabbatini1  
whom he greatly assisted in his labours 
for the ,vatican4 ,but after quitting   
also this master1 and occupying himself1
 some little time1 in designing from    
,raffaello's pictures1 he returned to   
,bologna1 opened a studio1 and there    
educated as many as a hundred and       
thirty-seven masters in the art1 some of
 whom were excellent4 ,he was a fine    
artist for his age2 understood          
perspective well1 which he acquired from
 ,fontana1 and designed both correctly  
and gracefully in the taste of          
,sabbatini4 ,he moreover possessed the  

art of colouring1 in the taste of his   
own countrymen1 a quality which induced 
the ,bolognese to regard him as a       
restorer of their school1 which in this 
branch of painting had declined4 ,if    
there were some degree of mannerism in  
his style1 some action in his figures   
too little dignified1 or too            
extravagant2 the former was the fault of
 his age1 and the latter of his         
temperament1 which is described as      
extremely restless and violent4         
,notwithstanding1 he instructed his     
pupils with assiduous care1 and from the
 cartoons of the most celebrated        
inventors he gave them lectures in the  
art4 ,different collections abound with 
his small pictures1 painted chiefly on  
copper1 representing incidents from the 
,gospel1 which attract by the abundance 
of the figures1 by their spirit1 and by 
the lusciousness of their tints4        
,similar commissions in this line were  
then very frequently given in ,bologna2 
most times proceeding from the noviciate

 nuns1 who were in the habit of carrying
 with them into the cloister similar    
little paintings to decorate their      
lonely cells2 and ,calvart provided     
abundance of them1 with the assistance  
of his young men1 whose pieces he       
retouched2 and they obtained immense    
circulation both in ,italy and          
,flanders4 ,in particular those         
conducted by ,albano and ,guido1 his two
 pupils1 boast the most attractive      
graces1 and may be known by a certain   
superior decision1 knowledge1 and       
facility4 ,in the list of his           
altar-pieces1 the ,s4 ,michele1 at ,s4  
,petronio1 and the ,purgatory1 at the   
,grazie1 bear the palm2 and from these1 
as well as others1 the best disciples of
 the ,caracci confessed the assistance  
which they received4  ,on the rise of   
the new ,bolognese ,school1 the pupils  
of ,calvart for the most part changed   
their manner1 attaching themselves some 
to one master1 and some to another4     
,those who preserved most evident traces

 of their former education1 in other    
words1 who continued more feeble and    
less natural than the ,caracceschi1 were
 but few4 ,malvasia enumerates ,gio4    
,batista ,bertusio in this list1 who    
vainly aspired at resembling ,guido1    
leaving a variety of paintings both at  
,bologna and its villages1 displaying   
beauties more apparent than real4 ,two  
other artists1 ,pier ,maria da          
,crevalcore1 a painter in oil1 and      
,gabriel ,ferrantini1 known by his      
frescos1 called also ,gabriel degli     
,occhiali1 seem both to have seen1 and  
attempted to imitate the ,caracci4      
,emilio ,savonanzi1 a ,bolognese noble1 
attached himself to the art when nearly 
arrived at manhood1 but he attended     
,cremonini more than ,calvart2 and      
strongly addicted to changing masters1  
entered the school of ,lodovico         
,caracci1 next that of ,guido at        
,bologna1 of ,guercino at ,cento1 and   
finally the studio of ,algardi1 an      
excellent sculptor at ,rome4 ,by such   

means he became a good theorist and an  
able lecturer1 applauded in every       
particular of his art2 nor was he       
wanting in good practice1 uniting many  
styles in one1 in which however that of 
,guido most prevails4 ,still he was not 
equally correct in all his pieces1 even 
betraying feebleness of touch1 and not  
scrupling to denominate himself an      
artist of many hands4 ,he resided at    
,ancona1 next at ,camerino1 at which    
places1 as well as in the adjacent      
districts1 he left a variety of works4  
,of another ,bolognese1 who flourished  
at the same period1 there remains at    
,ancona a picture of the offering of the
 ,infant ,jesus at the ,temple1         
ornamenting the larger altar of ,s4     
,jacopo4 ,the inscription shews him to  
have resided at ,brescia1 ,f4 ,tiburtius
 ,baldinus ,bononiensis ,f4 ,brixiae1   
#afaa4 ,this date proves him to have    
belonged to the present epoch4 ,his     
taste1 from what ,i am informed by ,sig4
 ,cav4 ,boni1 extremely well informed on

 subjects of the fine arts1 reminds us  
of the excellent school that flourished 
in #aejj3 magnificence in the           
architecture1 great copiousness of      
composition1 and clearness of effect1   
except that in the general tone of his  
tints1 and in his fleshes1 he is        
somewhat cold4 ,one artist there was1   
who declared that he had laid down for  
himself a maxim1 never to alter with    
other styles that of ,calvart2 and this 
was ,vincenzo ,spisano1 called likewise 
,spisanelli4 ,he however is inferior in 
solidity and truth of design1 and       
displays quite as much caprice and      
mannerism as any of the practitioners of
 his time4 ,nor does he always preserve 
the colours peculiar to his school2 but 
deadens them with a leaden hue1 which is
 still not unpleasing4 ,his             
altar-pieces1 executed at ,bologna1 and 
in the neighbouring cities1 are less    
celebrated than his small pictures for  
private ornament1 which abound in       
,bologna1 and which he was in the habit 

of enlivening with very attractive      
landscape4 ,it has already been observed
 that those who were mannerists in their
 style1 like ,zuccaro and ,cesari1      
always when working on a small scale1   
improved upon themselves4  ,bartolommeo 
,cesi fills the rank also of head of a  
school1 among those who cleared the path
 to the good method pursued by the      
disciples of the ,caracci4 ,from him    
,tiarini acquired the art of painting   
fresco1 and his works gave the first    
impulse to ,guido in attaining to his   
sweet and graceful manner4 ,on examining
 a work by ,cesi1 it sometimes seems    
doubtful whether it may not have been   
that of ,guido when young4 ,he dares    
little1 copies every thing from nature1 
selects fine forms of each period of    
life1 and makes sparing use of the      
ideal2 his lines and folds are few1 his 
attitudes measured1 and his tints more  
beautiful than strong4 ,he has some     
paintings at ,san ,jacopo1 and at ,san  
,martino1 which are extremely pleasing2 

and it is said that ,guido1 during his  
early youth1 was in the habit of sitting
 to contemplate them sometimes for      
hours4 ,his frescos1 perhaps1 display   
more power1 where he has introduced many
 copious histories with great judgment1 
variety1 and mastery2 and such are those
 of ,a,eneas1 in the ,favi palace4 ,his 
,arch of ,forli1 painted for ,clement   
,,viii41 with different exploits1       
surprises us even more4 ,though exposed 
to the action of the open air1 during so
 many years1 this piece retains the     
vividness of its tints to a surprising  
degree4 ,malvasia's opinion1 in         
commendation of this artist1 is very    
remarkable1 that he had a manner which  
at once satisfies1 pleases1 and enamours
 the beholder1 as truly exquisite and   
sweet as any style of the best ,tuscan  
masters in fresco4 ,in the larger chapel
 of the ,bolognese monastery of         
,carthusians1 there are distinguished   
examples in both kinds of painting2 and 
the describer of the ,carthusian        

monastery1 in his account of them1      
likewise enumerates ,cesi's works for   
other monasteries of the same order1    
those of ,ferrara1 of ,florence1 and    
,siena4 ,he was held in esteem by the   
,caracci1 and very generally so by the  
different professors1 no less for the   
candour of his character1 than for his  
love of the art4 ,to his efforts it was 
chiefly owing that the company of       
painters1 in #aeie1 obtained a          
separation from the artificers of       
swords1 of saddles1 and of scabbards1   
with all of whom they had for centuries 
been united in the same corporation1 and
 that a new one being formed of painters
 and of cotton manufacturers1#ad it not 
being possible wholly to exclude the    
latter1 they were to rank inferior to   
the artists1 or1 to use the words of    
,malvasia1 that they should condescend  
to furnish to the amount of two hundred1
 or more1 crowns1 rich purple cloaks to 
decorate the wearer of the laurel crown1
 preceding their vice steward4#ae       

,footnote #ad3 ,in the original the term
 used for these cotton      merchants is
 bambagiai4       ,footnote #ae3 ,in the
 ,italian called promassaro4  ,cesare   
,aretusi1 a son1 perhaps1 of ,pellegrino
 ,munari1#af was distinguished as a     
colourist in the ,venetian taste1 but in
 point of invention weak and dull2 while
 ,gio4 ,batista ,fiorini1 on the other  
hand1 was full of fine conceptions but  
worthless in his colouring4 ,friendship1
 that introduces community in the       
possessions of friends1 here achieved   
what is narrated in the ,greek anthology
 of two poor rogues1 one of whom was    
blind and stout1 and carried on his     
shoulders a sharp-eyed cripple1 who thus
 provided himself with a friend's pair  
of feet1 while he afforded him the      
advantage of as many eyes4 ,so it fared 
with our two artists1 who separately    
could accomplish very little2 though in 
uniting their powers they produced      
paintings of considerable merit4 ,in the
 ,guida di ,bologna they are very       

properly rarely divided from each other2
 and ,i believe1 that in every painting 
we find attributed to ,aretusi1 we ought
 farther to seek for some companion of  
his labours4 ,of such kind is a         
,nativity of the ,virgin at ,s4 ,afra in
 ,brescia1 passing under his name1 and  
painted in a very powerful style4       
,respecting this picture1 however1      
,averoldi is of opinion that it was in  
part the workmanship of ,bagnatore1 in  
part of other painters1 or1 perhaps1    
only painter2 in other words that of his
 useful friend ,aretusi4 ,nevertheless  
in the branch of portrait1 ,cesare      
possessed merit above sharing it with   
others1 and in this capacity he was     
employed by different princes1 and he   
also succeeded in copying the works of  
excellent masters better than any other 
of his age4 ,he could assume the style  
of almost every painter1 and even pass  
off his imitations for the originals4   
,in his imitation of ,coreggio1 he was  
more particularly successful1 and       

received a commission to execute a      
painting from the celebrated ,night1 by 
that master1 for the church of ,s4 ,gio4
 di ,parma1 where it still remains4     
,mengs1 who saw it1 declared that were  
the original at ,dresden by any accident
 lost1 it might be well supplied by so  
fine a duplicate4 ,it was this          
performance that obtained him the honour
 of restoring the painting1 formerly    
executed by ,coreggio for the same      
church1 of which mention was made in the
 school of ,parma1 and to which we here 
refer the reader4 ,here too we should   
add1 that such was the success of that  
picture1 from its accurate imitation of 
the taste displayed in the original1 of 
its conception1 and of its harmony1 as  
to lead those unacquainted with the fact
 to suppose it to be the work of        
,allegri4 ,such are the words of ,ruta  
in his ,guida4       ,footnote #af3 ,see
 vol4 iv4 p4 #dc4  ,little attention    
seems to have been given to inferior    
branches of the art during this epoch1  

if1 indeed1 we except that of portrait1 
whose leading artists must not again be 
introduced here1 having treated of their
 merits in the proper place4 ,nor       
probably were there then wanting        
painters in oil1 who severally produced 
ornamental pieces of landscape and      
animals1 besides ,cremonini and         
,baglione1 whose ability in this line we
 shall shortly notice1 in the class of  
ornamental fresco painters2 though none1
 as far as ,i can learn1 acquired       
celebrity4 ,in one instance only ,i meet
 with handsome eulogiums on a miniature 
painter1 occasionally mentioned         
throughout this work4 ,he was called    
,gio4 ,neri1 also ,gio4 degli ,ucelli1  
from his peculiar talent in delineating 
all kinds of birds from the life4 ,with 
these1 and with fish of various species1
 with quadrupeds and other animals1 he  
filled seven folio volumes1 which are   
cited by ,masini in the studio of       
,ulisse ,aldovrandi4  ,throughout the   
whole of this epoch we find no mention  

in ,malvasia of any ornamental or       
perspective painters1 except1 perhaps1  
some figurist1 who paid little attention
 to decorations4 ,there is reason1      
however1 to suppose that the celebrated 
,sebastiano ,serlio1 while yet a youth1 
painted perspectives4 ,the ,cav4        
,tiraboschi1 in the seventh volume of   
his history1 remarks that there is no   
account of ,serlio's occupation during  
the early part of his life4 ,but the    
,guida of ,pesaro1 p4 #hc1 alludes to   
him at the close of #aeaa1 and          
subsequently in #aead1 as residing in   
that city in quality of an artist2 and  
in what branch can we more probably     
suppose him to have been engaged than in
 perspective8 ,for this1 indeed1 was the
 tirocinium of other able architects1   
where1 previous to being entrusted with 
the anxious duties of their profession1 
they were enabled1 with more facility1  
to sustain themselves1 until their      
reputation permitted them to assume the 
character of architects1 and abandon the

 pursuit of painting4 ,indisputably he  
could not have been an architect at     
,pesaro1 otherwise there would never    
have been written on a parchment of     
#aead1 remaining in the archives of the 
,servi3--,sebastiano qu4 ,bartholomaei  
de ,serlis de ,bononia pictore          
habitatore ,pisauri4 ,and it is about   
#aecd that we have an account of his    
being at ,venice1 no longer handling the
 pencil1 but the square4 ,masini1 who   
had written his ,bologna ,perlustrata   
only a short period before the ,felsina 
,pittrice1 commends an ,agostino dalle  
,prospettive1 who had reached such a    
degree of perfection in that art1 as    
even to deceive animals and men with his
 illusive staircases and similar works1 
executed at ,bologna4 ,it is doubtful   
whether he did not belong to another    
school1 and may have been omitted by    
,malvasia as a foreigner4 ,i suspected  
him to be a ,milanese in my fourth      
volume 7p4 #bca71 and pupil to the great
 ,soardi1 not inferior to his master4   

,next to him1 and to ,laureti1 ,gio4    
,batista ,cremonini of ,cento was       
employed in such commissions more than  
any other artist4 ,he had received      
rather superior instructions in the     
rules of perspective1 and respectable   
practice in the line of statues1        
figures1 and histories1 with whatever   
went to give splendour and effect to a  
facade1 a theatre1 or a hall2 more      
particularly he succeeded in delineating
 animals1 however ferocious and wild4   
,there was scarcely a house of any      
account in all ,bologna1 which1 if      
nothing more1 could not boast some      
specimen of his chiaroscuro1 some frieze
 for ornament1 chimney-piece1 or        
vestibule1 decorated by ,cremonini2 to  
say nothing of his numerous works in    
fresco which filled the churches4 ,he   
was also employed for the adjacent      
cities1 and in different courts of      
,lombardy kept open school and          
instructed ,guercino1 ,savonanzi1       
,fialetti1 who flourished in ,venice as 

before stated4 ,he had for his companion
 ,bartolommeo ,ramenghi1 cousin of ,gio4
 ,batista1 with whom also lived         
,scipione ,ramenghi1 son of ,gio4       
,batista himself1 and both eminent      
ornamental painters during that period4 
,cremonini had a rival in one ,cesare   
,baglione1 an artist in the same sphere1
 and of the same eager and expeditious  
character in the art4 ,he was1 moreover1
 a better painter of landscape1 and even
 surpassed all others1 including the    
most ancient1 in the method of drawing  
his foliage4 ,in his inventions too1    
both of a serious and comic kind1 he    
displayed greater novelty and variety   
than ,cremonini4 ,he thus became a      
favorite at ,parma1 where in the ducal  
palace he left some of his best works1  
all in harmony with the places which he 
painted2 in the larder illusive eatables
 of every kind1 and cooks employed in   
dressing them2 in the bakehouse utensils
 for the bakers1 and incidents relating 
thereto2 in the washhouses women were   

seen busied in their different duties1  
and all in dismay at some untoward or   
comic accidents2 works abounding in     
spirit and reality sufficient to procure
 him reputation in his line1 had he     
shewn less eagerness in the execution4  
,this praise will not apply1 however1 to
 his decorative taste1 which excited the
 ridicule of the ,caracci1 who were in  
the habit of laughing at the fantastic  
ornaments of his capitals1 and those    
arabesques1 most resembling1 they       
declared1 the staves of barrels2 as well
 as that custom of filling his          
compositions with useless ornaments1    
without rule or discretion1 which his   
own pupils afterwards proceeded to      
introduce1 especially ,spada and        
,dentone4 ,several others were          
instructed by him in the art1 as        
,storali and ,pisanelli1 and some of    
less note1 who painted well in          
perspective1 without aspiring to the    
reputation of figurists4  ,thus we have 
taken a brief survey of the state of    

painting in ,bologna from the time of   
,bagnacavallo to the ,caracci1 who      
already rising into repute about #aehe1 
in some measure competed with the elder 
artists1 and in some measure by their   
example1 and the spirit of emulation1   
tended to improve them1 of which more in
 the following epoch4 ,meanwhile1 let us
 turn our attention to what was passing 
during this period in ,romagna4         
,ravenna prides herself on the name of  
,jacopone1 a pupil of ,raffaello1 who1  
by his paintings at ,s4 ,vitale1        
introduced into that city the principles
 of the modern style1 and of whom we    
shall shortly state our opinion1 not    
without some degree of novelty4 ,another
 of ,raffaello's disciples1 if what is  
averred of him be correct1 nourished at 
,ravenna about #aeej1 called ,don       
,pietro da ,bagnaia1 a canon of the     
,lateran4 ,in the church of his order he
 painted the altar-piece of ,s4         
,sebastian2 in the ,refectory1 the      
scriptural history of the ,loaves and   

,fishes1 besides leaving in another     
place a history-piece of the            
,crucifixion of ,jesus ,christ1         
abounding in figures equal to the       
preceding4 ,to these1 enumerated by     
,orlandi1 may be added the picture of   
,padua1 with the ,virgin between ,st4   
,john the ,baptist and ,st4 ,augustine1 
executed for the church of ,s4 ,giovanni
 di ,verdara2 in the sacristy of which  
is a ,holy ,family by him1 imbued with  
all the graces of ,raffaello in every   
feature and action1 but sadly wanting in
 strength and harmony of colouring4     
,there is another ,holy ,family at the  
,lateran ,friars in ,asti1 on a larger  
scale1 designed and composed with equal 
grace1 but with similar feebleness of   
tints1 even more lifeless2 and to both  
pieces is appended an inscription1      
entreating the beholder to pray for the 
soul of the painter4 ,i am not aware    
whether this worthy ecclesiastic was in 
,ravenna in #aedg1 at the period of     
,vasari's visit thither1 but the latter 

makes no mention of his name4  ,yet he  
mentioned1 among the excellent artists  
who still flourished there1 ,luca       
,longhi1 whose ability in the essentials
 of the art is highly praised4 ,he      
regrets1 however1 that he should always 
have resided in his native place1 which 
had he left for objects of improvement1 
he might have become a very             
distinguished artist4 ,he was a good    
portrait-painter1 and produced a great  
number of pictures for ,ravenna4 ,some1 
too1 he sent elsewhere1 and they are met
 with at ,san ,benedetto in ,ferrara1 in
 the ,abbey at ,mantua1 in that of      
,praglia near ,padua1 at ,s4 ,francesco 
in ,rimini1 with the date of #aehj1 in  
,pesaro1 and other places4 ,they are    
chiefly composed in the ancient manner1 
but on comparing some of the earlier    
with those that follow1 a more modern   
air is perceptible1 a circumstance      
attributed by ,vasari to his own        
conversations with the artist4 ,longhi's
 style1 however1 was opposed to that of 

,vasari1 being very correct and highly  
finished2 his conceptions sweet1 varied1
 and graceful2 with a powerful union of 
colours2 more nearly resembling         
,innocenzo da ,imola1 if ,i mistake not1
 than any other artist of the times1    
though inferior to him in point of      
grandeur and beauty4 ,luca's most       
perfect pictures that ,i have met with  
in ,ravenna are those of ,s4 ,vitale1 of
 ,s4 ,agata1 of ,s4 ,domenico1 all with 
a representation of the ,virgin between 
two or more saints1 and with some       
graceful cherubs playing above4 ,there  
are others more laboured1 which please  
us less1 and demonstrate that to succeed
 in grand compositions1 it is previously
 necessary to have studied the great    
schools4 ,luca had a daughter1 named    
,barbara1 yet a child at the period when
 ,vasari published his work1 but who had
 begun to paint with a tolerable degree 
of grace and manner4 ,from the hand of  
this lady there is only a single        
specimen remaining in public4           

,respecting a son of ,luca1 named       
,francesco1 the historian is wholly     
silent1 being1 doubtless1 at the time he
 wrote1 still younger than his sister1  
but who became an artist in maturer     
years4 ,in #aegf he produced a picture  
for the church of the ,carmine1 and     
there are accounts of him1 even down to 
#afaj4 ,he chiefly pursued the steps of 
his father1 though he is more common in 
his countenances1 and more feeble in    
point of colouring1 which he copied     
rather from ,vasari4  ,francesco        
,scannelli mentions a pupil of          
,raffaello at ,cesena1 omitted by all   
other historians1 named ,scipione       
,sacco4 ,he painted a picture of ,s4    
,gregory for the cathedral of ,cesena1  
in a grand style1#ag and the ,death of  
,st4 ,peter the ,martyr for the church  
of ,s4 ,domenico4 ,doubtless he was of  
,raffaello's school1 and not remembered 
out of ,romagna4       ,footnote #ag3   
,on this picture is inscribed1          
,caesenas1 #aede4      ,oretti1         

,memorie1 ,,mss4  ,while the family of  
the ,longhi was employed at ,ravenna1   
that of the ,minzocchi1 which was       
surnamed ,san ,bernardo1 was            
distinguishing itself at ,forli4        
,francesco1 called also the elder di ,s4
 ,bernardo1 studied the works of        
,palmigiani in his native place2 and    
there remain pictures conducted in his  
youth1 but feeble in point of design1   
such as his ,crucifixion at the ,padri  
,osservanti4 ,but under ,genga1         
according to ,vasari1 and1 as some      
writers add1 under ,pordenone1 he       
changed his manner1 assuming a more     
correct style1 graceful1 animated1 and  
of an expression which looks like nature
 herself in these his subsequent        
productions4 ,among the works he        
executed with most care are two lateral 
pictures at the cathedral of ,loreto1 in
 a chapel of ,s4 ,francesco di ,paola4  
,these consist of a ,sacrifice of       
,melchisedec1 and the miracle of the    
,manna1 in which the prophets and the   

principal characters boast all the      
dignity and nobleness of drapery        
becoming the school of ,pordenone4 ,the 
crowd1 however1 is represented in the   
most popular features and attitudes1    
sufficient almost to excite the envy of 
,teniers1 and the most natural artists  
of the ,flemish school4 ,his            
delineations in these pictures1 of      
numerous and various animals1 are       
expressed to the life1 with baskets and 
different utensils like reality1 though 
the attempt to excite our mirth in      
treating serious subjects has a bad     
effect4 ,scannelli extols a specimen of 
his works in fresco at ,s4 ,maria della 
,grata in ,forli1 representing the      
,deity on the ceiling1 surrounded by a  
number of angels2 figures full of       
spirit1 majestic1 varied1 and painted   
with a power and skill of               
foreshortening1 which entitles him to   
greater celebrity than he enjoys4 ,he   
left a variety of productions1 likewise1
 at ,s4 ,domenico1 at the cathedral1 and

 at private houses in his native place1 
where such is his reputation1 that on   
the chapels being taken down1 his least 
celebrated frescos were carefully cut   
out1 and replaced elsewhere4 ,among his 
sons and pupils were ,pietro ,paolo1    
mentioned also by ,vasari1 and          
,sebastiano1 both artists of the same   
natural style1 not very select1 with    
little relief1 and mediocrity of        
invention4 ,to ,pietro ,paolo belong    
several figures at the ,padri           
,francescani at ,forli1 of feeble       
execution2 and to ,sebastiano a picture 
at ,s4 ,agostino1 composed in #aeic in  
the ancient taste1 and of a style like  
his other works1 inferior to the        
character of his age4  ,subsequent to   
the elder ,minzocchi1 ,forli produced   
two other artists deserving             
commemoration2 namely1 ,livio ,agresti1 
conspicuous in the histories of ,vasari 
and ,baglione1 as a daring designer1 a  
copious composer1 and universal in point
 of manner2 the other1 ,francesco di    

,modigliana1 an artist of more limited  
genius1 but still deserving to be known4
 ,of ,livio1 ,i spoke in the third epoch
 of the ,roman ,school1 to which1 as    
pupil to ,perino1 and resident in ,rome1
 where he was employed at the ,castello1
 in the ,vatican1 at ,s4 ,spirito and   
elsewhere1 he doubtless belongs4 ,his   
native place1 however1 seems to have    
culled the fairest fruit of his labours1
 ,rome possessing nothing nearly so     
,raffaellesque1 as are his ,scriptural  
,histories in the public palace at      
,forli4 ,nor ought we to pass over that 
finely decorated chapel in the          
cathedral1 where he represented the     
,last ,supper1 with some majestic       
figures of the prophets upon the        
ceiling2 a work that for depth and      
intricacy of perspective yields in      
nothing to ,minzocchi4 ,i shall not stop
 to inquire1 with ,malvasia1 whether    
having gone to ,rome in a moment of     
disgust and in haste1 instead of there  
advancing himself1 he wholly failed2 but

 of this ,i am convinced1 that his      
history in the ,cappella ,paolina1 is by
 no means his masterpiece4  ,francesco  
di ,modigliana is said to have been     
pupil to ,pontormo1 in whose school he  
almost fills the same rank as ,bronzino 
in that of ,florence2 not remarkably    
powerful1 nor always consistent with    
himself1 but very graceful and          
beautiful1 and deserving a place in our 
pictoric ,lexicons1 where his name is   
wanting4 ,his works at ,urbino consist  
of those which are pointed out under the
 name of ,francesco da ,forli2 a picture
 of ,christ taken down from the cross1  
in oil1 at ,s4 ,croce2 and some angels  
in fresco at ,s4 ,lucia2 productions    
much commended1 and resembling in style 
his best at the ,osservanti in ,forli1  
and at the ,rosario in ,rimini4 ,here1  
perhaps1 he most distinguished himself2 
in his picture of ,adam driven from     
,eden1 his ,deluge1 the ,tower of       
,babel1 with similar histories already  
treated by ,raffaello at ,rome1 and by  

,agresti in ,forli1 from imitating whom1
 if ,i mistake not1 he greatly improved 
and advanced himself4 ,dying suddenly he
 left his work imperfect1 afterwards    
continued by ,gio4 ,laurentini1 called  
,arrigoni1 who painted the ,death of    
,abel at the same place4  ,after        
,bartolommeo da ,rimini1 who inclined   
more towards the modern than the ancient
 style1 ,i find no other artist of      
celebrity in that city besides          
,arrigoni4 ,even his name has not been  
recorded by ,orlandi1 nor by his        
continuator4 ,he diligently employed    
himself in his native place1 and two of 
his pictures representing martyrdoms1   
met with surprising success2 one of ,st4
 ,john the ,baptist1 at the ,augustine  
friars1 and another of the ,saints ,john
 and ,paul1 at the church bearing their 
name4 ,yet they do not display that beau
 ideal1 so attractive at that period in 
the productions even of the inferior    
disciples of the ,roman ,school2 but    
they convey the impression of grand     

compositions1 a vivacity of action1 a   
boldness of hand1 a splendor in the     
retinue of horse and arms1 and military 
ensigns1 calculated to compete with the 
chief part of the painters employed at  
,rome in the service of ,gregory and of 
,sixtus4  ,faenza1 too1 at the opening  
of this epoch1 boasted her ,jacopone1 or
 ,jacomone1 of whom we treated among the
 assistants of ,raffaello1 and among the
 masters of ,taddeo ,zuccaro4 ,vasari   
makes brief mention and smaller account 
of this artist2 recording only one of   
his productions1 the tribune of ,s4     
,vitale at ,ravenna1 and which has      
ceased to exist4 ,in the cupola of the  
church1 however1 subsequently repainted 
by another hand1 there were visible1 in 
the time of ,fabri1 author of ,ravenna  
,ricercata1 7researches in that city7   
several figures of saints richly        
apparelled1 bearing this inscription3   
,opus ,jacobi ,bertucci et ,julii       
,tondutii ,faventinorum4 ,pari voto f4  
#aeac4ah ,at present ,i no longer doubt 

but that under this ,jacopo was         
concealed the name of ,jacopone di      
,faenza1 though according to ,orlandi   
they were two several painters1 and     
though it has never occurred to         
,baldinucci and ,bottari1 and other     
writers of pictoric history1 to unite   
them into one4 ,my conjecture is founded
 upon a picture which ,i saw in the     
church of the ,dominican nuns in        
,faenza1 representing the ,birth of the 
,virgin1 with the name of ,jacopo       
,bertucci of ,faenza1 and dated #aecb4  
,it is a work which arrests the eye by  
its resemblance to the style of         
,raffaello1 though his harmonious       
gradations have not been well observed1 
and the colouring inclines more to the  
strong than to the beautiful4 ,the women
 busied about the couch of ,st4 ,anne   
are beautiful1 graceful1 and animated   
figures1 and there are some animals1 and
 in particular a fowl1 which a ,bassano 
himself would not have been sorry to    
have painted4 ,now what other ,jacopo of

 ,faenza could in the year #aecb1 have  
painted in this style1 with more shew of
 reason and probability than ,jacopone  
da ,faenza1 whose family would here     
appear to be discovered8       ,footnote
 #ah3 ,sig4 ,abbate ,zannoni1 a         
librarian in ,faenza1      assisted by  
,sig4 ,zauli1 a distinguished professor 
of design      in that ,lyceum1 has made
 some clever remarks upon that          
school4 ,they observe that this date of 
,fabri must be      erroneous1 it not   
being possible for ,jacopone to have    
commenced painting in #aeac1 and much   
less ,tonduzzi1 pupil to      ,giulio   
,romano1 probably1 in ,mantua3 ,i       
suspect that the order      of the last 
two figures should be inverted1 so as to
 read      #aeca4       ,they inform me 
that ,i was misled in supposing the     
picture of      the ,dominican ,nuns to 
be from the hand of ,jacopone1 its      
great height preventing me from         
distinguishing the name4 ,it            
belongs to his nephew and pupil1 ,gian  

,batista1 and thus      resembles his   
style1 though coloured with stronger    
tints in      the taste of ,titian1 whom
 he is known to have greatly            
consulted in after years4 ,other        
pictures of ,jacopone might      be     
cited1 that still exist1 but injured by 
time and by      retouches of other     
destroyers4 ,yet1 they continue1 all are
      surpassed by a figure that was    
placed at the ,celestini1 and      is   
now in the general collection4 ,it      
represents ,st4 ,john      pointing out 
to the ecclesiastic who ordered the     
picture1      the ,virgin crowned1      
between ,saints ,celestino and          
,benedetto2      a grand piece          
wonderfully preserved1 formed upon the  
composition of ,raffaello1 and coloured 
after ,titian4 ,on the      right side  
is written1 ,f4 ,jo4 ,bapt4 ,para       
,brasius hoc opus      ob devotionem    
fieri jussit anno domini #aefe3 7the    
most      assured epoch of his life27   
and on the left hand1 ,et semper        

,jacobius ,bertusius ,f4 7for           
,faventinus7 invicto tandem ,momo       
faciebat4 ,who this ,momo was1 against  
whose desire 7since we      must read   
invito7 he completed the picture1 ,i    
know not2      whether a painter1 or    
perhaps a friar1 whom ,jacopone's       
dilatoriness had offended1 and who      
wished to substitute      another       
artist1 in which good office he did not 
succeed4  ,the same city possesses a    
variety of other pieces by this         
,bertucci1 and in the soffitto of ,s4   
,giovanni1 various histories1 both of   
the ,old and ,new ,testament1 were      
pointed out to me as his4 ,there too are
 several of inferior character          
attributed to another ,bertucci1 his    
son1 an artist who in his heads repeats 
the same idea1 even to satiety4 ,still  
his merit ought not1 ,i think1 to be    
estimated from a single work1 but rather
 from some pictures cited by ,crespi4#ai
 ,one of these is the ,beheading of ,st4
 ,john the ,baptist1 animated and high  

toned in its colours1 beautiful in point
 of design and character1 and worthy of 
decorating the ,ercolani collection at  
,bologna4 ,upon it is inscribed         
,bertucius pinxit1 #aehj4 ,the other is 
at the ,celestini of ,faenza1 a singular
 work1 as ,crespi denominates it1 from  
which he appears to have learnt the     
proper name of this younger ,bertucci1  
whom he calls ,giambatista4 ,baldinucci 
treats of ,jacopone at the commencement 
of his fifth volume1 and on the credit  
of ,count ,laderchi1 he enumerates his  
different paintings1 which then remained
 at ,faenza4 ,of his surname he mentions
 nothing2 nothing of his altar-piece of 
the ,nativity2 nothing of ,s4 ,vitale2  
nothing of the son1 or the other artist 
of ,faenza lately alluded to4 ,he adds1 
that works of ,jacopone were to be seen 
up to the year #aegj1 but ,i believe    
these last to have belonged to the son1 
inasmuch as the father1 at the period   
when ,vasari wrote1 was already         
deceased4 ,other pictures by this artist

 are mentioned1 painted in glowing and  
attractive colours1 and in particular   
the ,baptizing of ,christ1 preserved in 
the public collection1 valuable from its
 giving the epoch of #afaj1 which must  
have been towards the close of his days4
       ,footnote #ai3 ,lettere          
,pittoriche1 vol4 vii4 p4 #ff4  ,by     
,giulio ,tonduzzi there is pointed out  
at ,ravenna the ,stoning of ,st4        
,stephen1 on the large altar of a church
 consecrated to that saint1 a beautiful 
picture1 but not indisputably proved to 
be his4 ,i conjecture it to be a copy of
 the ,st4 ,stephen that decorates the   
church of ,faenza1 in which the whole   
style of ,giulio ,romano is apparent2 so
 much so1 that it has been attributed to
 him1 a mistake arising from resemblance
 of names2 but ,tonduzzi is known to    
have been ,giulio's pupil4 ,i omit other
 productions of this excellent artist1  
though ,i ought to notice1 that in the  
soffitto of ,s4 ,giovanni1 he also      
painted several sacred histories1 in    

competition with all the first artists1 
who then flourished at ,faenza1 on which
 account that very cultivated city has  
preserved the whole of these paintings1 
although much defaced by age1 in the    
,lyceum collection1 belonging to the    
commune1 mentioned in other places4 ,i  
also find one ,m4 ,antonio da ,faenza1  
commended by ,civalli for a very        
excellent picture1 possessing fine      
relief1 at the church of the            
,conventuali of ,monte ,lupone1 in the  
,marca1 dated #aebe4 ,contemporary with 
these must have been ,figurino da       
,faenza1 enumerated by ,vasari among the
 best disciples of ,giulio ,romano1     
though ,i meet with no mention of him   
elsewhere4 ,it is conjectured1 however1 
with good reason1 that ,figurino was    
only a surname given to ,marc ,antonio  
,rocchetti1 a painter of great          
reputation at ,faenza1 who in youth took
 great delight in minute drawing1       
producing1 among other pieces1 little   
histories of ,st4 ,sebastian1 for the   

ornament of that church1 now destroyed1 
when they came into possession of       
various individuals who treasure them up
 in the present day4 ,in maturer years  
he enlarged his manner1 attaching       
himself to the imitation of ,baroccio1  
which he did with a simplicity of       
composition and sweetness of tints1 that
 made him conspicuous in different      
churches which he adorned1 as we may    
gather from the picture of the titular  
,saint at ,s4 ,rocco1 with the year     
#afjd1 the latest period which we find  
mentioned on his productions4 ,in the   
,communal collection1 also1 there is    
seen a picture of the ,virgin1 known in 
,faenza under the name of the ,madonna  
of the ,angels1 with a ,st4 ,francis1 a 
holy bishop1 and two portraits below4   
,it bears the inscription1 ,m4 ,antonius
 ,rochettus ,faventinus pingebat1 #aeid4
 ,it was requisite to mention this      
picture1 which ,i find extolled above   
all other specimens that have remained4 
,the name of ,niccolo ,paganelli1 before

 unknown to us1 is also met with in the 
,oretti correspondence1 contained in a  
letter of ,zanoni1 which we cite in     
treating of ,benedetto ,marini4 ,he is  
supposed to have been a good pupil of   
the ,roman ,school1 and some attribute  
to him the fine picture of ,s4 ,martino1
 in the cathedral of ,faenza1 the       
supposed work of ,luca ,longhi4 ,his    
genuine pictures are recognized by the  
initials ,n4,p4  ,subsequent to the     
period of ,jacopone1 who never acquired 
fortune1 ,marco ,marchetti greatly      
distinguished himself4 ,so at least he  
is named by ,baglione1 or ,marco da     
,faenza1 according to ,vasari1 who      
observes that he was particularly       
experienced in regard to frescos2 bold1 
decided1 terrible2 and especially in the
 practice and manner of drawing         
grotesques1 not having any rival then   
equal to him4 ,nor perhaps has any      
artist since appeared who equals him in 
this respect1 and in happily adapting to
 grotesques little histories1 full of   

spirit and elegance1 and with figures   
which form a school for design4 ,such is
 the ,slaughter of the ,innocents1 in   
the ,vatican4 ,he succeeded ,sabbatini  
in the works of ,gregory ,,xiii4 and    
entered the service of ,cosmo ,i4 for   
whom he decorated the ,palazzo ,vecchio 
at ,florence4 ,he painted little in his 
own country1 though a few pieces in oil 
are still pointed out1 and an arch in a 
public way1 with festoons of flowers1   
monsters1 and capricci1 resembling the  
work of an ancient artist4 ,the whole   
reminds us of mythology and erudition1  
while at subsequent periods it became   
customary in this kind of painting to   
dare every extravagance and excess4     
,perhaps his most finished piece adorns 
the ,communal collection1 representing  
the ,feast of ,christ in the house of   
the ,pharisee4 ,his death occurred in   
#aehh4 ,contemporary with him flourished
 ,gio4 ,batista ,armenini1 also of      
,faenza1 an able artist1 and author of  
the ,true ,precepts of ,painting1#bj    

published at ,ravenna in #aehg1 a work  
that re-appeared in the ensuing century 
at ,venice4 ,in fact ,armenini was a    
better theorist than a practitioner2 nor
 has he any production in his native    
place1 except a large picture of the    
,assumption1 on which he inscribed ,jo4 
,bapt4 ,armenini primiliae1 meaning1    
that it was among the first1 or perhaps 
the very first altar-piece which he ever
 painted4 ,perotti1 the author of       
certain ,farragini1#ba which are still  
preserved in the library of the         
,seminary at ,faenza1 there observes1   
that ,armenini was a pupil of ,perin del
 ,vaga4 ,nor is there a great interval  
between him and ,cristoforo ,lanconello1
 an artist of ,faenza1 first discovered 
to us in the letter of ,crespi1 just    
before cited4 ,he is celebrated for his 
picture in the ,casa ,ercolani1 in which
 the ,virgin appears crowned with a     
glory1 attended by ,saints ,francis and 
,chiara1 and two more2 a work displaying
 great freedom of hand1 beauty of       

colouring1 fine airs of the heads1 and  
altogether in the composition of        
,barocci4       ,footnote #bj3 ,veri    
,precetti della ,pittura4               
,footnote #ba3 ,a mixture of all styles 
and subjects  ,we must not take our     
leave of the ,cinquecentisti#bb without 
first noticing a cavalier of ,faenza1   
who flourished till the year #afbj1 in  
which he died at the age of #hc4 ,his   
name was ,niccolo ,pappanelli1 and such 
was his enthusiasm for the art1 that he 
attended all the most distinguished     
masters then in vogue at ,rome4 ,on his 
return to his native place1 he produced1
 along with some pieces of mediocrity1 a
 few of an exquisite character1 such as 
his picture of ,s4 ,martino at the      
cathedral1 so well executed in point of 
design1 force of colouring1 and         
expression1 as to be truly admirable4   
,he1 too1 attempted to follow in the    
track of ,barocci4       ,footnote #bb3 
,artists of the fifteenth century4      
,other artists of ,romagna1 belonging to

 this period1 are treated of in the     
schools where they chiefly flourished1  
such as ,ingoli of ,ravenna1 at ,venice1
 ,zaccolini of ,cesena at ,rome1 and    
,ardente1 a native of ,faenza1 in       
,piedmont4                              
,,bolognese ,,school4                   
,,epoch ,,iii4       ,the ,caracci1     
their ,scholars1 and their ,successors1 
until      the time of ,cignani4   ,to  
write the history of the ,caracci and   
their followers would in fact be almost 
the same as to write the pictoric       
history of all ,italy during the last   
two centuries4 ,in our preceding books  
we have taken a survey of almost every  
school2 and everywhere1 early or late1  
we have met with either the ,caracci or 
their pupils1 or at least with their    
successors1 employed in overthrowing the
 ancient maxims1 and introducing new1   
until we reach the period when there was
 no artist who1 in some respect or      
other1 might not be said to belong to   
their school4 ,now1 as it is grateful to

 the traveller1 after long following the
 course of some royal river1 to ascend  
still higher to its source1 so ,i trust 
it will1 in like manner1 prove          
delightful to my readers1 to be here    
made acquainted with those principles   
that conferred this new style upon the  
world of art1 and in a short time filled
 with its specimens1 and took the lead  
of every individual school4 ,what1 in my
 opinion1 too1 is still more surprising 
is1 that it should owe its origin to    
,lodovico ,caracci1 a young artist1 who 
appeared of a slow1 inactive intellect  
in early years1 and better adapted to   
grind colours than to harmonize and     
apply them4 ,he was advised1 both by    
,fontana1 his master at ,bologna1 and by
 ,tintoretto1 who directed his studies  
in ,venice1 to adopt a new profession1  
as quite unqualified for the art of     
painting2 his fellow pupils likewise    
bantering him with the epithet of the   
ox1 in allusion to his extreme dulness  
and tardiness4 ,indeed1 every thing     

seemed to conspire to discourage him2 he
 alone did not despair2 from the        
obstacles he had to encounter he only   
gathered courage1 and inducements to    
rouse1 not to alarm himself4 ,for this1 
his dilatory character1 did not spring  
from confined genius1 but from deep     
penetration2 he shunned the ideal of the
 art as a rock on which so many of his  
contemporaries had suffered shipwreck2  
he pursued nature every where2 he       
exacted of himself a reason for every   
line he drew2 and considered it the duty
 of a young artist to aim only at doing 
well1 until at length it grows into a   
habit1 and such habit assists him in    
expediting his work4  ,resolute1 then1  
in his purpose1 after having studied the
 best native artists in ,bologna1 he    
proceeded to do the same under ,titian  
and ,tintoretto at ,venice4 ,thence he  
passed to ,florence1 and improved his   
taste from the pictures of ,andrea1 and 
the instructions of ,passignano4 ,at    
that period1 the school of the          

,florentines had attained to that       
crisis1 described in treating of its    
fourth epoch4 ,nothing could be more    
advantageous to young ,lodovico than to 
observe there the competition between   
the partizans of the old and the new    
style2 nor could there be better means  
of ascertaining the causes of the       
decline1 and of the revival of the art4 
,such a scene was assuredly of the      
greatest use to him1 though hitherto not
 much noticed1 in attempting the reform 
of painting1 and carrying it to a higher
 degree of perfection4 ,the most eminent
 ,florentines1 with the view of         
improving the languid colouring of their
 masters1 turned to the models of       
,coreggio and his followers2 and their  
example1 ,i am of opinion1 induced      
,lodovico to leave ,florence for ,parma1
 where1 observes his historian1 he      
wholly devoted himself to that master   
and to ,parmigianino4 ,on his return to 
,bologna1 although well received and    
esteemed as a good artist1 he soon      

became aware that a single individual1  
so reserved and cautious as he was1     
could ill compete with an entire school2
 unless1 following the example of       
,cigoli at ,florence1 he were to form a 
party among the rising pupils at        
,bologna4  ,in the first instance1 he   
sought support in his own relatives4    
,his brother ,paolo cultivated the art1 
but was deficient both in judgment and  
in ability1 and calculated only to      
execute with mediocrity the designs of  
others4 ,on him he placed no reliance1  
but a good deal on two of his cousins4  
,he had a paternal uncle named ,antonio1
 by profession a tailor1 who educated   
his two sons1 ,agostino and ,annibale1  
at home4 ,such was their genius for     
design1 that ,lodovico was accustomed to
 say in his old age1 that he had never  
had1 during his whole professional      
career1 a single pupil to equal them4   
,the first devoted his attention to the 
goldsmith's art--always the school of   
the best engravers2 the second was at   

once the pupil and assistant of his     
father in his calling4 ,though brothers1
 their dispositions were so opposite1 as
 to render their society insufferable to
 each other1 and they were little less  
than enemies4 ,accomplished in letters1 
,agostino always sought the company of  
learned men2 there was no science on    
which he could not speak2 at once a     
philosopher1 a geometrician1 and a poet2
 of refined manners1 ready wit1 and     
averse to the pursuits of the crowd4    
,annibale1 on the contrary1 neglected   
letters1 beyond the mere power of       
reading and writing1 while a natural    
bluntness of manner inclined him to     
taciturnity1 and when compelled to      
speak1 it was mostly in a satirical1    
contemptuous1 or disputing tone4  ,on   
devoting themselves1 at the suggestion  
of ,lodovico1 to the pictoric art1 they 
still found themselves opposed to each  
other in genius1 as they were in        
manners4 ,agostino was timid1 and       
extremely select1 backward in resolve1  

difficult to please himself1 and was    
never aware of a difficulty that he did 
not encounter1 and attempt to vanquish  
it4 ,annibal1 in common with numbers of 
artificers1 was an expeditious workman1 
intolerant of doubts and delays1 eagerly
 seeking every remedy for the           
intricacies of the art1 trying the most 
easy methods1 and to perform much in    
little time4 ,had they indeed fallen    
into other hands1 ,agostino would have  
become a new ,samacchini1 ,annibal a new
 ,passerotti2 and painting would have   
owed no improvement to their efforts4   
,but their cousin's fine judgment led   
him1 in their education1 to imitate     
,isocrates1 who1 instructing ,ephorus   
and ,theopompus1 was accustomed to say1 
that he was compelled to apply spurs to 
the one1 and a rein to the other4 ,with 
similar views he consigned ,agostino to 
,fontana1 as an easy and rapid master1  
and retained ,annibal in his own studio1
 where works were carried to higher     
perfection4 ,by such means too he kept  

them apart1 until riper age should by   
degrees remove the enmity subsisting    
between them1 and convert it into a bond
 of amity1 when devoted to the same     
profession1 they might unite their      
capital1 and mutually assist each other4
 ,in a few years he succeeded in        
reconciling them1 and in #aehj he placed
 them at ,parma and at ,venice1 of which
 an account has been given under those  
schools4 ,during this period ,agostino  
collected materials for his varied      
learning1 and enlarged his design2 and  
as before leaving ,bologna he had made  
great progress in engraving under       
,domenico ,tibaldi1 he continued in     
,venice to practise it under ,cort with 
such success1 as to excite his master's 
jealousy1 who drove him1 but in vain1   
from his studio2 for ,agostino was      
already esteemed the ,marc ,antonio of  
his time4 ,annibal1 devoted to a single 
aim1 both at ,parma and ,venice         
continued to paint1 availing himself of 
the works and conversation of           

illustrious men1 with whom at that      
period the ,venetian ,school abounded4  
,it was then1 or shortly subsequent1    
that he executed his beautiful copies of
 ,coreggio1 ,titian1 and ,paul          
,veronese2 in whose taste he also       
conducted some small pictures4 ,several 
specimens of these ,i saw in possession 
of the ,marchese ,durazzo at ,genoa1    
displaying opposite1 but very graceful  
styles4  ,returning accomplished artists
 into their native place1 they struggled
 long and nobly with their fortunes4    
,their first undertakings consisted of  
the exploits of ,jason1 in a frieze of  
the ,casa ,favi2 these1 though conducted
 with the assistance of ,lodovico1 were 
vituperated with excessive scorn by the 
old painters1 as deficient both in      
elegance and correctness4 ,to this      
censure1 the credit of these masters who
 had flourished at ,rome1 who were      
extolled by the poets1 adorned with     
diplomas1 and regarded by the declining 
age as pillars of the art1 seemed to    

give weight4 ,their disciples echoed    
their words1 and the crowd repeated     
them2 and such murmurs proceeding from a
 public1 gifted with as much volubility 
in conversation as would suffice for    
purposes of declamation or controversy  
elsewhere1 wounded the feelings of the  
,caracci1 overwhelmed and depressed     
them4 ,i was informed by the            
accomplished ,cav4 ,niccolo ,fava1 that 
,lodovico's change of fortune1 along    
with that of his cousins1 occurred on an
 occasion1 and at a period little       
differing from the above2 which is      
supported by a tradition to the same    
effect4 ,the two cousins had executed   
the frieze in the same hall where ,cesi 
adorned another1 in opposition to it1   
with histories of ,a,eneas1 which we    
have already mentioned1 7p4 #gd74 ,the  
work1 conducted in the old style1 was   
certainly beautiful1 but ,lodovico1 in  
the new1 painted another chamber with   
other histories1 twelve in number1 of   
,a,eneas1 of which mention is made in   

the ,guide of ,bologna1 7p4 #ad72       
histories in no way inferior to those in
 the ,casa ,magnani4 ,here was the      
beginning of the ,caracci's fortune1 and
 of the fall of the old masters1        
,bologna at length preparing to do      
justice to the worth of that divine     
artist1 and to verify in respect to     
,cesi that sentence of ,hesiod1 of      
which1 to the best of my ability1 ,i    
here offer a version from the ,greek1 as
 follows3    ,folle chi al piu potente  
fa contrasto6   ,che perde la vittoria2 
e sempre al fine1   ,oltra lo scorno1 di
 dolor si e guasto6                     
,opera ,v4 #baj4    ,fool1 that will    
dare to cross the path of one   ,more   
powerful6 and ever to the loss   ,of    
victory1 at last add scorn and grief4   
,it was now that the ,caracci1 more than
 ever confident in their style1 answered
 the voice of censure only by works full
 of vigour and nature1 opposed to the   
works of older masters1 feeble and void 
of truth4 ,by such means that revolution

 of style which had so long been        
meditated1 at length took place2 but it 
became necessary1 in order to accelerate
 it1 to bring over the students of the  
art to their party1 the better to insure
 the hopes of a new and improved era4   
,this too the ,caracci achieved1 by     
opening an academy of painting at their 
house1 which they entitled ,degli       
,incamminati1 supplying it with casts1  
designs1 and prints1 in the same manner 
as those of their rivals2 besides       
introducing a school for the drawing of 
the naked figure1 and for the study of  
anatomy and perspective3 in short1 every
 thing requisite to the art2 directing  
the whole with a skill added to a       
kindness that could not fail to procure 
it abundance of pupils4 ,in particular1 
the fiery temper of ,dionisio ,calvart  
contributed to fill it1 who1 being in   
the habit of striking1 and even wounding
 his disciples1 drove ,guido1 ,albano1  
and ,domenichino1 to transfer their     
talents to the studio of the ,caracci4  

,panico too entered it from the school  
of ,fontana1 and from all sides the best
 young artists assembled1 drawing after 
them fresh ranks of students4 ,finally1 
the other academies were closed2 every  
school was left to solitude2 every name 
gave way before that of the ,caracci2 to
 them the best commissions1 to them the 
meed of praise were accorded4 ,their    
humbled rivals soon assumed another     
language1 especially when the grand hall
 of ,magnani was thrown open1 presenting
 the wonders of the new ,carraccesque   
art4 ,it was then ,cesi declared that he
 would become a disciple of the new     
school2 and ,fontana only lamented that 
he was too grey-headed to keep pace with
 it1 while ,calvart alone1 with his     
usual bravado1 ventured to blame the    
work1 being the last of all to recant1  
or at least to become silent4  ,it is   
now time to record the pursuits and the 
maxims of an academy1 which1 besides    
educating many illustrious pupils1      
perfected the art of their masters2 and 

confirmed the axiom1 that the shortest  
method of learning much is that of      
teaching4 ,the three brothers were on   
the most perfect understanding as to the
 art of teaching1 as free from venality 
as from envy2 but the most laborious    
branches of the professorship were      
sustained by ,agostino4 ,he had drawn up
 a short treatise of perspective and    
architecture1 from which he expounded to
 the school4 ,he explained the nature of
 the bones and muscles1 designating them
 by their names1 in which he was        
assisted by ,lanzoni the anatomist1 who 
also secretly provided the school with  
bodies for such dissections as were     
required4 ,his lectures were sometimes  
founded upon history1 at others upon    
fictions2 and these he illustrated1 and 
offered for designs1 which being        
exhibited at stated intervals1 were     
examined by skilful judges1 who decided 
upon their respective merits2 as we     
gather from a ticket written to ,cesi1  
one of the arbiters4 ,the meed of fame  

was sufficient for the crowned          
candidates1 round whom the poets        
collected to celebrate their name2 with 
whom ,agostino enthusiastically joined  
both with harp and voice1 applauding the
 progress of his scholars4 ,these last  
were likewise instructed in true        
criticism1 and to give due praise or    
blame to the works of others2 they were 
also taught to criticise their own      
works1 and whoever could not give good  
reasons for what he had done1 and defend
 his own work1 must cancel it upon the  
spot4 ,each1 however1 was at liberty to 
pursue what path he pleased1 or rather  
each entered upon that to which nature  
had best adapted him1 which gave rise to
 so many original manners from the same 
studio2 yet each style was to be founded
 upon reason1 nature1 and imitation4 ,in
 all more doubtful points1 recourse was 
had to the opinion of ,lodovico2 the    
cousins presided over the daily         
exercises of design1 full of assiduity1 
industry1 and perseverance4 ,even the   

recreations of the academicians had a   
view to art2 to draw landscapes from    
nature1 or to sketch caricatures1 were  
the customary amusements of ,annibale   
and the disciples of the school1 when   
they wished to relax from study4#bc     
,footnote #bc3 ,it must be observed that
 the two younger      ,caracci visited  
,rome1 where they continued to instruct 
their      pupils on the same plan4     
,passeri1 in his life of ,guido1        
says1 that they were joined by literary 
men1 who proposed      history-pieces to
 them1 with premiums for such as should 
be      best executed2 and that on one  
occasion ,domenichino1 one of      the  
youngest1 being preferred above all1    
,guido was seized      with the most    
lively emulation to eclipse him4 ,the   
historian      adds1 that the same      
method was soon adopted in the ,roman   
academy1 and that ,car4 ,barberini1     
nephew to ,urban ,,viii41      presided 
at the election of the first1 and       
rewarded him with      money1 and those 

that next followed1 to the fourth       
member4      ,moreover he gave the first
 a commission for a picture from        
the same subject as the design4 ,what a 
secret is here shewn      for promoting 
the fine arts4  ,the maxim of uniting   
together the study of nature1 and the   
imitation of the best masters1 already  
touched upon in the outset of this book1
 formed the real foundation of the      
school of ,caracci2 although they took  
care to modify it according to          
particular talents1 as we have seen4    
,their object was to collect into one   
whatever they found most valuable in    
other schools1 and in this process they 
observed two methods4 ,the first        
resembles that of the poets1 who1 in    
several ,canzoni1 propose different     
models for imitation2 in one1 for       
instance1 borrowing from ,petrarch1 in  
another from ,chiabrera1 in a third from
 ,frugoni4 ,the second method is like   
that of those1 who1 being masters of    
these three styles1 form and harmonize  

them into one1 like ,corinthian metal1  
composed of various other kinds4 ,thus  
the ,caracci1 in some of their          
compositions1 were accustomed to present
 different styles in a variety of       
different figures4 ,so ,lodovico1 in his
 ,preaching of ,st4 ,john the ,baptist1 
at the church of the ,certosini 7where  
,crespi is especially opposed to ,paul  
,veronese71 has exhibited the audience  
of the saint in such a manner that a    
judge described them by these           
names3--the ,raffaellesque1 the         
,tizianesque1 and the imitator of       
,tintoretto4 ,annibal too1 who had long 
admired only ,coreggio1 having finally  
adopted ,lodovico's maxim1 painted his  
celebrated picture for the church of    
,st4 ,george1 where1 in his figure of   
the ,virgin1 he imitated ,paolo2 in that
 of the ,divine ,infant and ,st4 ,john1 
,coreggio2 in ,st4 ,john the ,evangelist
 he exhibited ,titian2 and in the very  
graceful form of ,st4 ,catherine1 the   
sweetness of ,parmigianino4 ,most       

generally1 however1 they pursued the    
second path1 and still more examples    
might be adduced of less apparent and   
more free and mixed imitations1 so      
modified as to produce a whole of a     
perfectly original character4 ,and the  
ingenious ,agostino1 emulating the      
ancient legislators1 who embodied all   
their laws in a few verses1 composed    
that very picturesque1 rather than      
poetical sonnet1 in praise of ,niccolino
 ,abati1 but which also well explains   
the maxim of their school1 in selecting 
the peculiar merits of each different   
style4 ,it has been handed down to us by
 ,malvasia1 in his life of ,primaticcio1
 and runs as follows3--    ,chi farsi un
 buon pittor brama e desia     ,il      
disegno di ,roma abbia alla mano1       
,la mossa coll'ombrar ,veneziano1   ,e  
il degno colorir di ,lombardia2   ,di   
,michelangiol la terribil via1     ,il  
vero natural di ,tiziano1     ,di       
,coreggio lo stil puro e sovrano1   ,di 
un ,raffael la vera simmetria2   ,del   

,tibaldi il decoro e il fondamento1     
,del dotto ,primaticcio l'inventare1    
,e un po' di grazia del ,parmigianino3  
,ma senza tanti studii e tanto stento   
,si ponga solo l'opre ad imitare        
,che qui lasciocci il nostro ,niccolino4
    ,to paint for fame1 who nurtures    
high desire1     ,will ,rome's design   
keep ever in his view2     ,to the      
,venetian shade and action true1   ,of  
,lombardy's whole colouring never tire2 
,kindle at ,michael's terrors1 and his  
fire1     ,seize ,titian's living truth1
 who nature drew2     ,allegri's pure   
and sovereign graces too2   ,to heavenly
 ,raphael's symmetry aspire3            
,tibaldi's solid sense1 appropriate air1
     ,and ,primaticcio's learn'd        
inventive thought1     ,with            
,parmigiano's graceful sweetness        
fraught4   ,and should all these ask too
 much studious care1     ,turn to our   
,niccolino's bright display     ,of     
wondrous works1 the envy of his day4    
,it is not easy to ascertain how far the

 ,caracci may have carried this project1
 though it must always reflect the      
highest degree of credit upon them to   
have executed it in a superior manner to
 all other artists4 ,in the outset they 
most felt their deficiency in their     
imitation of the antique1 called by     
,agostino the design of ,rome4 ,he and  
,annibal1 however1 while residing there 
as strangers1 in some measure reproduced
 and restored it to ,roman artists      
themselves2 and ,lodovico1 though       
remaining at ,bologna1 shewed that he   
was by no means unacquainted with it4   
,at first1 observes ,mengs1 they devoted
 much study to ,coreggio1 both in their 
ample outline and in their general      
design1 although they did not observe   
the same exact equilibrium in their     
concave and convex lines1 but rather    
affected the latter4 ,there were other  
points which they did not attempt to    
include in such imitation1 as in the    
shortening of the heads1 and exhibiting 
them so very frequently with that smile 

so much repeated by the ,parmigiani1 by 
,barocci1 and ,vanni4 ,they took their  
heads from life1 and improved upon them 
by general ideas of the beautiful4      
,hence ,annibal's ,madonnas1 many of    
them of a small size on copper1 exhibit 
a peculiar and original beauty derived  
from his studies2 and the same may be   
said of ,lodovico1 who1 in his softer   
heads1 often gives the portrait of a    
lady named ,giacomazzi1 celebrated for  
her beauty at that time4 ,the ,caracci  
were extremely well-grounded in a       
knowledge of anatomy1 and of the naked  
figure2 and it would be manifest        
injustice not to give them credit for   
due estimation of ,michelangiolo1 whom  
they also imitated4 ,one of them indeed 
is known to have said1 with some        
acrimony towards the rival school1 that 
,bonarruoti ought to have covered his   
bones with a little flesh1 in the manner
 of their own ,tibaldi4 ,it is true they
 availed themselves less of the naked   
form in composition than the            

,florentines1 though more largely than  
the other schools4 ,in their costume1   
they were not so anxious to observe the 
exactness and richness of ,paul         
,veronese1 as the grandeur of his folds 
and form2 nor did any other school give 
more ample flow of drapery1 or arrange  
it with dignity more suitable to the    
figures4  ,yet ,mengs denies that they  
were consummate colourists1 though they 
studied the ,lombard and ,venetian      
schools1 an opinion confirmed by        
,lodovico's paintings in oil1 which are 
faded and almost gone4 ,this arose1     
either from the nature of his grounds1  
from too abundant use of oil1 or from   
not allowing due time between preparing 
his canvass and colouring it4 ,the same 
remark will not apply to his frescos1   
which1 on a near view1 exhibit a        
boldness of hand equal almost to        
,paolo's2 nor1 in the opinion of        
,bellori1 was there any work which1 in  
point of colouring1 reflected higher    
credit on the ,caracci1 and on the age1 

than their pictures in the ,casa        
,magnani4 ,they boast a truth1 force1   
mixture1 and harmony of colours1 such as
 to entitle them also in this portion of
 the art to the praise of being         
reformers of the age4 ,they effectually 
banished those wretched yellows1 and    
other weak1 washy tints1 introduced from
 parsimony1 in place of the azures and  
different colours of higher price4 ,in  
this ,bellori accords most merit to     
,annibal2 declaring it was owing to him 
that ,lodovico himself renounced his    
first method of colouring1 which was    
formed on that of ,procaccini4  ,in     
action and expression they aimed at     
vivacity1 but without ever losing sight 
of propriety1 of which they were        
extremely observant2 and to which they  
were ready to sacrifice any of the      
graces of the art4 ,in taste of         
invention and composition1 they come    
near that of ,raffaello4 ,the ,caracci  
were not lavish of their figures1       
conceiving twelve sufficient for any    

historical piece1 except in crowds1 or  
in battle-pieces1 where they were still 
moderate1 in order to give greater      
relief to particular groups4 ,that they 
were competent to compose with judgment1
 learning1 and variety1 is fully        
apparent from their sacred histories    
represented on altars1 where they       
avoided1 as much as possible1 the very  
trite representation of a ,madonna      
between various saints4 ,this truth is  
still more remarkably shewn in their    
profane histories1 and in none better   
than those of ,romulus1 in the family   
just before mentioned4 ,the three       
relations there appear universal in the 
art1 as perspective1 landscape1 and     
ornamental painters1 masters of every   
style1 and concentering in one point of 
view whatever is most desirable in any  
single work4 ,the three artists seem to 
disappear in one2 and the same is       
observed also in several galleries and  
churches of ,bologna4 ,they followed the
 same maxims1 and in the same studio    

designed in union with one another1     
conferring and taking measures how best 
to complete every work in hand4 ,in     
several instances it still remains      
matter of doubt whether pictures are to 
be attributed to ,annibal or to         
,lodovico2 and the three scriptural     
histories of the ,sampieri1 in which the
 three relations wished to display their
 respective powers1 do not exhibit a    
diversity which might essentially       
characterize their respective authors4  
,some indeed there are who may detect in
 ,lodovico a more general imitation of  
,titian1 than is observable in the      
cousins1 ,agostino inclining more to the
 taste of ,tintoretto1 ,annibal to that 
of ,coreggio4 ,it has sometimes been    
remarked that the figures of the first  
of the three are light in form1 those of
 the third1 robust2 while those of      
,agostino hold a middle rank4 ,at       
,bologna ,i found ,lodovico enjoying    
most repute for a certain elevation and 
grandeur2 ,agostino for his inventive   

powers2 ,annibal for grace4 ,every one  
must judge1 however1 according to his   
own views4 ,it is now my duty to        
consider these separately4  ,lodovico1  
doubtless1 rises into the sublime in    
many of his works at ,bologna4 ,his     
picture of the ,probatica so excellent  
both in point of architecture and the   
design of the figures2 that of ,s4      
,girolamo1 who1 suspending his pen1     
turns towards heaven with a look and    
gesture so truly impressive and         
dignified2 his ,limbo of holy fathers1  
which1 as if to renew his delight in it1
 he repeated in the cathedral of        
,piacenza1 and sketched also under a    
,crucifixion at ,ferrara3 these have    
ever been regarded in that school as    
models of the sublime4 ,nevertheless1 if
 we examine the ,assumption1 at the     
,teresiani1 the ,paradise1 at the       
,barnabiti1 or the ,s4 ,george1 in which
 is represented that admirable virgin1  
who is seen seized with terror in the   
act of flight1 it will be allowed that  

,annibal himself could not have         
exhibited more grace in his drawing of  
young maidens or of boys4 ,more         
excelling1 therefore1 than great1       
,lodovico may be said to be transcendant
 in every character2 and it would even  
seem that he had aimed at this boast in 
the two frescos that have perished1 with
 which he decorated1 at ,s4 ,domenico1  
the chapel of the ,lambertini4 ,in one  
he exhibited the holy founder1 with ,s4 
,francis1 in a manner very easy and     
pleasing to the eye1 with few lights and
 as few shades1 but both powerful1 and  
with few folds in the drapery2 the      
countenances full of piety2 insomuch    
that the whole performance1 in the words
 of ,malvasia1 rose to a pitch of       
grandeur not to be excelled4 ,in the    
other piece he represented ,charity1 in 
a style equally soft1 graceful1 and     
polished1 and which was subsequently1   
says the historian1 esteemed the model  
and the rule of modern painting4 ,he    
proceeds to relate1 that ,albani1       

,guido1 and ,domenichino all derived    
their sweetness from this source1 in the
 same way1 most probably1 that ,cavedoni
 took his first style from the ,s4      
,domenico2 and from his ,paul at the    
,conventuali ,guercino acquired his     
grand power of chiaroscuro4 ,in short1  
if we may give credit to history1       
,lodovico in his own school ranks like  
,homer among the ,greeks1 fons          
ingeniorum4 ,individual artists in him  
have recognized what constituted the    
character of their own knowledge1       
because in every branch of painting he  
was truly profound4#bd       ,footnote  
#bd3 ,see ,crespi's analysis of the two 
pictures at      the church of the      
,certosa1 7p4 #cb17 one representing the
      ,scourging of ,christ1 the other  
his ,crown of ,thorns1 where      the   
most beautiful art of disposing the     
light to produce the      desired effect
 is remarkable2 with an exquisite effect
 of      perspective1 and a degree of   
invention not to be surpassed      in   

representing the suffering of our       
,redeemer4  ,the masterly dignity of his
 character appears to most advantage in 
the cloister of ,s4 ,michele in ,bosco1 
where1 assisted by his pupils1 he       
represented the actions of ,st4         
,benedict and ,st4 ,cecilia in          
thirty-seven separate histories4 ,by his
 hand is the ,conflagration of ,mount   
,cassino1 and some other portions2 the  
remaining parts are by ,guido1 by       
,tiarini1 by ,massari1 by ,cavedoni1 by 
,spada1 by ,garbieri1 by ,brizio1 and   
other young artists4 ,these paintings   
have been engraved1 and are worthy of   
the reformers of that age4 ,on beholding
 what we may term this gallery by       
different hands1 we should be almost    
inclined to bestow upon the school of   
,lodovico this trite eulogy2 that from  
it1 as from the ,trojan horse1 there    
issued only princes4 ,what does him     
still more honour is1 that his relatives
 themselves1 down to the least and last1
 uniformly venerated him as a preceptor1

 insomuch that ,annibal1 on the         
completion of the ,farnese gallery1     
invited him to ,rome1 as the adviser1   
arbiter1 and umpire of that work4 ,he   
remained there less than two weeks1 and 
then returning to his beloved ,bologna1 
he survived ,agostino seventeen years1  
and ,annibal ten4 ,being separated from 
the two cousins1 he employed himself at 
an advanced age in a manner less        
studied1 but still exemplary and        
masterly4 ,nor ought a few slight       
inaccuracies of design to detract from  
the praise due to him1 inaccuracies     
which he fell into about this period1 as
 in the drawing of the hand of the      
,redeemer1 in the act of calling ,st4   
,matthew to follow him1 or in the foot  
of the ,madonna of the ,annunciation    
painted at ,s4 ,pietro1 a fault which he
 saw too late1 and it may be added1 for 
which he died of affliction4 ,other less
 well founded criticisms advanced       
against him by a traveller have been    
fully rebutted and confuted by the ,can4

 ,crespi4#be       ,footnote #be3       
,lettere ,pittoriche1 tom4 vii4 lettera 
#d4  ,agostino1 occupied for the most   
part in engraving1 painted but little1  
this employment supplying him at once   
with the means of subsistence1 and of   
shining in the class of artists4        
,doubtless painting here sustained a    
loss1 deprived of a genius equally      
calculated as his relations to promote  
the art4 ,his powers of invention       
surpassed those of the other ,caracci1  
and many rank him foremost in point of  
design4 ,it is certain that in his      
engraving he corrected and improved upon
 the outlines of his originals4 ,on his 
return from ,venice he applied himself  
more effectually to colouring1 and      
succeeded in that of a horse1 so far as 
to deceive the living animal1 a triumph 
so much celebrated in ,apelles4 ,he once
 competed with his brother ,annibal for 
an altar-piece intended for the church  
of the ,carthusians4 ,his design was    
preferred2 and it was then that in his  

,communion of ,s4 ,girolamo he produced 
one of the most celebrated pictures of  
which ,bologna can boast4 ,nothing can  
be imagined finer than the expression of
 devotion in the aged saint1 the piety  
of the priest at the communion1 the     
looks of the spectators1 who support the
 dying1 who catch his last accents1     
committing them instantly to writing1   
lest they escape2 countenances finely   
varied and animated1 each breathing and 
speaking1 as it were1 peculiar mind4 ,on
 its first exhibition1 the pupils       
thronged around the picture to make     
their studies1 insomuch that ,annibal1  
urged by jealousy1 assumed more of his  
brother's taste1 becoming more select   
and slow1 contriving further to addict  
his brother to engraving2 a plan in     
which he succeeded4 ,he returned1 as a  
painter1 to ,rome2 and the fine         
representation of ,poetry1 so much      
admired in the ,farnese gallery1 was1 in
 great part1 owing to his talent2 and   
the same may be said of the fables of   

,cephalus and ,galatea1 exquisitely     
graceful productions1 which seem        
dictated by a poet1 and executed by a   
,greek artist4 ,hence it was rumoured   
that in the ,farnesian paintings the    
engraver had surpassed the painter2 at  
which ,annibal1 no longer able to subdue
 his envy1 removed his brother from the 
undertaking under a variety of false    
pretences2 nor was any humility on the  
part of ,agostino1 any advice of his    
elders1 or any mediation of the great1  
sufficient to appease him4 ,quitting    
,rome1 ,agostino entered into the       
service of the ,duke of ,parma1 for whom
 he painted ,celestial ,love1           
,terrestrial ,love1 and ,venal ,love1 to
 adorn one of the halls1 a very         
beautiful work1 which he terminated only
 just before his death4 ,a single figure
 remained wanting1 and this the duke    
would never consent to have supplied by 
any other hand4 ,at the point of death  
he was seized with lively remorse1 on   
account of his many licentious          

engravings and prints1 and even wept    
bitterly4 ,at that period he designed a 
picture of the ,last ,judgment1 which1  
however1 he was unable to complete4 ,in 
the account of his funeral1 and in the  
oration recited on that occasion by     
,lucio ,faberio1 mention is made of a   
head of ,jesus ,christ1 in the character
 of the universal judge1 painted at that
 time1 though unfinished1 upon a black  
ground4 ,such a head is pointed out in  
the ,albani palace at ,rome1 and        
duplicates exist elsewhere4 ,in the     
features we see exhibited all that is at
 once most majestic and most terrible   
within the limits of the human          
imagination4  ,annibal was greatly      
celebrated in ,lombardy in every        
peculiar taste which he chose to pursue4
 ,in his earliest works ,mengs declares 
that he traces the appearance1 but not  
the depth and reality of ,coreggio's    
style2 but it is an appearance so       
extremely plausible1 that it compels us 
to pronounce him one of the most perfect

 imitators of that consummate master4   
,his ,taking down from the ,cross1 at   
the church of the ,capuccini in ,parma1 
may challenge the most distinguished    
followers of the ,parmese ,school4 ,his 
picture of ,s4 ,rocco is still more     
celebrated1 comprising the perfections  
of different artists1 a piece engraved  
in aqua forte by ,guido ,reni4 ,it was  
executed for ,reggio1 thence transferred
 to ,modena1 and from the last place to 
,dresden4 ,he represented the saint1    
standing near a portico on a basement1  
and dispensing his wealth to poor       
mendicants2 a composition not so very   
rich in figures as in knowledge of the  
art4 ,a throng of paupers1 as different 
in point of infirmity as in age and sex1
 is admirably varied1 both in the       
grouping and the gestures4 ,one is seen 
receiving with gratitude1 another       
impatiently expecting1 a third counting 
his alms with delight2 every object is  
misery and humiliation1 and yet every   
thing seems to display the abundance and

 dignity of the artist4 ,but proceeding 
to ,rome in the year #afjj1 he entered  
on another career2 he checked his fire1 
observes ,mengs1 he improved the        
extravagance of his forms1 imitated     
,raffaello and the ancients1 retaining  
at the same time a portion of the style 
of ,coreggio to support dignity4 7,tom4 
ii4 p4 #ai47 ,albano makes use of nearly
 the same words in a letter given by    
,bellori1 7p4 #dd17 adding1 that        
,annibal1 in the opinion of competent   
judges1 far surpassed his cousin1 from a
 knowledge of the works of ,raffaello1  
in addition to that of the most         
beautiful ancient statues4 ,he was there
 employed in various churches1 though   
his crowning effort1 and nearly the     
whole foundation of the art1 as restored
 by his means1 are to be sought for in  
the ,farnese palace4 ,the subjects were 
selected by ,monsig4 ,agucchi2 and      
together with the allegories may be read
 in ,bellori4 ,in a small chamber he    
gave representations of the ,virtues1   

such as his ,choice of ,hercules1       
,hercules sustaining the ,world1        
,ulysses the ,liberator2 in the gallery 
various fables of ,virtuous ,love1 such 
as those of ,arion and ,prometheus2 with
 others of ,venal ,love1 among which a  
wonderful figure of a ,bacchanal is one 
of the most conspicuous4 ,the work is   
admirably distributed and varied with   
ovals1 cornices1 and with a variety of  
ornamental figures1 sometimes in stucco1
 at others in chiaroscuro1 where the    
effect of his assiduous studies of the  
,farnesian ,hercules is very apparent1  
as well as of the torso of the          
,belvidere1 which he accurately         
designed1 without even having the model 
before him4 ,the whole of the other     
parts breathe ,attic elegance combined  
with ,raffaellesque grace1 and          
imitations not only of his own ,tibaldi 
but of ,bonarruoti himself1 no less than
 all the sprightly and the powerful     
added to the art by the ,venetians and  
,lombards4 ,this was the earliest       

production1 where1 as in ,pandora's box1
 all the geniuses of the ,italian       
schools united their several gifts2 and 
in its fit place ,i described the       
astonishment created by it at ,rome1    
with the revolution it occasioned in the
 whole art4  ,on account of this work he
 is ranked by ,mengs next after the     
three leading masters in the fourth     
degree1 and even esteemed supereminent  
in regard to the form of his virile     
figures4 ,poussin asserts1 that after   
,raffaello there were no better         
compositions than these1 and he prefers 
the decorative heads and figures already
 mentioned1 with the other naked forms1 
in which the artist was said to have    
surpassed himself1 even to his fables so
 beautifully painted4 ,to him ,baglione 
refers the method of colouring from     
nature1 which was nearly lost1 as well  
as the true art of landscape-painting1  
afterwards imitated by the ,flemish4 ,to
 these might likewise be added the use  
of caricatures1 which no one better than

 he knew how to copy from nature1 and to
 increase with ideal power4 ,in the     
,roman galleries many of ,annibal's     
pictures are to be met with1 conducted  
in this new style2 and there is one in  
the ,lancellotti palace1 small1 and     
painted a colla1#bf rivalling1 ,i had   
almost said1 the best pieces of         
,ercolani4 ,it is a ,pan teaching       
,apollo to play upon the pipe2 figures  
at once designed1 coloured1 and disposed
 with the hand of a great master4 ,they 
are so finely expressive1 that we see in
 the countenance of the youth1 humility1
 and apprehension of committing an      
error2 and in that of the old man1      
turning another way1 peculiar attention 
to the sound1 his pleasure in possessing
 such a pupil1 and his anxiety to       
conceal from him his real opinion1 lest 
he might happen to grow vain4#bg        
,footnote #bf3 ,in colours1 of which    
yolk of egg1 or a kind of      glue1 is 
the vehicle4       ,footnote #bg3 ,see  
the ,dissertazione su la ,pittura1 by   

the      ,canon ,lazzarini1 in the      
,catalogue of ,pictures at ,pesaro1 p4  
#aah4  ,no other pieces so exquisitely  
finished are found by his hand at       
,bologna1 where there prevails the same 
strong party1 commenced in the time of  
the ,caracci1 and which prefers         
,lodovico to ,annibal4 ,when we reflect 
that ,annibal1 in addition to the       
patrimony left by his school1 conferred 
upon it the riches which the genius of  
the ,greeks1 throughout many ages and   
many places had collected to adorn their
 style2 when we reflect on the progress1
 which1 on observing his new style at   
,rome1 was made by ,domenichino1 ,guido1
 ,albano1 ,lanfranco1 with the new light
 which it afforded to ,algardi1         
according to the supposition of         
,passeri1 in respect to sculpture1 and  
the improvement which by his means took 
place in the very pleasing and          
attractive painting of ,flanders and of 
,holland1 we feel inclined to coincide  
with the general sentiment entertained  

beyond the limits of ,bologna1 that     
,annibal was the most eminent artist of 
his family4 ,at the same time we may    
allow1 that ,agostino was the greater   
genius1 and ,lodovico1 to whom we are   
indebted for both1 the greater teacher  
of these three4 ,as such1 too1 the      
learned ,ab4 ,magnani1 librarian and    
lecturer upon eloquence to the          
institution1 assigns to him the office  
of teacher1 in an able oration upon the 
fine arts1 printed at ,parma by ,bodoni1
 along with others by the same author4  
,the three ,caracci may be almost said  
to define the boundaries of the golden  
age of painting in ,italy4 ,they are her
 last sovereign masters1 unless we are  
willing to admit a few of their select  
pupils1 who extended that period during 
the space of some years4 ,excellent     
masters1 doubtless1 flourished          
subsequently2 but after their decease1  
the powers of such artists appearing    
less elevated and less solid1 we begin  
to hear complaints respecting the       

decline of the art4 ,nor were there     
wanting those who contended for a       
secondary age of silver1 dating from    
,guido down to the time of ,giordano1 as
 well on account of the minor merit of  
the artists1 as for the prices1 so much 
greater than formerly1 which ,guido     
introduced into the art4 ,the ,caracci  
themselves had been only scantily       
remunerated4 ,count ,malvasia admits    
this fact1 not omitting to point out the
 small dwelling1 and to describe the    
narrow circumstances in which ,lodovico 
died1 while his two relatives left the  
world still more impoverished than      
himself4 ,the ,caracci1 moreover1 did   
not1 like other painters1 leave         
legitimate sons to perpetuate their     
school2 they never married1 and were    
accustomed to observe that the art was  
sole partner of their thoughts4 ,and    
this beloved mistress they adored and   
served with a love so passionate1 as to 
abandon almost all worldly care for     
themselves4 ,even while sitting at their

 meals they had the implements of their 
art before them2 and wherever they      
observed an action or gesture adapted to
 adorn it1 they took instant note of it4
 ,and to this their free estate1 more   
than to any other cause1 were they      
indebted for their noble progress and   
improvement4 ,had they taken to         
themselves a wife1 how easily would     
their agreeable friendship and          
attachment1 from which each of the three
 derived light and knowledge from the   
rest1 have been broken in upon by       
tattling and trifles beneath their care4
 ,most probably1 too1 it might have     
occasioned too great rapidity of hand1  
at the expense of study2 such at least  
having been the result with regard to   
many1 who1 to indulge a woman's taste1  
or to provide for the wants of a family1
 have addicted themselves to            
carelessness and despatch4 ,at the      
period1 then1 of the decease of the two 
cousins1 and the advanced age of        
,lodovico1 there remained of the family 

only two youths1 one1 named ,francesco1 
at ,bologna1 the other1 ,antonio1 in    
,rome4  ,francesco was a younger brother
 of ,agostino and ,annibal4 ,confiding  
in his connexions and in his own talent1
 excellent in point of design1 and      
reasonably good in colouring1 he        
ventured to oppose a school of his own  
to that of ,lodovico1 his master1       
inscribing upon the door3 ,this is the  
true school of the ,caracci4 ,he enjoyed
 no reputation at ,bologna1 but was     
rather held in dislike1 on account of   
his opposition to and detraction of     
,lodovico1 to whom he owed what little  
he executed at that place1 namely1 an   
altar-piece1 with various saints1 at ,s4
 ,maria ,maggiore1 the whole of which   
had been retouched by his kind and able 
cousin4 ,having gone to ,rome1 he was   
first received with applause1 but       
becoming better known he was soon       
despised2 and1 without leaving a single 
specimen of his pencil1 he died there in
 his twenty-seventh year1 in the        

hospital4 ,antonio ,caracci1 a natural  
son of ,agostino1 and pupil to ,annibal1
 was of a totally different disposition4
 ,prudent1 affectionate1 and grateful to
 his relatives1 he received ,annibal's  
last sighs at ,rome1 bestowed upon him a
 splendid funeral in the same church of 
the ,rotonda1 where ,raffaello's remains
 had been exhibited1 and deposited his  
ashes at the side of that great artist4 
,he survived1 a valetudinarian1 during  
some years1 and died at the age of      
thirty-five1 in ,rome1 where he left    
some works in the pontifical palace1 and
 at ,s4 ,bartolommeo4 ,they are rarely  
met with in cabinets1 though ,i saw one 
in ,genoa1 a ,veronica1 in possession of
 the ,brignole family4 ,bellori ,had    
written his life1 which1 although now   
lost1 leads to the supposition that he  
possessed great merit1 inasmuch as that 
writer confined himself to the          
commemoration of only first rate        
artists4 ,baldassare ,aloisi1 called    
,galanino1 a kinsman and scholar of the 

,caracci1 yielded to few of his         
fellow-pupils in his compositions4 ,his 
picture of the ,visitation1 at the      
church of the ,carita in ,bologna1 so   
much extolled by ,malvasia1 to say      
nothing of various other pictures1      
executed at ,rome1 and favourably       
recorded by ,baglione1 affords ample    
proofs of it4 ,his fortune1 however1 was
 not equal to his merit2 so that he     
wholly devoted himself to portraiture1  
and as we have stated1 in the ,roman    
,school1 he there for some period       
boasted the chief sway in the branch of 
portraits1 which were uniformly         
characterized by great power and strong 
relief4  ,other ,bolognese artists1     
educated in the same academy1 took up   
their residence also at ,rome1 or in its
 state2 nor were they few in number1    
since1 as was observed in the fourth    
epoch of that school1 they were received
 there with distinguished favour4 ,we   
shall commence with the least           
celebrated4 ,lattanzio ,mainardi1 called

 by ,baglione ,lattanzio ,bolognese1 had
 visited ,rome previous to ,annibal1 and
 in the pontificate of ,sixtus ,v41     
conducted several works for the         
,vatican1 which augured well of his     
genius1 had he not died there very      
young2 as well as one ,gianpaolo        
,bonconti1 at an age still more         
immature1 having vainly followed his    
master to ,rome1 where he had only time 
to make a few designs1 but conceived in 
the best taste4 ,innocenzio ,tacconi was
 kinsman1 according to some1 and        
assuredly enjoyed the confidence of     
,annibale4 ,from him he received designs
 and retouches1 tending to make him     
appear a more considerable artist than  
he really was4 ,to judge from some of   
his histories of ,st4 ,andrew1 painted  
for ,s4 ,maria del ,popolo1 and ,s4     
,angiolo1 in the fish-market1 he may be 
said to have rivalled his best          
fellow-pupils4 ,but abusing his master's
 goodness1 and alienating his regard    
from ,agostino1 from ,albano1 and from  

,guido1 by misrepresentations1 he       
received the usual recompence of        
slanderers4 ,annibal withdrew his       
support1 deprived of which he gradually 
became more and more insignificant4     
,anton ,maria ,panico early left ,rome1 
and1 entering the service of ,mario     
,farnese1 resided upon his estates1     
being employed in painting at ,castro1  
at ,latera1 and at ,farnese1 in whose   
cathedral he placed his picture of the  
mass1 to which ,annibal also put his    
hand1 even conducting some of the       
figures4 ,baldassare ,croce is an artist
 enumerated by ,orlandi among the pupils
 of ,annibal2 by ,malvasia1 among the   
imitators of ,guido4 ,baglione describes
 him as superior in age to all three of 
the ,caracci1 introducing him into ,rome
 as early as the times of ,gregory4     
,towards reconciling the accounts of    
these writers1 it might be observed1    
that continuing to reside at ,rome1 he  
may have taken advantage1 as he advanced
 in age1 of the examples afforded by his

 noble fellow-citizens4 ,his style1 from
 what we gather of it in the public     
palace of ,viterbo1 and a cupola of the 
,gesu1 as well as from his large        
histories of ,s4 ,susanna1 and other    
places in ,rome1 is easy1 natural1 and  
entitling him to the name of a good     
mechanist and painter of frescos1 but   
not so easily to that of a follower of  
the ,caracci4 ,gio4 ,luigi ,valesio     
entered1 though late1 into the same     
school1 and chiefly attached himself to 
engraving and to miniature4 ,proceeding 
to ,rome1 he was there employed by the  
,lodovisi under the pontificate of      
,gregory ,,xv41 and obtained great      
honours4 ,we find him commended in the  
works of ,marini and other poets1 though
 less for the art1 in which he only     
moderately excelled1 than for his       
assiduity and his fortune4 ,he was one  
of those wits1 who in the want of sound 
merit know how to substitute easier     
methods to advance themselves2          
seasonably to regale such as can assist 

them1 to affect joy amidst utter        
humiliation1 to accommodate themselves  
to men's tempers1 to flatter1 to        
insinuate1 and to canvass interest1     
until they attain their object4 ,by     
means like these he maintained his      
equipage in ,rome1 where ,annibal1      
during many years1 obtained no other    
stipend for his honourable toils1 than a
 bare roof for his head1 daily pittance 
for himself and his servant1 with annual
 payment of a hundred and twenty        
crowns4#bh ,in the few pieces executed  
by ,valesio at ,bologna1 such as his    
,nunziata of the ,mendicants1 we        
perceive a dry composition of small     
relief1 yet exact according to the      
method of the miniaturists4 ,he appears 
to have somewhat improved at ,rome1     
where he left a few works in fresco and 
in oil1 exhibiting his whole power1     
perhaps1 in a figure of ,religion1 in   
the cloister of the ,minerva4 ,to these 
artists of the ,caracci school it will  
be sufficient only to have alluded4     

,they were indeed no more than          
gregarious followers of those elevated  
standards of their age4       ,footnote 
#bh3 ,see ,malvasia1 vol4 i4 p4 #egd4   
,the five1 however1 who next follow1    
deserve a nearer view1 and more accurate
 acquaintance with their merits4 ,these1
 remaining indeed at ,rome1 became      
leaders of new ranks1 which from them   
assumed their name and device2 and hence
 we have alternately been compelled to  
record the disciples of ,albano1 of     
,guido1 and so of the rest4 ,this       
repetition1 however1 in other places1   
will now permit us to treat of them in a
 more cursory view4  ,domenico          
,zampieri1 otherwise ,domenichino1 is at
 this day universally esteemed the most 
distinguished pupil of the ,caracci2 and
 has even been preferred by ,count      
,algarotti to the ,caracci themselves4  
,what is still more1 ,poussin ranked him
 directly next to ,raffaello2 and in the
 introduction to the life of ,camassei1 
almost the same opinion is given by     

,passeri4 ,during the early part of his 
career his genius appeared slow1 because
 it was profound and accurate2 and      
,passeri attributes his grand progress  
more to his amazing study than to his   
genius4 ,from his acting as a continual 
censor of his own productions1 he became
 among his fellow pupils the most exact 
and expressive designer1 his colours    
most true to nature1 and of the best    
impasto1 the most universal master in   
the theory of his art1 the sole painter 
amongst them all in whom ,mengs found   
nothing to desire1 except a somewhat    
larger proportion of elegance4 ,that he 
might devote his whole being to the art1
 he shunned all society1 or if he       
occasionally sought it in the public    
theatres and markets1 it was in order   
better to observe the play of nature's  
passions in the features of the         
people2--those of joy1 anger1 grief1    
terror1 and every affection of the mind1
 and to commit it living to his tablets2
 and thus1 exclaims ,bellori1 it was1 he

 succeeded in delineating the soul1 in  
colouring life1 and rousing those       
emotions in our breasts at which his    
works all aim2 as if he waved the same  
wand which belonged to the poetical     
enchanters1 ,tasso and ,ariosto4 ,after 
several years' severe study at ,bologna1
 he went to ,parma to examine the       
beautiful works of the ,lombards2 and   
thence to ,rome1 where he completed his 
erudite taste under ,annibal1 who       
selected him as one of his assistants4  
,his style of painting is almost        
theatrical1 and he in general lays the  
scene amidst some splendid exhibition of
 architecture1#bi which serves to confer
 upon his compositions a new and        
elevated character in the manner of     
,paul ,veronese4 ,there he introduces   
his actors1 selected from nature's      
finest models1 and animated by the      
noblest impulses of the art4 ,the       
virtuous have an expression so sweet1 so
 sincere1 and so affectionate1 as to    
inspire the love of what is good4 ,and  

in the like manner do the vicious1 with 
their guilty features1 create in us as  
deep aversion to their vice4 ,we must   
despair to find paintings exhibiting    
richer or more varied ornaments1        
accessaries more beautifully adapted1 or
 more majestic draperies4 ,the figures  
are finely disposed both in place and   
action1 conducing to the general effect2
 while a light pervades the whole which 
seems to rejoice the spirit2 growing    
brighter and brighter in the aspect of  
the best countenances1 whence they first
 attract the eye and heart of the       
beholder4 ,the most delightful mode of  
view is to take in the whole scene1 and 
observe how well each personage         
represents his intended part4 ,in       
general there is no want of an          
interpreter to declare what the actors  
think and speak2 they bear it stamped   
upon their features and attitudes2 and  
though gifted with audible words1 they  
could not tell their tale to the ear1   
more plainly than they speak it to the  

eye4 ,surely1 of this1 we have proof in 
the ,scourging of ,st4 ,andrew1 at ,s4  
,gregorio1 at ,rome1 executed in        
competition with ,guido1 and placed     
opposite to his ,st4 ,andrew1 in the act
 of being led to the gibbet4 ,it is     
commonly reported that an aged woman1   
accompanied by a little boy1 was seen   
long wistfully engaged with viewing     
,domenichino's picture1 shewing it part 
by part to the boy1 and next turning to 
the history by ,guido1 she gave it a    
cursory glance1 and passed on4 ,some    
assert1 that ,annibal1 being acquainted 
with the fact1 took occasion from the   
circumstance to give his preference to  
the former piece4 ,it is moreover added1
 that in painting one of the            
executioners1 he actually threw himself 
into a passion1 using threatening words 
and actions1 and that ,annibal          
surprising him at that moment1 embraced 
him1 exclaiming with joy1 ,to-day1 my   
,domenichino1 thou art teaching me6 ,so 
novel1 and at the same time so natural  

it appeared to him1 that the artist1    
like the orator1 should feel within     
himself all that he is representing to  
others4       ,footnote #bi3 ,he was    
likewise very eminent in this branch1   
being named by ,gregory ,,xv4 as        
architect for the ,apostolic            
,palace4  ,yet this picture of the      
,scourging is in no way to be compared  
with the ,communion of ,s4 ,jerome1 or  
to the ,martyrdom of ,s4 ,agnes1 and    
other works1 conducted in his riper     
years4 ,the first of these is generally 
allowed to be the finest picture ,rome  
can boast next to the ,transfiguration  
of ,raffaello2 while the second was     
estimated by his rival ,guido at ten    
times the merit of ,raffaello's own     
pieces4#cj ,in these church paintings   
one great attraction consists in the    
glory of the angels1 exquisitely        
beautiful in feature1 full of lively    
action1 and so introduced as to perform 
the most gracious offices in the piece2 
the crowning of martyrs1 the bearing    

palms1 the scattering of roses1 weaving 
the mazy dance1 and waking sweet        
melodies4 ,in the attitudes we often    
trace the imitation of ,coreggio2 yet   
the forms are different1 and for the    
most part have a flatness of the nose1  
which distinguishes them1 and gives them
 an air of comeliness4 ,much1 however1  
as ,domenichino delighted in            
oil-painting1 he is more soft and       
harmonious in his frescos2 some of which
 are to be seen1 besides those in       
,naples1 at ,fano1 but the greatest part
 of them were destroyed by fire4 ,they  
consist of scriptural histories in a    
chapel of the cathedral2 of mythological
 incidents in villa ,bracciano1 at      
,frascati2 the acts of ,s4 ,nilo1 at    
,grotta ,ferrata2 and various sacred    
subjects interspersed through different 
churches at ,rome4 ,in the corbels of   
the cupolas at ,s4 ,carlo a' ,catinari1 
and at ,s4 ,andrea della ,valle1 he     
painted1 at the former1 the four        
,virtues1 at the latter1 the four       

,evangelists1 still regarded as models  
after innumerable similar productions4  
,at ,s4 ,andrea also are seen various   
histories of that saint in the tribune1 
besides those of ,st4 ,cecilia1 at ,s4  
,luigi2 others at ,s4 ,silvestro1 in the
 ,quirinal of ,david1 and other         
scriptural subjects1 which in point of  
composition and taste of costume are by 
some esteemed superior to the rest4     
,footnote #cj3 ,the ,cav4 ,puccini very 
justly condemns this      opinion in his
 ,esame ,critico del ,webb1 p4 #di4  ,it
 seems almost incredible1 that works    
like these1 which now engage the        
admiration of professors themselves1    
should once1 as ,i have narrated1 have  
been decried to such a degree1 that the 
author was long destitute of all        
commissions1 and even on the point of   
transferring his genius to the art of   
sculpture4 ,this was in part owing to   
the arts of his rivals1 who represented 
his very excellences as defects1 and in 
part to some little faults of his own4  

,domenichino was less distinguished for 
invention than for any other branch of  
his profession4 ,of this1 his picture of
 the ,rosary at ,bologna affords an     
instance1 which neither at that period  
nor since has been fully understood by  
the public2 and it is known not to have 
pleased even his own friends1 which led 
the author to regret its production4    
,diffident thenceforward of his powers  
in this department1 he often borrowed   
the ideas of others2 imitated ,agostino 
in his ,st4 ,jerome1 the ,s4 ,rocco1 of 
,annibal1 in his almsgiving of ,st4     
,cecilia2 and even other less eminent   
artists2 observing1 that in every       
picture he found something good1 as     
,pliny said1 that from every book we may
 cull some useful information4 ,these   
imitations afforded occasion for his    
rivals to charge him with poverty of    
invention1 procuring an engraving of    
,agostino's ,st4 ,jerome1 of which they 
circulated copies1 denouncing ,domenico 
,zampieri as a plagiarist4 ,lanfranco1  

the chief agent in these intrigues1     
exhibited on the contrary only his own  
designs1 invariably novel1 and made a   
display of his own celerity and         
promptness of hand1 as contrasted with  
his rival's want of resolution and      
despatch4 ,had ,domenichino enjoyed the 
same advantages of party as the ,caracci
 in ,bologna1 which he well deserved1 he
 would soon have triumphed over his     
adversaries1 by proving the distinction 
between imitation and servility1#ca and 
that if his works were longer in being  
brought to perfection than his rival's1 
their reputation would be proportionally
 durable4 ,the public is an equitable   
judge2 but a good cause is not          
sufficient without the advantage of many
 voices to sanction it4 ,domenichino1   
timid1 retired1 and master of few       
pupils1 was destitute of a party equal  
to his cause4 ,he was constrained to    
yield to the crowd that trampled him1   
thus verifying the observation of       
,monsig4 ,agucchi1 that his worth would 

never be rightly appreciated during his 
lifetime4 ,the spirit of party passing  
away1 impartial posterity has rendered  
him justice2 nor is there a royal       
gallery but confesses an ambition for   
his specimens4 ,his figure pieces are in
 the highest esteem1 and fetch enormous 
prices4 ,he is rarely to be met with    
except in capital cities2 his ,david is 
a first rate object of inquiry to all   
strangers visiting the college of ,fano1
 who have the least pretensions to      
taste2 the figure of the king1 as large 
as life1 being of itself sufficient to  
render an artist's name immortal4       
,footnote #ca3 ,see the defence set up  
by ,crespi1 both for      ,domenichino  
and ,massari1 another imitator of       
,agostino's      picture4 ,it is        
inserted in the ,certosa di ,bologna1   
described at p4 #bf4 ,he has also been  
commended by ,bellori      for his      
slowness of hand1 who brings forward    
some of his      maxims1 such as that1  
no single line is worthy of a real      

painter which is not dictated by the    
genius before it is      traced by the  
hand2 that excellence consists in the   
full and      proper completion of      
works2 and he used to reproach those    
pupils who designed in sketch1 and      
coloured by dashes of the      pencil   
7p4 #bac74 ,we meet with a third apology
 in ,passeri1      7p4 #d17 for some    
figures borrowed from the ,farnese      
,gallery1      and imitated by          
,domenichino in the histories of ,st4   
,jerome      in the portico of ,s4      
,onofrio4 ,at p4 #i too he defends him  
in      regard to the style of his      
folds1 in which by some he was          
thought too scanty1 and too hard in     
their disposition4  ,there is a small1  
but inestimable picture of ,st4         
,francis1 that belonged to the late     
,count ,jacopo ,zambeccari1 at ,bologna4
 ,the saint is seen in the act of       
prayer1 and by the animated and flushed 
expression of the eyes1 it appears as if
 his heart had just been dissolved in   

tears4 ,two pictures1 likewise          
beautifully composed1 ,i have seen at   
,genoa2 the ,death of ,adonis bewailed  
by ,venus1 in the ,durazzo ,gallery just
 before mentioned1 and the ,s4 ,rocco in
 the ,brignole ,sale1 offering up       
prayers for the cessation of the plague4
 ,the attitude of the holy man2 the     
eagerness of those who seek him2 the    
tragic exhibition of the dying and the  
dead around him2 a funeral procession   
going by2 an infant seen on the bosom of
 its dead mother1 vainly seeking its    
wonted nutriment2 all shake the soul of 
the spectator as if he were beholding   
the real scene4 ,among his pictures from
 profane history the most celebrated is 
his ,chase of ,diana1 in the ,borghesi  
,palace1 filled with spirited forms of  
nymphs1 and lively incidents4 ,in the   
same collection are some of his         
landscapes1 as well as in that of       
,florence2 and some of his portraits in 
others4 ,here too he is excellent1 but  
they are the least difficult branches to

 acquire4 ,respecting his other works1  
and the most eminent of his pupils1     
enough has been stated in the ,roman and
 ,neapolitan schools4 ,he educated for  
his native place ,gio4 ,batista         
,ruggieri2 and to his numerous other    
misfortunes was added the pain of       
finding him ungrateful1 after having    
rendered him eminent in his art4 ,this  
pupil united with ,gessi in quality of  
assistant2 and as we shall shew1 also   
took his denomination from him4 ,passeri
 dwells on this disappointment of       
,domenichino incidentally in his life of
 ,algardi1 7p4 #aih74  ,next to         
,zampieri comes his intimate friend     
,francesco ,albani1 who1 aiming at the  
same object1 observes ,malvasia1 and    
adopting the same means1 pursued the    
like glorious career4 ,they agree in a  
general taste for select design1        
solidity1 pathetic power1 and likewise  
in their tints1 except in ,albani's     
fleshes being ruddier1 and not          
unfrequently faded1 from his method of  

laying on the grounds4 ,in point of     
original invention he is superior to    
,domenichino1 and perhaps to any other  
of the school2 and in his representation
 of female forms1 according to ,mengs1  
he has no equal4 ,by some he is         
denominated the ,anacreon of painting4  
,like that poet1 with his short odes1 so
 ,albani1 from his small paintings1     
acquired great reputation2 and as the   
one sings ,venus and the ,loves1 and    
maids and boys1 so does the artist hold 
up to the eye the same delicate and     
graceful subjects4 ,nature1 indeed      
formed1 the perusal of the poets        
inclined1 and fortune encouraged his    
genius for this kind of painting2 and   
possessing a consort and twelve         
children1 all of surprising beauty1 he  
was at the same time blest with the     
finest models for the pursuit of his    
studies4 ,he had a villa most           
delightfully situated1 which farther    
presented him with a variety of objects1
 enabling him to represent the beautiful

 rural views so familiar to his eye4    
,passeri greatly extols his talent in   
this branch1 remarking1 that where      
others1 being desirous of suiting       
figures to the landscape1 or its various
 objects to one another1 most frequently
 alter their natural colour1 he         
invariably preserves the green of his   
trees1 the clearness of his waters1 and 
the serenity of the air1 under the most 
lovely aspect2 and contrived to unite   
them with the most enchanting power of  
harmony4  ,upon such grounds1 for the   
most part1 he places and disposes his   
compositions1 although he may           
occasionally introduce specimens of his 
architecture1 in which he is equally    
expert4 ,his pictures are often met with
 in collections1 or to speak more       
correctly1 they re-appear1 inasmuch as  
both he himself made repetitions1 and   
practised his pupils in them1 giving    
them his own touches4 ,he exhibits few  
bacchanals1 avoiding figures that had   
already been so admirably treated by    

,annibal in many of his little pictures1
 from which1 if ,i mistake not1 ,albano 
drew the first ideas of his style2      
adapting it to his own talent1 which was
 not so elevated as that of ,annibal4   
,his most favourite themes are the      
sleeping ,venus1 ,diana in her bath1    
,danae on her couch1 ,galatea in the    
sea1 ,europa on the bull1 a piece which 
is also seen on a large scale in the    
,colonna and ,bolognetti collections at 
,rome1 and in that of the ,conti ,mosca 
at ,pesaro4 ,how beautifully do those   
figures of the ,loves throw their veil  
over the virgin1 in order to protect her
 from the sun's rays1 while others are  
seen drawing forward the bull with bands
 of flowers1 or goading him in the side 
with their darts4 ,at times he          
introduces them in the dance1 weaving   
garlands1 and practising with their bows
 at a heart suspended in the air for a  
target4 ,occasionally he conceals some  
doctrine1 or ingenious allegory1 under  
the veil of painting2 as in those four  

oval pictures of the ,elements in the   
,borghesi palace1 which he repeated for 
the royal gallery at ,turin4 ,there too 
are ,cupids seen employed in tempering  
,vulcan's darts2 spreading their snares 
for birds upon the wing2 fishing and    
swimming in the sea2 culling and        
wreathing flowers1 as if intended to    
represent the system of the ancients1   
who referred every work of nature to    
,genii1 and with ,genii accordingly     
peopled the world4 ,to sacred subjects  
,albano devoted less attention1 but did 
not vary his taste4 ,the entire action  
of such pieces was made to depend on the
 ministry of graceful cherubs1 in a     
manner similar to that which was        
subsequently adopted by ,p4 ,tornielli  
in his marine canzonettes1 where1 in    
every history of the ,virgin and ,holy  
,child1 he introduces a throng of them  
as a sacred train4 ,another very        
favourite repetition of idea is that of 
representing the ,infant ,christ1 with  
his eye turned towards ,heaven upon the 

angels1 some in the act of bringing     
thorns1 some the scourge1 some the      
cross1 or other symbols of his future   
passion4 ,there is a picture of this    
kind in ,florence1 to which ,i alluded  
in the ,description of the ducal        
gallery1 and it is also found somewhat  
varied in two fine pieces2 one at the   
,domenicani in ,forli1 the other in     
,bologna1 at the ,filippini4 ,these1 and
 other works of ,albani1 interspersed   
throughout different cities1 as in      
,matelica1 in ,osimo1 in ,rimini1       
besides his fresco paintings in         
,bologna1 at ,s4 ,michele in ,bosco1 at 
,s4 ,jacopo1 of the ,spaniards at ,rome1
 with the design of ,annibal2 these     
sufficiently exhibit his superior talent
 for large paintings1 although he       
applied himself with greater zest and   
vigour to those on a smaller scale4     
,albani opened an academy for several   
years at ,rome1 and at ,bologna1        
invariably a competitor of ,guido1 both 
in his magisterial and his professional 

capacity4#cb ,hence arose those         
strictures upon his style which ,guido's
 disciples affected to despise as loose 
and effeminate1 wanting elegance in the 
virile forms1 while those of the boys   
were all of the same proportion1 and his
 heads of the ,holy ,family1 and of     
saints had always one idea4 ,similar    
accusations1 advanced likewise against  
,pietro ,perugino1 are not calculated to
 depress so great an artist's merit1 so 
much as the esteem of ,annibal1 his own 
writings1 and his pupils1 serve to raise
 him in our regard4 ,it is matter of    
historical fact that ,annibal1 seized   
with admiration of some of his small    
pictures1 and among others a bacchante1 
seen at a fountain pouring out wine1    
purchased it1 and declared that he had  
not even paid for the drops of water so 
exquisitely coloured by the wine4 ,of   
his writings there remain only a few    
fragments1 preserved by ,malvasia1 not  
indeed reduced to method1 a task that   
ought to devolve on some other pen1 but 

highly valuable from the information and
 maxims which they contain4 ,among his  
pupils ,sacchi and ,cignani are in      
themselves sufficient to reflect credit 
upon their master1 the first of whom    
sustained the art at ,rome1 the other at
 ,bologna1 and to whose efforts it was  
owing that its reputation so long       
continued in both those schools4 ,there1
 moreover1 we recounted the names of    
,speranza1 and ,mola1 of ,lugano1 his   
noble disciples2 and to these1 besides  
,cignani1 to whom we refer elsewhere1 we
 can add a considerable number4 ,gio4   
,batista ,mola1 a ,frenchman1 long      
continued with ,albano1 and1 according  
to ,boschini1 resided with the other    
,mola at ,venice1 where they copied a   
vast work of ,paul ,veronese for        
,cardinal ,bichi4 ,he displayed         
surprising skill in drawing rural scenes
 and trees1 and being preferred by many 
in this branch to his master1 he often  
added landscape to his master's figures1
 and occasionally adapted figures to his

 own landscape1 very beautiful1 in      
,albani's style1 but without his        
softness4 ,in the excellent collection  
of the ,marchesi ,rinuccini1 at         
,florence1 is a picture of the ,repose  
in ,egypt1 by the same hand4 ,two other 
foreign pupils also did him credit2     
,antonio ,catalani1 called ,il ,romano1 
and ,girolamo ,bonini1 also from his    
native place1 entitled l',anconitano1   
who1 in imitating ,albani1 was equalled 
by few1 and who enjoyed his perfect     
confidence and friendship4 ,settling at 
,bologna1 they there employed themselves
 with reputation in some elegant works1 
and left several histories in fresco in 
the public palace4 ,in this last branch1
 ,pierantonio ,torri also distinguished 
himself1 called1 in ,guarienti's        
lexicon1 ,antonio1 dropping ,pietro on  
the authority of the ,passagiere        
disingannato2 and ,torrigli1 in the     
,guide of ,venice1 where he painted the 
architectural parts in the church of ,s4
 ,giuseppe for the figures of ,ricchi4  

,filippo ,menzani is known only as the  
attached disciple and faithful copyist  
of his master4 ,gio4 ,batista ,galli1   
and ,bartolommeo ,morelli1 the former   
called from his birth-place1 ,bibiena1  
the latter ,pianoro1 were similarly     
employed in taking copies from him2     
though the second applied to it with    
extreme reluctance1 on account of       
,albani being too highly finished1      
diligent1 and laborious1 for the task of
 copying4 ,both these artists are       
commended by the continuator of         
,malvasia4 ,bibiena1 though he died     
early1 conducted works that might be    
ascribed to ,albani1 in particular the  
,ascension at the ,certosa1 and his ,st4
 ,andrew at the ,servi in ,bologna4     
,pianoro succeeded admirably well in his
 frescos1 more especially in the chapel 
of ,casa ,pepoli at ,s4 ,bartolommeo di 
,porta1 decorated by him throughout in  
such exquisite taste1 that1 were history
 silent1 it would be said to have been  
designed and coloured by ,albani's own  

hand4       ,footnote #cb3 ,this        
rivalship is questioned in many places  
by      ,malvasia1 and denied by        
,orlandi1 who in the article            
,francesco ,albano1 designates him as   
the sworn friend of      ,guido ,reni1  
in close union with whom he prosecuted  
their      delightful art2 but this can 
only apply to their early      years4   
,by some1 ,guido ,reni is esteemed the  
great genius of the school2 nor did any 
other single artist excite so much      
jealousy in the ,caracci4 ,lodovico was 
unable to disguise it2 and from a pupil 
he made him his rival1 and in order to  
humble him1 bestowed his favour on      
,guercino1 an artist in quite another   
taste4 ,annibal too1 after some years1  
on seeing him at ,rome1 blamed ,albani  
for inviting him thither2 and1 in order 
to depress him1 he put ,domenichino in  
opposition to him4 ,even from the age of
 twenty1 when he left the school of     
,calvart1 the ,caracci discovered in him
 a rare genius for the art1 so elevated 

and ambitious of distinction1 that he   
aspired to something great and novel    
from the outset of his career4 ,some of 
his early efforts are to be seen in the 
,bonfigliuoli palace1 and in other      
choice collections1 displaying a variety
 of manner4 ,he devoted much study to   
,albert ,durer1 he imitated the         
,caracci1 studied the forms of ,cesi1   
and1 like ,passerotti1 aimed at giving  
strong relief and accuracy to the       
drawing of the muscles4 ,in some        
instances he followed ,caravaggio1 and  
in the aforesaid palace is a figure of a
 sibyl1 very beautiful in point of      
features1 but greatly overlaid with     
depth of shade4 ,the style he adopted   
arose particularly from an observation  
on that of ,caravaggio one day          
incidentally made by ,annibal ,caracci1 
that to this manner there might be      
opposed one wholly contrary2 in place of
 a confined and declining light1 to     
exhibit one more full and vivid2 to     
substitute the tender for the bold1 to  

oppose clear outlines to his indistinct 
ones1 and to introduce for his low and  
common figures those of a more select   
and beautiful kind4  ,these words made a
 much deeper impression on the mind of  
,guido than ,annibal was aware of2 nor  
was it long before he wholly applied    
himself to the style thus indicated to  
him4 ,sweetness was his great object2 he
 sought it equally in design1 in the    
touch of his pencil1 and in colouring2  
from that time he began to make use of  
white lead1 a colour avoided by         
,lodovico1 and at the same time         
predicted the durability of his tints1  
such as they have proved4 ,his fellow   
pupils were indignant at his presuming  
to depart from the ,caracci's method1   
and returning to the feeble undecided   
manner of the past century4 ,nor did he 
pretend to be indifferent to their      
remarks and advice4 ,he still preserved 
that strength of style1 so much aimed at
 by his school1 while he softened it    
with more than its usual delicacy2 and  

by degrees proceeding in the same       
direction1 he1 in a few years1 attained 
to the degree of delicacy he had        
proposed4 ,for this reason ,i have      
observed that in ,bologna1 more than    
elsewhere1 his first is distinguished   
from his second manner1 and it is made a
 question which of the two is           
preferable4 ,nor do all agree with      
,malvasia1 who pronounced his former the
 most pleasing1 his latter manner the   
most studied4  ,in these variations1    
however1 he never lost sight of that    
exquisite ease which so much attracts us
 in his works4 ,he was more particularly
 attentive to the correct form of       
beauty1 especially in his youthful      
heads4 ,here1 in the opinion of ,mengs1 
he surpassed all others1 and1 according 
to ,passeri's expression1 he drew faces 
of ,paradise4 ,in these ,rome abounds   
more richly than ,bologna itself4 ,the  
,fortune in the capitol2 the ,aurora1   
belonging to the ,rospigliosi2 the      
,helen to the ,spada2 the ,herodias to  

the ,corsini2 the ,magdalen to the      
,barberini1 with other subjects in      
possession of several princes1 are      
regarded as the wonders of ,guido's art4
 ,this power of beauty was1 in the words
 of ,albano1 his most bitter and        
constant rival1 the gift of nature2     
though the whole was the result of his  
own intense study of natural beauty1 and
 of ,raffaello1 and of the ancient      
statues1 medals1 and cameos4 ,he        
declared that the ,medicean ,venus and  
the ,niobe were his most favourite      
models2 and it is seldom we do not      
recognize in his paintings either ,niobe
 herself1 or one of her children1 though
 diversified in a variety of manner with
 such exquisite skill1 as in no way to  
appear borrowed4 ,in the same way did   
,guido derive advantage from ,raffaello1
 ,coreggio1 ,parmigianino1 and from his 
beloved ,paul ,veronese2 from all of    
whom he selected innumerable beauties1  
but with such happy freedom of hand as  
to excite the envy of the ,caracci4     

,and1 in truth1 this artist aimed less  
at copying beautiful countenances1 than 
at forming for himself a certain general
 and abstract idea of beauty1 as we know
 was done by the ,greeks1 and this he   
modulated and animated in his own style4
 ,i find mention1 that being            
interrogated by one of his pupils1 in   
what part of heaven1 in what mould      
existed those wondrous features which he
 only drew1 he pointed to the casts of  
the antique heads just alluded to1      
adding1 ,you too may gather from such   
examples beauties similar to those in my
 pictures1 if your skill be equal to the
 task4 ,i find1 moreover1 that he took  
for model of one of his ,magdalens1 the 
extremely vulgar head of a              
colour-grinder2 but under ,guido's hand 
every defect disappeared1 each part     
became graceful1 the whole a miracle4   
,thus too in his naked figures he       
reduced them1 whatever they were1 to a  
perfect form1 more especially in the    
hands and feet1 in which he is singular1

 and the same in his draperies1 which he
 often drew from the prints of ,albert  
,durer1 enriching them1 freed from their
 dryness1 with those flowing folds or   
that grandeur of disposition best       
adapted to the subject4 ,to portraits   
themselves1 while he preserved the forms
 and age of the originals1 he gave a    
certain air of novelty and grace1 such  
as we see in that of ,sixtus ,v41 placed
 in the ,galli palace at ,osimo1 or in  
that wonderful one of ,cardinal ,spada1 
in possession of some of his descendants
 at ,rome4 ,there is no one action1     
position1 or expression at all injurious
 to his figures2 the passions of grief1 
terror1 sorrow1 are all combined with   
the expression of beauty2 he turns them 
every way as he lists1 he changes them  
into every attitude1 always equally     
pleasing1 and every one equally entitled
 to the eulogy of displaying in every   
action1 and in every step1 the beauty   
which secretly animates and accompanies 
it4#cc       ,footnote #cc3             

,illam quidquid agat1 quoquo vestigia   
vertat1        ,componit furtim1        
subsequiturque decor4--,,tibul4  ,what  
most surprises us is the variety which  
he infuses into this beauty1 resulting  
no less from his richness of imagination
 than from his studies4 ,still          
continuing to design in the academy up  
to the close of his career1 he practised
 his invention how best to vary his idea
 of the beautiful1 so as to free it from
 all monotony and satiety4 ,he was fond 
of depicting his countenances with      
upraised looks1 and used to say that he 
had a hundred different modes of thus   
representing them4 ,he displayed equal  
variety in his draperies1 though        
invariably preferring to draw the folds 
ample1 easy1 natural1 and with clear    
meaning1 as to their origin1 progress1  
and disposition4 ,nor did he throw less 
diversity into the ornaments of his     
youthful heads1 disposing the tresses1  
whether loose1 bound1 or left in artful 
confusion1 always different1 and        

sometimes casting over them a veil1     
fillet1 or turban1 so as to produce some
 fresh display of grace4 ,nor were his  
heads of old men inferior in this       
respect1 displaying even the inequality 
of the skin1 the flow of the beard1 with
 the hair turned as we see on every     
side1 and animating the features with a 
few bold1 decided touches1 and few      
lights1 so as to give great effect at a 
distance1 altogether with a surprising  
degree of nature2 specimens of which are
 seen at the ,pitti palace1 the         
,barberina and ,albana galleries2 and   
yet among the least rare of this        
artist's productions4 ,he bestowed      
similar attention to varying his        
fleshes2 in delicate subjects he made   
them of the purest white1 adding1       
moreover1 certain livid and azure1 mixed
 among middle tints1 open to a charge1  
at least by some1 of mannerism4#cd      
,footnote #cd3 ,the harmony and union of
 colour of this artist      would seem  
to excuse some trifling licenses1       

respecting      which see ,lazzarini    
upon the ,paintings of ,pesaro1 p4 #bi4 
,the preceding commendations1 however1  
will not extend to the whole of ,guido's
 works4 ,his inequality is well known1  
but not owing to any maxim of his art4  
,it arose from his love of play1 a      
failing which obscured his many moral   
qualities4 ,his profits were great2 but 
he was kept continually in a state of   
indigence by his losses1 which he       
endeavoured to repair by the too        
negligent practice of his art4 ,hence we
 trace occasional errors in perspective1
 and deficiency of invention1 a defect  
so much insisted upon by the implacable 
,albani4 ,hence too his incorrectness of
 design1 the disproportion of his       
figures1 and his works put to sale      
before their completion4 ,yet these are 
not excluded from royal cabinets1 and   
that of ,turin possesses one of         
,marsyas1 a finely finished figure1     
before which is seen standing little    
more than the sketch of an ,apollo4 ,to 

form then a fair estimate of ,guido1 we 
must turn to other efforts which raised 
him to high reputation4 ,among his most 
excellent pieces ,i am of opinion that  
his ,crucifixion of ,st4 ,peter1 at     
,rome1 is a specimen of his boldest     
manner2 the ,miracle of the ,manna at   
,ravenna1 the ,conception at ,forli1 the
 ,slaughter of the ,innocents at        
,bologna2 and there too his celebrated  
picture of ,saints ,peter and ,paul in  
the ,casa ,sampieri4 ,specimens of his  
more tender manner may be found in the  
,st4 ,michael at ,rome1 the             
,purification at ,modena1 the ,job at   
,bologna1 ,st4 ,thomas the ,apostle at  
,pesaro1 the ,assumption at ,genoa1 one 
of ,guido's most studied pieces1 and    
placed directly opposite the ,st4       
,ignatius of ,rubens4  ,guido taught at 
,rome1 and gave his pupils1 as we have  
stated1 to that city4 ,he educated still
 more for his native place1 where he    
opened a school1 frequented by more than
 two hundred pupils1 as we are informed 

by ,crespi4 ,nor are we by this number  
to measure the dignity of his character 
as a master4 ,he was an accomplished    
head of his school1 who1 in every place1
 introduced into the art a more sweet   
and engaging manner1 entitled in the    
times of ,malvasia the modern manner4   
,even his rivals took advantage of it1  
the fact being indisputable that        
,domenichino1 ,albano1 and ,lanfranco1  
along with their best disciples1 derived
 that degree of delicacy1 in which they 
sometimes surpass the ,caracci1 from    
none but ,guido4 ,he would not permit   
the scholars in his studio to copy in   
the first instance from his own works1  
but exercised them in those of          
,lodovico1 and the most eminent deceased
 masters4 ,it is conjectured also by    
,crespi1 that he grounded his scholars  
in the principles of the art of         
imitation1 and all the first requisites1
 without reference to the minutiae1     
which are easily acquired in the course 
of practice4 ,guido particularly prided 

himself on ,giacomo ,semenza1 and       
,francesco ,gessi1 whom he thought equal
 to any masters at that time in         
,bologna4 ,he employed them in that     
chapel of the cathedral at ,ravenna1 a  
perfect miracle of beauty1 and gave them
 commissions from the court of ,mantua  
and ,savoy1 assisting them also1 both at
 ,rome and his native place2 in return  
for all which he was repaid by ,semenza 
with gratitude1 but by ,gessi with      
bitter persecutions4 ,he was followed by
 both in point of style1 and specimens  
are to be seen in some choice           
collections4  ,semenza emulated ,guido  
in both his manners1 and displayed more 
correctness1 erudition1 and strength4   
,his pictures at ,araceli and other     
places sufficiently distinguish him from
 the immense crowd of fresco-painters at
 ,rome4 ,there too are many of his      
altar-pieces1 none more beautiful1      
perhaps1 than the ,s4 ,sebastian1 at ,s4
 ,michele in ,bologna4 ,gessi surpassed 
him in spirit1 invention1 and rapidity1 

for which last quality even ,guido      
envied him4 ,this enabled him too1 from 
the first1 to vary his works in point of
 manner until he hit upon the right one1
 as in his very beautiful ,st4 ,francis 
at the ,nunziata1 little inferior to    
,guido1 as well as in several others    
conducted in his earlier and best days4 
,to these he was indebted for his name  
of a second ,guido2 but subsequently he 
abused his talents1 as is the case with 
those who are held in slight esteem for 
performing much and rapidly4 ,thus      
,bologna abounds with his pictures1 in  
which1 with the exception of their fine 
character and much delicacy1 there is   
nothing to commend2 his pictures are    
cold1 his colouring is slight2 the shape
 and features are often too large1 and  
not seldom incorrect4 ,he is known to   
have invariably affected the second     
manner of ,guido1 and hence he is always
 more feeble1 dry1 and less harmonious  
than his master4 ,by these distinctions 
are the differences between salesmen and

 purchasers usually decided1 as to      
whether such a piece be a poor ,guido or
 a ,gessi4  ,yet ,gessi had a numerous  
school at ,bologna1 on ,guido's         
retiring1 and formed scholars of some   
reputation1 such as ,giacomo            
,castellini1 ,francesco ,coreggio1 and  
,giulio ,trogli1 who1 devoting himself  
to perspective1 under ,mitelli1 and     
publishing a work entitled ,paradossi   
della ,prospettiva1 went ever afterwards
 by the name of the ,paradox4 ,ercole   
,ruggieri was a faithful follower of    
,gessi's style1 insomuch as at first    
sight to be mistaken for his master4 ,he
 was called ,ercolino del ,gessi1 and   
his brother ,batistino del ,gessi1 an   
artist of rare talent1 commended by     
,baglione1 and much esteemed by         
,cortona1 in whose arms he breathed his 
last4 ,batistino was first a pupil of   
,domenichino1 as before mentioned2 and  
might more properly be named dello      
,zampieri than del ,gessi1 from his     
education and his style4 ,he accompanied

 ,gessi to ,naples1 and subsequently    
became his rival1 and surpassed him at  
,s4 ,barbaziano in ,bologna4 ,finally he
 fixed his residence at ,rome1 where    
remain some of his paintings in fresco1 
in the cloister of the ,minerva1 in the 
,cenci palace1 and elsewhere1 which shew
 in him the promise of a very           
distinguished artist2 but he did not    
survive his thirty-second year4  ,to    
,guido ,reni belongs ,ercole de ,maria1 
or da ,s4 ,giovanni1 called ,ercolino di
 ,guido4 ,so pliant was his genius to   
that of his master1 that when the latter
 had half completed a picture1 his pupil
 made a copy and substituted it for the 
original1 and ,guido continued the work1
 unsuspicious of the cheat1 as if it had
 been his own4 ,he willingly employed   
him1 therefore1 in multiplying his own  
designs1 two of which copies are yet    
seen in public1 extremely beautiful1    
though not displaying the same freedom  
as others which he conducted on private 
commission1 at a more advanced age4 ,in 

these there appears a decision and flow 
of pencil which imposed upon the best   
judges1 a talent that procured him      
admiration at ,rome1 with an honour     
received by no other copyist1 being     
created a ,cavalier by ,urban ,,viii42  
but this artist also died in the flower 
of his age4  ,another good copyist and  
master of ,guido's style appeared in    
,gio4 ,andrea ,sirani4 ,on his master's 
death he completed the great picture of 
,st4 ,bruno1 left unfinished at the     
,certosini1 with others throughout the  
city in the same state4 ,whether owing  
to ,guido's retouches1 or want of       
freedom1 ,sirani's earliest works bear  
much resemblance to that master's second
 manner1 more particularly his          
,crucifixion in the church of ,s4       
,marino1 which seems like a repetition  
of the ,s4 ,lorenzo in ,lucina1 or that 
in the ,modenese gallery1 in whose      
features death itself appears beautiful4
 ,in progress of time ,sirani is        
supposed to have aimed at the stronger  

style of ,guido in his early career1 and
 conducted in such taste are his        
pictures of the ,supper of the          
,pharisee1 at the ,certosa1 the         
,nuptials of the ,virgin1 at ,st4       
,giorgio1 in ,bologna1 and the ,twelve  
,crucifixions1 in the cathedral of      
,piacenza1 an extremely beautiful       
painting1 ascribed by some to           
,elisabetta ,sirani1 a daughter and     
pupil of ,gio4 ,andrea4  ,this lady     
adhered faithfully to ,guido's second   
manner1 to which she added powerful     
relief and effect4 ,she is nearly the   
sole individual of the family1 whose    
name occurs in collections out of       
,bologna4 ,anna and ,barbara1 her two   
sisters1 also artists1 as well as their 
father himself1 yield precedence to her 
single name4 ,how surprising that a     
young woman1 who survived not her       
twenty-sixth year1 should have produced 
the number of paintings enumerated by   
,malvasia1 still more that she should   
execute them with so much care and      

elegance2 but most of all1 that she     
could conduct them on a grand scale and 
in histories1 with none of that timidity
 so apparent in ,fontana1 and in other  
artists of her sex4 ,such is her picture
 of ,christ at the ,river ,jordan1      
painted for the ,certosa2 her ,st4      
,antony1 at ,s4 ,leonardo1 and many     
other altar-pieces in different cities4 
,in the subjects which she most         
frequently painted by commission1 she   
still improved on herself1 as we        
perceive in her ,magdalens and figures  
of the ,virgin and infant ,christ1 of   
which some of the most finished         
specimens are in the ,zampieri1         
,zambeccari1 and ,caprara palaces1 as   
well as in the ,corsini and ,bolognetti 
collections at ,rome4 ,there are also   
some small paintings of histories on    
copper1 extremely valuable1 from her    
hand1 as that of ,lot1 in possession of 
,count ,malvezzi1 or the ,st4 ,bastian1 
attended by ,s4 ,irene1 in the ,altieri 
palace2 the former at ,bologna1 the     

latter at ,rome4 ,i have also discovered
 some portraits1 no unfrequent          
commissions which she received from a   
number of sovereigns and innumerable    
distinguished personages throughout     
,europe4 ,of this class ,i saw a        
singularly beautiful specimen at ,milan1
 being her own likeness crowned by a    
young cherub4 ,it is in the possession  
of ,counsellor ,pagave4 ,elisabetta died
 by poison1 administered by one of her  
own maids1 and was bewailed in her      
native place with marks of public       
sorrow4 ,she was interred in the same   
vault which contained the ashes of      
,guido ,reni4 ,besides her two sisters1 
who imitated her in the art1 were many  
other ladies2 ,veronica ,franchi1       
,vincenzia ,fabri1 ,lucrezia            
,scarfaglia1 ,ginevra ,cantofoli2 of    
which last1 as well as of ,barbara      
,sirani1 there remain some fine         
pictures1 even in some churches of      
,bologna4#ce       ,footnote #ce3 ,see  
,crespi1 p4 #gd4  ,among the ,bolognese 

pupils of ,guido1 ,domenico ,maria      
,canuti obtained great celebrity4 ,he   
was employed by the ,padri ,olivetani1  
7an order the most distinguished for its
 patronage of first rate artists17 in   
several monasteries1 more particularly  
at ,rome1 ,padua1 and ,bologna1 whose   
library and church he decorated with    
numerous paintings4 ,one of these1 the  
,taking down from the ,cross by         
torch-light1 is greatly admired1 several
 copies of which are met with1 in       
general called the ,night of ,canuti2   
also a ,st4 ,michael1 painted in part   
within the arch1 and in part on the     
exterior1 is considered a rare triumph  
of the power of perspective4 ,his entire
 work in that library was afterwards    
described and printed by the ,manolessi4
 ,he left immense works also in two     
halls of the ,pepoli palace1 in the     
,colonna gallery at ,rome1 in the ducal 
palace at ,mantua1 and elsewhere1 being 
esteemed one of the best fresco painters
 of his time4 ,his fertility and        

vivacity please more than his colouring1
 while his individual figures are1      
perhaps1 more attractive than the       
general effect of the picture4 ,he was  
excellent too in oil1 and succeeded     
admirably in copying ,guido1 whose      
,magdalen of the ,barberini was taken so
 exactly1 that it appears the best among
 all the copies seen at ,s4 ,michele in 
,bosco4 ,canuti opened school at        
,bologna2 but his pupils1 during his    
tour to ,rome1 attached themselves      
chiefly to ,pasinelli1 in whose school1 
or in that of ,cignani1 they will be    
found included during the last epoch4   
,other of ,guido's scholars are         
indicated by ,malvasia1 among whom he   
highly extols ,michele ,sobleo1 or      
,desubleo1 from ,flanders1 though       
resident at ,bologna4 ,but he left      
little in public there1 and that is a   
mixture of ,guercino and of ,guido4     
,several churches at ,venice were       
decorated by his hand1 and the          
altar-piece at the ,carmelite friars1   

representing also various saints of that
 order1 is among his most celebrated    
works4 ,from the same country was       
,enrico ,fiammingo1 whom we must not    
confound with ,arrigo ,fiammingo1 an    
artist made known to us by ,baglione4   
,both fixed their abode in ,italy1 and  
the follower of ,guido1 formerly pupil  
to ,ribera1 painted some pictures at ,s4
 ,barbaziano in ,bologna1 that may      
compete with those of ,gessi1 were it   
not for the fleshes being of a darker   
tinge4 ,a few pictures by another       
foreigner are preserved at the          
,capuccini and elsewhere2 his name1     
,pietro ,lauri1 or rather ,de ,laurier1 
a ,frenchman1 whose crayons were        
frequently retouched by ,guido1 and     
whose oil pictures also shew traces of  
the same hand4 ,respecting another1     
whose name only remains1 it will be     
sufficient to mention an altar-piece of 
the ,magdalen1 placed in the oratory of 
,s4 ,carlo1 at ,volterra1 relating to   
which is a letter of ,guido to the ,cav4

 ,francesco ,incontri1 stating that he  
had retouched it1 particularly in the   
head2 but that1 with the aid of ,guido's
 design1 it was painted by the ,signor  
,camillo4 ,he is said to have been a    
member of that noble family1 of whom    
memorials have been preserved by his    
house4  ,returning to the ,bolognese    
artists1 ,gio4 ,maria ,tamburini will be
 found to hold a high rank1 the author  
of many fresco histories in the portico 
of the ,conventuals1 and of the         
,nunziata at the ,vita1 a very graceful 
painting drawn from his master's sketch4
 ,yet he was surpassed by ,gio4 ,batista
 ,bolognini1 by whose hand there is a   
,s4 ,ubaldo at ,s4 ,gio4 in ,monte1     
altogether in the style of ,guido4 ,this
 artist had a nephew and pupil in       
,giacomo ,bolognini1 who painted large  
pictures and capricci1 and is mentioned 
by ,zanotti and ,crespi4 ,bartolommeo   
,marescotti is hardly deserving notice2 
at ,s4 ,martino he appears only as a    
hasty imitator1 or rather a corrupter of

 the ,guido manner4 ,mentioned1 too1 by 
various writers1 is a ,sebastiano       
,brunetti1 a ,giuliano ,dinarelli1 a    
,lorenzo ,loli1 and in particular a     
,pietro ,gallinari1 on whom his master's
 predilection conferred also the name of
 ,pietro del ,sig4 ,guido4 ,his earliest
 pieces1 retouched by ,reni1 are held in
 high esteem1 and others which he       
produced for the court1 and in various  
churches at ,guastalla1 are valuable4   
,he was an artist of the noblest        
promise1 but cut off prematurely1 not   
without suspicion of poison4  ,many     
foreigners who acquired the art from    
,guido1 particularly at ,bologna1 were  
dispersed throughout various schools1   
according to the places where they      
resided2 such were ,boulanger1 ,cervi1  
,danedi1 ,ferrari1 ,ricchi1 and several 
more4 ,two artists who chiefly dwelt in 
,bologna and ,romagna in high esteem1 ,i
 have reserved for this place1 named    
,cagnacci and ,cantarini4 ,guido        
,cagnacci1 referred by ,orlandi to      

,castel ,durante1 though the            
,arcangelesi more properly claim him for
 their fellow-citizen1 was a rare       
exception to ,italian artists1 in having
 sought his fortunes in ,germany1 where 
he was highly deserving of the success  
he met with at the court of ,leopold ,i4
 ,what he has left in ,italy1 such as   
his ,st4 ,matthew and ,st4 ,teresa1 in  
two churches of ,rimini1 or the         
,beheading of ,st4 ,john1 in the        
,ercolani palace at ,bologna1 shew him  
to have been a diligent and correct1 as 
well as a refined artist1 in his        
master's latest style4 ,malvasia was of 
opinion that he carried the colour of   
his fleshes1 now rather faded1 somewhat 
too high2 to others it appeared that he 
drew the extremities too small in       
proportion to his figures2 while some   
have remarked a capricious degree of    
freedom1 shewn in sometimes representing
 his angels at a more advanced age than 
was customary4 ,all1 however1 must      
acknowledge ,guidesque beauties apparent

 in every picture1 added to a certain   
original air of nobility in his heads1  
and fine effect of his chiaroscuro4 ,his
 pictures for the most part were painted
 for the ornament of cabinets1 such as  
are seen in the ducal gallery at        
,modena1 and in private houses4 ,there  
is his ,lucretia in the ,casa ,isolani1 
and his magnificent ,david1 which is    
esteemed one of the noblest pieces1 in  
possession of the princes ,colonna2 two 
pictures abundantly repeated both in the
 ,bolognese and ,roman ,schools1 and of 
which1 indeed1 ,i have seen more copies 
than even of the celebrated ,david by   
,guido ,reni4  ,simone ,cantarini da    
,pesaro became an exact designer under  
,pandolfi1 greatly improved in the      
school of ,claudio ,ridolfi1 and by     
incessant study of the ,caracci         
engravings4 ,for colouring he studied   
the most eminent ,venetian artists1 and1
 more than all1 the works of ,barocci4  
,in one of his ,holy ,families he shews 
great resemblance to this last artist1 a

 picture preserved in ,casa ,olivieri1  
along with several others1 and some     
portraits1 of different taste1 but by   
the same hand4 ,this was caused by the  
arrival of the grand pictures by ,guido1
 of ,st4 ,thomas at ,pesaro1 and the    
,nunziata1 and the ,st4 ,peter1 in the  
adjacent city of ,fano1 after which he  
so wholly devoted himself to the new    
style1 as to induce him to emulate1 and1
 if possible1 to attempt to surpass that
 artist4 ,in the same chapel where      
,guido placed his picture of ,st4 ,peter
 receiving the ,keys1 ,simone displayed 
his miracle of the ,saint at the ,porta 
,speciosa1 where he so nearly resembled1
 as to appear ,guido himself2 and even  
in ,malvasia's time1 foreigners were    
unable to detect any difference of hand4
 ,it is certain he possessed much of    
that artist's more powerful manner1     
which is shewn in his principal picture2
 the heads very beautiful and varied1   
the composition natural2 fine play of   
light and shade1 except that the chief  

figure of his history is too much       
involved in the latter4 ,the better to  
approach his prototype1 ,simone         
proceeded to ,bologna1 and became       
,guido's disciple1 affecting at first   
much humility and deference1 while he   
artfully concealed the extent of his own
 skill4 ,then gradually developing it1  
he soon rose in high esteem1 no less    
with his master than the whole city1    
aided as he was by his singular talent  
for engraving4 ,shortly he grew so vain 
of his own ability1 as to presume to    
censure not only artists of mediocrity1 
but ,domenichino1 ,albano1 and even     
,guido4 ,to the copies made by the      
pupils from their master's pieces1 he   
gave bold retouches1 and occasionally   
corrected some inaccuracy in their      
model1 until at length he began to      
criticise ,guido openly1 and to provoke 
his resentment4 ,owing to such          
arrogance1 and to negligence in         
executing his commissions1 he fell in   
public esteem1 left ,bologna for some   

time1 and remained like a refugee at    
,rome4 ,here he studied from ,raffaello1
 and from the antique1 then returned and
 taught at ,bologna1 whence he passed   
into the ,duke of ,mantua's service4    
,still to whatever country he           
transferred his talents1 he was         
accompanied by the same malignant       
disposition2 a great boaster1 and a     
despiser of all other artists1 not even 
sparing ,giulio and ,raffaello1 insomuch
 that the works could not be so greatly 
esteemed as the man was detested4       
,incurring also the duke's displeasure1 
and not succeeding in his portrait1 his 
pride was so far mortified as to throw  
him ill1 and passing to ,verona1 he     
there died1 aged #cf1 in #afdh1 not     
without suspicion of having been        
poisoned1 no very rare occurrence with  
defamers like him4  ,baldinucci1        
supported by most of the dilettanti1    
extols him as another ,guido2 and       
assuredly he approaches nearer to him   
than to any other1 and with a decision  

which belonged to few imitators4 ,his   
ideas are not so noble1 but in the      
opinion of many they were even more     
graceful4 ,he is less learned1 but more 
accurate2 and may be pronounced the only
 artist who in the hands and feet very  
assiduously studied the manner of       
,lodovico4 ,he was extremely diligent in
 modelling for his own use1 and one of  
his heads in particular is commended1   
from which he drew those of his old men1
 which are extremely beautiful4 ,from   
the models1 too1 he derived his folds1  
though he never attained to the same    
majestic and broad sweep as ,guido and  
,tiarini1 a truth which he as candidly  
admitted4 ,in point of colouring he is  
varied and natural4 ,his greatest study 
was bestowed upon his fleshes1 in which1
 though friendly to the use of white    
lead1 he was content with moderate      
white1 avoiding what he called the      
cosmetics of ,domenichino and the shades
 of the ,caracci4 ,in his outlines and  
shadows1 dismissing the use of the lacca

 and terra d'ombra1#cf he introduced    
ultramarine and terra verde1 so much    
commended by ,guido4 ,he animated his   
fleshes with certain lights from place  
to place1 never contrasting them with   
vivid colours1 except in as far as he   
frequently studied to give them from    
depth of shadow1 that relief which      
serves to redouble their beauty4 ,if    
there was nothing decidedly bold in his 
painting1 yet he covered the whole with 
an ashy tone1 such as ,guido applied in 
his ,st4 ,thomas1 and which became so   
perfectly familiar to ,cantarini as to  
acquire for him from ,albani the surname
 of pittor cenerino4 ,spite of this     
opinion1 however1 he is considered by   
,malvasia as the most graceful          
colourist1 and he adds1 the most correct
 designer of his age4 ,his most         
beautiful pictures that ,i have seen1 in
 which his heads of saints are always   
conspicuous for beauty and expression1  
are the ,st4 ,antony1 at the            
,franciscans di ,cagli2 the ,st4 ,james1

 in the church of that name in ,rimini2 
the ,magdalen1 at the ,filippini of     
,pesaro2 and1 in the same city1 his ,st4
 ,dominick1 at the ,predicatori2 in     
whose convent are also two ,evangelists1
 half-size figures1 animated to the     
life4 ,there is also a ,s4 ,romualdo1 in
 possession of the noble ,paolucci1 a   
figure that seems to start from the     
canvass1 and at the ,casa ,mosca1       
besides various other works1 is a       
portrait of a young nun that rivets     
every beholder4 ,many of his ,holy      
,families also are to be seen in        
,bologna1 in ,pesaro1 and at ,rome2 nor 
are his heads of ,st4 ,john very rare1  
any more than his half-figures1 or heads
 of apostles1 a specimen of which is to 
be seen in the ,pitti palace4           
,footnote #cf3 ,lacca1 a dark red2 terra
 d'ombra1 umber4  ,simon ,cantarini     
educated a few of his fellow-citizens to
 the art4 ,one of these was ,gio4 ,maria
 ,luffoli1 many of whose paintings1     
which display the school1 are to be met 

with in his native place1 particularly  
at ,s4 ,giuseppe and at ,s4 ,antonio    
,abate4 ,gio4 ,venanzi 7or ,francesco7  
had been already instructed by ,guido1  
when he entered the school of           
,cantarini1 though he resembles neither 
of these masters so nearly as he does   
the ,gennari4 ,when we inspect the two  
beautiful histories of ,st4 ,antony1 in 
the church of that name1 we might       
pronounce him their disciple4 ,an       
ancient ,,ms4 of ,pesaro1 edited along  
with the pictures of the city1#cg places
 him at the court of ,parma1 most       
probably for the purpose of decorating  
the palace1 there being nothing from his
 hand in the churches4 ,in the same     
,,ms4 mention is made of ,domenico      
,peruzzini1 as born at ,pesaro1 and the 
pupil of ,pandolfi4 ,in ,orlando's      
,lexicon and other books there is       
frequent mention made of one ,cav4      
,giovanni1 and he is given out as       
belonging to ,ancona1 and a disciple of 
,simone4 ,the ,pesarese ,guide1 in which

 the very diligent ,can4 ,lazzarini     
indisputably took part1 informs us that 
these artists were brothers1 both born  
at ,pesaro1 and that they transferred   
their services to ,ancona1 their adopted
 country1 7p4 #fe74 ,from the dilettanti
 of ,ancona ,i could gather tidings of  
only one ,peruzzini2 and ,i doubt       
whether his being named ,domenico by the
 author of the ,,ms4 may not have arisen
 from mistake1 as he proceeds to relate 
matters chiefly appertaining to         
,giovanni4 ,however this be1 there is a 
picture of ,s4 ,teresa by ,peruzzini at 
the ,carmelite ,friars in ,ancona1      
bearing some traces of ,baroccio's      
manner4 ,that of the ,beheading of ,st4 
,john1 at the hospital1 is extremely    
beautiful2 and here he appears rather a 
disciple of the ,bolognese4 ,he seems to
 have displayed a similar character     
elsewhere2 it being known that this     
artist1 after forming a style           
participating of those of the ,caracci1 
of ,guido1 and of ,pesarese1 took to a  

wandering life1 and painted in various  
theatres and churches1 if not with much 
study1 with tolerable correctness1 a    
knowledge of perspective1 in which he   
was excellent1 and with a certain       
facility1 grace1 and spirit1 which      
delight the eye4 ,his paintings are     
dispersed through various places in the 
,picenum1 even as far as ,ascoli on the 
confines1 where are a number of works by
 his hand4 ,there are some at ,rome and 
at ,bologna1 where he painted in the    
cloister of the ,servi a lunette1#ch    
very fairly executed within twenty-four 
hours2 at ,turin1 where he was made a   
cavalier2 and in ,milan1 where he died4 
,at ,rome are some specimens too from   
the hand of his son and pupil1 ,paolo1  
entitled in the aforesaid ,,ms4 a good  
and decided painter4       ,footnote    
#cg3 ,see p4 #ge4 ,this ,,ms4 is said to
 have been drawn      up previous to    
#afhj4 ,i believe it must be somewhere  
about      #afgj1 ,venanzi being therein
 described as still young4      ,notices

 of the artists of ,pesaro and ,urbino1 
collected by      ,giuseppe ,montani1 a 
good landscape-painter1 who flourished  
some time at ,venice1 are now lost4 7,of
 him1 see ,malvasia1      vol4 ii4 p4   
#ddg47 ,i have recently read a letter   
from ,sig4      ,annibale ,olivieri to  
the ,prince ,ercolani1 in which1        
computing the age of ,venanzi1 he is    
unable to make him out a      pupil of  
,cantarini2 from which it would appear  
that he was      ignorant of the date of
 ,venanzi's birth1 which was about      
#afbh4 ,i admit that he could not have  
been long instructed by      him1 nor by
 ,guido1 and am more than ever confirmed
 in my      conjecture that he was pupil
 to ,gennari4       ,footnote #ch3      
,lunetta1 an architectural term2 meaning
 that      semicircular space1 or any   
other portion of a circle1 placed       
in the walls between the different      
supports of ceilings4  ,an undoubted    
scholar of ,simone was ,flamminio       
,torre1 called dagli ,ancinelli1 who    

came from the studio of ,cavedone and   
,guido4 ,his chief talent consisted in  
an easy perfect imitation of every      
style1 which brought him as high a price
 for his copies as was given for the    
originals of eminent artists1 sometimes 
even more4 ,though not learned in the   
theory of the art1 by his practical     
ability he acquired the manner of       
,cantarini1 dismissing1 however1 his    
ashy colour1 and often turning to the   
imitation of ,guido4 ,he was            
court-painter at ,modena2 and at        
,bologna in particular are preserved    
both scriptural and profane histories1  
displaying very pleasing figures as     
large as ,poussin1 or on the same scale4
 ,some ,i saw in possession of ,monsig4 
,bonfigliuoli1 others in the collection 
of the librarian ,magnani2 and some     
still more firm1 and in the best style  
of colouring1 in the ,ratta palace4 ,yet
 we rarely meet with them uninjured by  
the use of rock oil1 which he carried to
 excess2 and his church paintings1 such 

as a ,depositing from the ,cross at ,s4 
,giorgio1 as they have been least       
attended to1 have suffered the most4 ,on
 the death of ,simone1 as his first     
pupil1 he succeeded to his magisterial  
office1 and promoted the progress of the
 scholars whom he left4 ,girolamo ,rossi
 succeeded better in engraving than in  
painting4 ,lorenzo ,pasinelli became an 
excellent master1 but of a different    
style1 as we shall see in another epoch4
 ,the most eminent among ,torre's       
disciples was ,giulio ,cesare ,milani1  
rather admired in the churches of       
,bologna1 and extolled in many adjacent 
states4 ,but it is now time to turn our 
attention from ,guido and his disciples 
to ,guercino1 which will afford the same
 pleasure1 ,i trust1 to my readers1 as  
the dilettanti enjoy1 in beholding two  
styles1 so strikingly opposed1          
immediately contrasted4 ,in a similar   
manner1 to adduce an instance taken from
 the ,spada ,gallery1 it yields delight 
to turn our eye from ,guido's ,rape of  

,helen to the funeral pyre of ,dido1    
painted by ,guercino1 and placed        
directly opposite4  ,gio4 ,francesco    
,barbieri1 surnamed ,guercino da ,cento1
 would1 to speak with precision1 be     
better ranked among the artists of      
,ferrara1 to which city ,cento is       
subject2 but we must observe the almost 
universal custom of including him among 
the ,caracci's disciples4 ,this has     
arisen either from a tradition that his 
genius at an early age received some    
bias towards design from the ,caracci1  
which but ill accords with the epoch of 
his age1 or from the circumstance of his
 having taken one of ,lodovico's        
pictures for a model1 which is slight   
ground enough for attaching him to the  
school4 ,moreover1 he never frequented  
the ,caracci's academy2 but1 after      
staying a short time with ,cremonini1   
his fellow-countryman1 at ,bologna1 he  
returned to ,cento1 and there resided   
with ,benedetto ,gennari the elder1     
first as his pupil1 next his colleague1 

and lastly his kinsman4 ,some too would 
contend that one among the masters of   
,gio4 ,francesco was ,gio4 ,batista     
,gennari1 who in #afjf painted for ,s4  
,biagio1 in ,bologna1 a ,madonna among  
various saints1 in a style resembling   
,procaccini4 ,and indeed the ,paradise1 
at ,s4 ,spirito in ,cento1 and an       
altar-piece at the ,capuccini1 with     
other early works by ,guercino1 partake 
of the old style4 ,subsequently he      
studied1 along with ,benedetto1 to find 
by experiment what constituted grand    
effect in the art1 in which taste ,i    
cannot distinguish1 with the generality 
of dilettanti and writers1 two manners  
only2 he having openly professed three1 
as we learn from ,sig4 ,righetti1 in his
 ,description of the paintings of       
,cento4  ,of these the first is the     
least known1 consisting of abundance of 
strong shades1 with sufficiently        
animated lights1 less studied in the    
features and in the extremities1 with   
fleshes inclining to the yellow2 in the 

rest less attractive in point of        
colouring2 a manner distantly resembling
 that of ,caravaggio1 in which kind are 
to be found several specimens both at   
,cento and in ,s4 ,guglielmo a' ministri
 degl',infermi at ,bologna4 ,from this  
he passed to his second manner1 which is
 by far the most pleasing and valuable4 
,he continued to improve it during      
several years1 with the aid of other    
schools2 in this interval often visiting
 ,bologna1 residing for some time at    
,venice1 and remaining many years at    
,rome along with the most eminent       
followers of ,caracci1 and entering into
 terms of friendship with ,caravaggio4  
,his taste is mainly founded on the     
style of this last master2 displaying   
strong contrast of light and shadow2    
both exceedingly bold1 yet mingled with 
much sweetness and harmony1 and with    
powerful art of relief1 a branch so     
greatly admired by professors4#ci ,hence
 some foreigners have bestowed on him   
the title of the magician of ,italian   

painting2 for in him were renewed those 
celebrated illusions of antiquity1 such 
as that of the boy who stretched forth  
his hand to snatch the painted fruit4   
,from ,caravaggio too he borrowed the   
custom of obscuring his outlines1 and   
availed himself of it for despatch4 ,he 
also imitated his half-sized figures    
upon one ground1 and for the most part  
composed his historical pictures in this
 method4 ,yet he studied to become more 
correct in point of design1 and more    
select than ,caravaggio2 not that he    
ever attained peculiar elegance or      
peculiar dignity of features1 though    
most frequently he drew his heads1 like 
a sound observer of nature1 with        
graceful turns1 easy natural attitudes1 
and a colouring1 which if not the most  
delicate1 is at least the most sound and
 most juicy4 ,often in comparing the    
figures of ,guido with ,guercino's1 one 
would say that the former had been fed  
with roses1 as observed by one of the   
ancients1 and the latter with flesh4    

,how far he excelled as a colourist in  
his draperies1 formed in the taste of   
the best ,venetians1 in his landscape1  
and in his accessories1 will            
sufficiently appear on beholding his ,s4
 ,petronilla in the ,quirinal1 or his   
picture of ,christ risen from the ,dead1
 at ,cento1#dj or his ,st4 ,helen1 at   
the ,mendicants in ,venice2 excellent   
specimens of his second manner4 ,to the 
same belong in general all that he left 
at ,rome1 even his greater works1 such  
as the ,s4 ,gio4 ,grisogono in the      
soffitto of that church1 or the ,aurora1
 adorning the villa ,lodovisi4 ,yet he  
surpassed even these1 to the surprise of
 all1 in the cupola of the ,piacenza    
cathedral2 and in the same city he      
appears to have competed with           
,pordenone1 and in point of vigour of   
style to have gone beyond him4          
,footnote #ci3 ,to me it seems that     
painting ought to be      considered    
excellent1 the more it inclines towards 
relief4      ,bonarruoti1 ,letter to    

,varchi1 inserted among the ,lettere    
,pittoriche1 vol4 i4 p4 #g4             
,footnote #dj3 ,there is a description  
of this painting      contained in a    
letter of ,algarotti1 addressed to the  
learned      ,zanotti1 dated ,sept4     
#agfj1 in which1 though in other works  
he observes ,guercino to have excelled  
more in colouring than      in design1  
yet respecting this specimen he         
declares1 that      ,pesarese himself   
would here have detected little or      
nothing      to which to object4 ,the   
folds1 especially those of a cloth      
wrapped round the body of ,christ1 are  
admirable4 ,the force      and sweetness
 of his tints are equal to the bold     
relief of      the picture1 and the     
passion with which it is conducted4444  
,i never beheld two figures better set  
off in one picture1      nor did ever   
,guercino's close light and shade so    
well unite      perhaps in effect as    
here2 whilst the figures are pourtrayed 
within an apartment1 in which that kind 

of light which      affords such strong 
relief to objects1 is represented with  
an admirable degree of truth4  ,some    
years having elapsed1 after his return  
from ,rome to ,cento1 he began to       
emulate ,guido1 perceiving that his     
sweetness of manner obtained such       
distinguished applause4 ,by degrees he  
softened down that power of hand just   
noticed1 and painted more open and      
vividly4 ,he added somewhat more        
attraction and variety to his heads1 and
 a certain study of expression1 almost  
indescribable1 which is surprising in   
some of his pictures of this period4    
,some have assigned such a change of    
manner to the time of ,guido's decease1 
when ,guercino1 perceiving that he could
 take the lead at ,bologna1 left ,cento1
 in order to fix his residence in that  
great city4 ,but several pictures which 
he had conducted in his third manner1   
previous to ,reni's death1 fully confute
 such an opinion4 ,on the contrary1 it  
was rumoured that ,guido remarked this  

change1 which he construed into         
commendation of himself1 declaring that 
he had avoided ,guercino's style as much
 as possible1 whilst the latter         
approached as nearly as he could to     
,guido's4 ,in this taste1 though        
partaking of the preceding1 is the      
,circumcision of ,jesus1 placed in the  
church of ,gesu e ,maria1 in which the  
study of architecture and drapery vies  
with that of the figures2 and it is     
difficult to decide whether these most  
please by their form1 or by their       
expression4 ,we might add the ,nuptials 
of the ,virgin1 at ,s4 ,paterniano in   
,fano1 the ,s4 ,palazia in ,ancona1 the 
,nunziata at ,forli1 the ,prodigal ,son 
in the royal palace at ,turin1 a history
 piece of entire figures1 which is met  
with in half figures in many galleries4 
,however attractive this last manner may
 be found1 skilled judges would have    
wished ,guercino not to have swerved    
from the vigour of the second1 to which 
his genius was moulded1 and in which he 

shone unrivalled and unique4  ,the      
frequency of his commissions            
contributed1 perhaps1 to put him upon a 
more easy method1 no less than his own  
incredible genius for execution and     
despatch4 ,he produced a hundred and six
 altar-pieces1 and a hundred and        
forty-four large pictures for princes   
and other persons of distinction1       
without including numbers of others     
painted for private persons1 ,madonnas1 
portraits1 half-length figures1 and     
landscapes1 in which the rapidity of    
execution is highly original4 ,hence he 
is by no means rare in collections4 ,the
 noble ,zolli family at ,rimino         
possesses about twenty of his pieces1   
,count ,lecchi at ,brescia also a great 
number2 all perfect and polished        
according to his manner4 ,among these is
 a portrait of a friar of the           
,osservanti1 his father confessor1 quite
 a miracle of art4  ,guercino's school  
greatly flourished at ,cento1 in        
,bologna not so much1 owing to his own  

choice of having his two nephews the    
,gennari1 and a few other intimate      
friends with him1 which led him to      
exclude strangers in some degree from   
his studio4 ,few ,bolognese artists1    
therefore1 belong to this master2 such  
as ,giulio ,coralli1 whom ,orlandi1 a   
contemporary writer1 gives as pupil to  
,guercino at ,bologna1 and of ,cairo at 
,milan1 and who1 ,crespi adds1 was much 
employed at ,parma1 at ,piacenza1 and at
 ,mantua4 ,he was a better              
portrait-painter1 if ,i mistake not1    
than a composer4 ,fulgenzio ,mondini was
 an artist of more merit2 he painted two
 fresco histories in the church of ,s4  
,petronio at ,bologna1 relating to the  
,paduan saint4 ,he died young at        
,florence1 where1 after having painted  
some time for the court1 he was employed
 by the ,marchesi ,capponi to decorate  
their villa of ,colonnata1 and his      
memory has been honoured with a long    
eulogy by ,malvasia4 ,the latter        
declares that he knew none gifted with  

qualities that promised so much in that 
age1 and conjectures that had he        
survived he would have become the first 
fresco painter of his age4  ,the two    
young ,gennari were sons of ,gio4       
,francesco's sister1 and of ,ercole1 son
 of ,benedetto ,gennari4 ,respecting    
,ercole1 it is stated that no more exact
 copyist of the works of ,guercino was  
to be met with4 ,his sons1 ,benedetto   
and ,cesare1 likewise distinguished     
themselves in copying the original      
compositions of their uncle1 and the    
numerous repetitions of ,guercino's     
sibyls1 of his pictures of ,st4 ,john1  
of his ,herodiads1 and similar pieces1  
are ascribed more particularly to them4 
,they may all be recognized1 however1 by
 a more feeble tone in their tints2 and 
,i once saw in the ,ercolani palace a   
,bathsheba of ,guercino1 along with a   
copy by one of the ,gennari4 ,the former
 appeared as if newly painted at the    
time1 the latter as if many years       
previously1 such was its inferiority in 

strength of hand4 ,the two brothers were
 employed in ,cento1 in ,bologna1 and in
 other cities of ,italy2 while          
,benedetto1 the ablest of them1 was     
engaged also in ,england1 as            
court-painter under two reigns4 ,both   
would seem to have inherited the style  
along with the fortune of ,gio4         
,francesco1 and1 ,i may also add1 his   
studies2 because in the manner of       
sectaries1 they made repeated copies of 
the heads of his old men1 women1 and    
boys1 which he himself was in the habit 
of repeating on his canvass too         
frequently4 ,there is a ,s4 ,leopardo by
 ,benedetto in the cathedral at ,osimo1 
and a ,s4 ,zaccaria at the ,filippini in
 ,forli1 which might have been mistaken 
for the uncle's1 had the nephew         
displayed somewhat more strength and    
power of relief4 ,in the same way       
,cesare1 in a ,mary ,magdalen of the    
,pazzi1 at ,s4 ,martino in ,bologna1 and
 in other pieces1 has succeeded in      
giving the features better than the     

spirit of ,barbieri4 ,it ought to be    
observed that ,cesare preserved his     
first manner to the close of his life1  
and that he was assiduous in teaching at
 ,bologna1 where his school was         
frequented also by foreigners1 among    
whom ,simon ,gionima distinguished      
himself as a follower of ,guercino1 and 
was well received at ,vienna4 ,benedetto
 subsequently formed for himself a style
 in ,england1 both more polished and    
careful1 and exemplified it more        
particularly in his portraits1 which he 
conducted there for ,charles ,,ii4 and  
the royal family4 ,on the expulsion of  
that family he returned to ,italy1      
almost transformed into a ,dutch or     
,flemish painter1 such was the truth    
with which he imitated velvets1 lawns1  
lace1 gems1 and other ornaments in gold1
 indeed all that can enrich a portrait1 
besides drawing it extremely like1 and  
artfully freed from any blemishes in the
 original4 ,by means of this taste1 new 
in ,italy1 ,benedetto obtained much     

applause and much employment in         
portrait1 both from princes and         
individuals4 ,we may here add a         
,bartolommeo ,gennari1 brother to       
,ercole1 who resembles ,guercino less   
than any of the three preceding1 though 
extremely natural and spirited4 ,he has 
a picture of ,st4 ,thomas at the        
,rosario di ,cento1 in the act of       
putting his hand to our ,saviour's side1
 and the admiration both of him and the 
other apostles is very finely expressed4
 ,the pupil1 and probably the relation  
of ,guercino1 was one ,lorenzo ,gennari 
di ,rimini1 at which place is one of his
 pictures at the ,capuccini1 very fairly
 executed4  ,francesco ,nagli1 surnamed1
 from his country1 ,centino1 was much   
employed at the ,angeli and in other    
churches at ,rimini4 ,he was an         
excellent imitator of ,barbieri1 in     
point of colouring and chiaroscuro2 in  
the rest somewhat dry in design1 cold in
 his attitudes1 and no way novel in his 
ideas4 ,to the same district belonged   

,stefano ,ficatelli1 a painter of good  
invention1 who decorated several        
churches of ,ferrara2 but more          
especially an excellent copyist of      
,guercino1 not inferior in this respect 
to ,francesco ,bassi1 of ,bologna1 so   
highly commended by ,crespi4 ,among     
,guercino's copyists1 ,gio4 ,francesco  
,mutii1 or ,mucci1 of ,cento1 son of a  
sister of ,guercino1 distinguished also 
as an engraver1 held a high rank4       
,stefano ,provenzali1 likewise from     
,cento1 and a pupil of ,barbieri1       
applied his talents to battle-pieces1   
much extolled by ,crespi1 from whose    
,,mss4 ,i have borrowed several of my   
notices of the ,centese artists4  ,two  
of these1 followers of ,guercino1 are   
mentioned by ,malvasia4 ,they are       
,cristoforo ,serra1 a faithful and      
excellent imitator of ,gio4 ,francesco1 
and preceptor of ,cristoforo ,savolini1 
who has a fine picture of the saint at  
,s4 ,colomba in ,rimini2 and ,cesare    
,pronti1 an ,augustine1 born at ,rimini1

 if we give credit to the author of its 
city guide1 and called da ,ravenna1 on  
account of his long residence at that   
place4 ,both the above cities exhibit   
his altar-pieces1 much extolled1 and    
some chiaroscuri happily enough         
disposed2 in particular those histories 
of ,st4 ,jerome painted in the          
,confraternity of his name at ,rimini1  
with abundant grace and spirit4 ,in     
,pesaro1 also1 he exhibited in the      
church of his order a ,st4 ,thomas da   
,villanova1 with beautiful specimens of 
architecture1 and in a more original    
taste than the two ,gennari4 ,the life  
of this able ecclesiastic has been      
written by ,pascoli1 who knew him1      
insomuch that we may give him credit    
when he declares that he was born at the
 ,cattolica1 of the family of the       
,baciocchi1 afterwards assuming the name
 of ,pronti1 the maiden name of his     
mother4 ,he gives other anecdotes of    
him2 and what is more interesting is the
 account of his first passion for the   

art1 on contemplating1 when a boy1 a    
collection of fine pictures in a shop at
 the fair of ,sinigaglia4 ,he gazed upon
 them during several hours1 unmindful of
 his meals1 and of his parents1 who were
 in search of him through the city1 and 
who on finding him could with difficulty
 tear him from the spot4 ,they were     
unable1 however1 to destroy the fixed   
determination of his soul to become a   
painter2 the impression was indelible1  
and he set out for ,bologna4 ,there he  
first entered the school of ,barbieri2  
and afterwards1 as we have already      
remarked1 the cloister4 ,respecting     
different scholars of ,guercino1 such as
 were ,preti1 ,ghezzi1 and ,triva1 it is
 unnecessary here to repeat what has    
already been stated in several other    
schools4  ,gio4 ,lanfranco1 one of those
 distinguished disciples of the ,caracci
 who followed ,annibal to ,rome1 was    
born at ,parma4 ,he was early employed  
by the ,conti ,scotti in ,piacenza1     
where1 for mere pastime1 drawing some   

figures in charcoal upon a wall1 his    
rare genius shone forth1 and was        
assigned to the cultivation of ,agostino
 ,caracci4 ,frequent mention of him is  
made in the course of this work4 ,at    
,parma the reader finds him a pupil to  
,agostino1 and on his death under the   
care of ,lodovico1 after which he       
pursued his studies under ,annibal at   
,rome4 ,both there and in ,naples we    
have seen him celebrated as a professor 
and preceptor in both schools4 ,the     
character of his genius was sought1     
conceitedly perhaps1 but still with     
truth1 by ,bellori1 in his name2 and    
doubtless it would be difficult to find 
an artist more bold and striking1 alike 
in conception and in execution4 ,he had 
formed a peculiar manner1 which both in 
design and expression partakes of the   
,caracci's1 while the composition is    
drawn from ,coreggio4 ,it is a manner at
 once easy1 and elevated by the dignity 
of the countenances and actions1 by the 
ample and well disposed masses of light 

and shade1 by the nobleness of the      
drapery and its imposing folds1 broad   
and wholly novel in the art4 ,for this  
precise reason its grandeur is without  
that last finish which adds to the worth
 of other artists1 but would in him     
diminish it4 ,in such a style he was    
enabled to be less exact without        
displeasing us1 possessing so many      
admirable qualities1 rare conceptions1  
colours wonderfully harmonized1 if not  
animated2 very beautiful foreshortening2
 contrasts of parts and figures1 which  
have served as models1 as is observed by
 ,mengs1 for the tasteful style of the  
moderns4  ,he adopted this style in a   
number of pictures for private ornament1
 both for the ,dukes ,farnesi1 in whose 
palace at ,rome he first began to paint1
 and for other noblemen4 ,his           
,polyphemus1 conducted for the ,casa    
,borghese in that city1 is highly       
extolled1 as well as his scriptural     
histories at ,s4 ,callisto4 ,there are  
many pictures also from his hand2 his   

,st4 ,andrea ,avellino at ,rome1        
enriched with splendid architecture1    
boasts singular merit2 his ,dead ,christ
 at ,foligno1 with the ,padre ,eterno1 a
 figure1 which though in human form1    
nevertheless impresses us with grand    
ideas of the ,divine ,being2 the        
,transit of our ,lady1 in ,macerata2 the
 ,s4 ,rocco1 and the ,s4 ,corrado1 in   
,piacenza2 perhaps the most finished    
among ,lanfranco's productions1 and     
deservedly the most celebrated4 ,but he 
exhibited this style still more fully in
 cupolas and other scenes on a grand    
scale1 according to ,coreggio's example4
 ,when young1 he executed a small       
coloured model of the cupola of the     
cathedral at ,parma1 emulating his whole
 style1 in particular that grace of     
motion1 of all by far the most          
difficult4 ,he imitated it too at ,s4   
,andrea della ,valle at ,rome1 and in   
his picture availed himself of the      
example afforded by ,michelangiolo in   
architecture1 when unable to execute a  

more beautiful cupola than              
,brunelleschi's1 and desirous of        
differing from it1 he worked from a new 
design1 and succeeded to admiration4    
,this production forms an epoch in the  
art1 inasmuch as he was the first1 says 
,passeri1 to irradiate the opening of a 
celestial glory with a splendour of     
light1 of which there was formerly seen 
no example4 444 ,lanfranco's cupola     
remains a solitary specimen in the way  
of glories2 because1 in respect to its  
celestial idea1 in the opinion of the   
most dispassionate judges1 he has       
attained the highest degree1 as well in 
the harmony of the whole1 its chief     
object1 as in the distribution of the   
colours1 in the parts1 and in force of  
chiaroscuro1 c4 ,nor was this1 on which 
he spent four years1 the sole example he
 left of a fecundity of idea and rare   
elevation of mind1 of which we meet with
 no account in any other artist1 even   
among the ancient painters4 ,add to     
this1 the cupolas at the ,gesu1 and at  

the ,tesoro of ,s4 ,gennaro at ,naples1 
where he succeeded ,domenichino1 with   
various tribunes and chapels in ,rome   
and ,naples1 adorned with equal majesty1
 and which have given to ,lower ,italy  
the most genuine examples in this kind1 
of which the art can boast4 ,from him it
 was that the ,machinists acquired the  
power of gratifying the eye at larger   
distances1 painting only in part1 and in
 part leaving the work1 as he was       
accustomed to express it1 for the air to
 paint4 ,in the two schools             
above-mentioned we have embraced his    
best disciples3 to the ,bolognese he    
gave no pupils1 as far as ,i learn1 any 
more than to ,romagna and its           
dependencies2 if we except ,gio4        
,francesco ,mengucci1 of ,pesaro1 who   
assisted him in the cupola of ,st4      
,andrea2 a painter1 ,i believe1 for     
collections1 who has been much extolled 
by ,malvasia4  ,next to the five heads  
of schools hitherto recorded1 ought to  
be mentioned ,sisto ,badalocchi2 and the

 more as he was ,annibal's disciple1 and
 long resided with him at ,rome4 ,he was
 fellow citizen1 and a faithful         
companion too of ,lanfranco1 whose style
 he approached very nearly4 ,sisto      
designed admirably1 being preferred by  
,annibal in this branch to any of his   
fellow pupils1 and even1 with singular  
modesty1 to himself4 ,ample testimony of
 his ability is proclaimed in the       
engravings of ,raffaello's loggie1      
executed in conjunction with ,lanfranco1
 and dedicated to ,annibal2 besides the 
six prints of ,coreggio's grand cupola1 
a work which1 to the public regret1 was 
left incomplete4 ,he was also selected  
by his master to decorate the chapel of 
,s4 ,diego1 where he directed him to    
paint from one of his cartoons a history
 of that saint4 ,in point of invention  
he was not equal to the leaders of his  
school2 so that1 employed in filling up 
the secondary parts1 he assisted ,guido 
and ,domenichino at ,s4 ,gregorio2 and  
attended ,albani at the ,verospi palace2

 although his picture of ,galatea left  
there is worthy of the hand of a great  
master4 ,he appears to advantage in     
competition1 and mostly excels1 as we   
may gather from the church of ,st4      
,sebastian at ,rome1 where he painted   
along with ,tacconi2 and at ,reggio1    
where he rivalled some of the less      
distinguished artists of ,bologna4      
,besides his other works1 that city has 
to boast the rich cupola of ,s4         
,giovanni1 on which ,sisto conducted a  
small1 but very beautiful copy of that  
in the cathedral at ,parma4 ,other of   
his specimens are to be met with in the 
,modenese state1 particularly in the    
ducal palace at ,gualtieri1 where he    
represented in one chamber the ,trials  
of ,hercules4 ,of his pictures at ,parma
 the most celebrated is that of ,st4    
,francis1 at the ,cappuccini2 a         
painting1 both in point of figures and  
landscape1 composed in the best taste of
 the ,caracci4 ,for the rest1 we may add
 what has been said of ,lanfranco1 that 

he most frequently executed much less   
than he knew4  ,so far we have treated  
of the followers of the ,caracci        
employed at ,rome2 and these in general1
 judging from their style1 shewed more  
deference to ,annibal than any other of 
the family4 ,many others remained at    
,bologna1 who either never visited      
,rome1 or produced nothing there worthy 
of consideration4 ,these were chiefly   
attached to ,lodovico1 in whose studio  
they had been educated1 with the        
exception of ,alessandro ,tiarini1 who  
sprung from another school1 though he   
benefited by his advice and example1 as 
much as if ,lodovico had really been his
 master4 ,but he was pupil to ,fontana1 
subsequently of ,cesi1 and finally also 
of ,passignano at ,florence4 ,he had    
fled thither from his native place on   
account of a quarrel2 and after a lapse 
of seven years1 through the intervention
 of ,lodovico1 he was enabled to return 
to ,bologna1 leaving at ,florence and   
some places in the state a few paintings

 in his first easy style1 resembling    
,passignano's4 ,in such style he        
conducted his ,s4 ,barbara1 at ,s4      
,petronio1 a work which failed to please
 the ,bolognese public4 ,to give it     
greater attractions1 he next proceeded  
to copy from1 and to consult ,lodovico1 
not in order to attain his manner1 but  
with the view of improving his own4     
,this task was short to a man of genius1
 well grounded in the theory of his art1
 and perhaps more philosophical than any
 other artist of ,bologna4 ,he soon     
became a different painter1 and in his  
novel taste of composing1 of            
distributing his lights and expressing  
the passions1 he shone like a disciple  
of the ,caracci4 ,nevertheless he       
preserved a character distinct from the 
rest1 grounded upon his naturally severe
 and melancholy disposition4 ,all in him
 is serious and moderate2 the air of his
 figures1 his attitudes1 his drapery1   
varied with few1 but noble folds1 such  
as to excite the admiration of ,guido   

himself4 ,he avoids1 moreover1 very gay 
and animated colours1 chiefly contenting
 himself with light violets or yellows1 
and tawny colours1 tempered with a      
little red2 but so admirably laid on and
 harmonized1 as to produce the finest   
feeling of repose to enchant the eye4   
,his subjects1 too1 are well adapted to 
his taste1 as he generally selected1    
when he could1 such as were of a        
pathetic and sorrowful cast4 ,for this  
reason his ,magdalens1 his ,s4 ,peters1 
and his ,madonnas in grief--one of      
which1 presented to the ,duke of        
,mantua1 drew tears from his eyes--are  
held in high esteem4  ,subsequently he  
became expert in foreshortening1 and all
 the intricacies of the art1 more       
particularly in point of invention4     
,there is scarcely one of his works to  
be met with1 that does not exhibit a    
certain air of novelty and originality  
of idea4 ,on occasion of representing   
the ,virgin in grief1 in the church of  
,s4 ,benedict1 he drew her seated       

together with ,st4 ,john and the        
,magdalen2 the one upright1 the other   
kneeling1 in the act of contemplating   
the ,redeemer's crown of thorns4 ,other 
incidents of his passion also are       
alluded to2 all are silent indeed1 but  
every eye and attitude is eloquent in   
its silence4 ,obtaining a commission for
 an altar-piece in ,s4 ,maria ,maggiore1
 to represent ,st4 ,john and ,st4       
,jerome1 he shunned the trite expression
 of drawing them in a glory2 but he     
feigned an apparition1 through which the
 holy doctor1 while intent at his       
studies1 appears to receive from the    
beatified evangelist lectures in        
theology4 ,his most distinguished       
production1 however1 is at ,s4          
,domenico1 the saint seen raising a man 
from the dead2 a picture abounding with 
figures varied in point of feature1     
attitude1 and dress2 every thing highly 
select4 ,lodovico expressed his         
astonishment at it1 and declared that he
 knew of no master then to compare with 

,tiarini4 ,it is true that1 in this     
instance1 having to compete with ,spada1
 he raised his tone of colouring1 and   
shunned every common form2 two          
precautions which1 had he introduced    
into every work1 would have left him    
perhaps second to none of the           
,bolognese4 ,he survived until his      
ninetieth year1 and during a long period
 dwelt at ,reggio1 whence he had often  
occasion to proceed to other cities of  
,lombardy1 which preserve many of his   
altar-pieces1 and cabinet pictures4 ,the
 ,modenese gallery abounds with them1   
his ,st4 ,peter being more particularly 
extolled1 seen struck with remorse as he
 stands outside the praetorium4 ,the    
architecture1 the depth of night lighted
 up with torches1 ,christ's judgment    
beheld in the distance1 all conspire to 
raise the tragic interest of the scene4 
,he was employed also by the ,duke of   
,parma1 for whose garden he painted some
 incidents from the ,jerusalem          
,delivered1 conducted in fresco2 but    

which1 though much extolled1 are no     
longer met with4 ,in short ,tiarini was 
one of the most eminent artists next to 
the ,caracci1 at least in point of      
composition1 expression of features and 
of the passions1 perspective1 power and 
durability of colouring1 if not of the  
most exact elegance4  ,lionello ,spada  
was one of the leading geniuses of the  
school4 ,sprung from the lowest origin1 
and employed by the ,caracci as a       
grinder of colours1 by dint of hearing  
their conferences1 and observing the    
process of their labours1 he began to   
design2 first under them1 and next with 
,baglione1 he acquired a knowledge of   
the art2 during several years studying  
no other models besides the ,caracci4   
,he lived on familiar terms with        
,dentone1 and thus became skilful in the
 use of perspective4 ,incensed by a jest
 of ,guido's1 he determined to seek     
revenge by opposing his delicacy of     
manner with another more full and       
strong2 for which purpose going to      

,rome1 he studied both there and in     
,malta under ,caravaggio1 and returned  
home master of a new style4 ,it does not
 indeed lower itself to every form1 like
 his1 but still is not so elevated as   
that of the ,caracci3 it is studied in  
the naked parts1 but not select2 natural
 in point of colouring1 with good relief
 in the chiaroscuro1 but too frequently 
displaying a ruddy tone in the shadows1 
giving an expression of mannerism4 ,one 
of ,lionello's most characteristic marks
 is a novelty and audacity1 the result  
of his natural disposition1 which was   
equally agreeable for its pleasantry1   
and hateful for its insolence4 ,he often
 competed with ,tiarini1 always superior
 in point of spirit and force of        
colouring2 but inferior in all the rest4
 ,thus at ,s4 ,domenico1 where he       
represented the saint in the act of     
burning proscribed books2 and this is   
the best picture on canvass which he    
exhibited at ,bologna4 ,at ,s4 ,michele 
in ,bosco also is seen his ,miracle of  

,st4 ,benedict1 which the young artists 
call the ,scarpellino of ,lionello2 a   
picture so wholly novel as to induce    
,andrea ,sacchi1 who was greatly struck 
with it1 to copy the design4 ,in a      
similar way at the ,madonna di ,reggio1 
where both artists painted as usual in  
competition1 as well in oils as in      
fresco1 they appeared1 as it were1 to go
 beyond themselves4 ,we often meet with 
specimens of ,spada in private          
galleries2 holy families and scripture  
histories in half-length figures1 like  
those of ,caravaggio and ,guercino2 his 
heads full of expression1 but not very  
select4 ,he seems most frequently to    
have repeated the decollation of ,st4   
,john the ,baptist1 often met with in   
the ,bolognese galleries1 and the best  
perhaps is in that of the ,malvezzi4    
,he became painter to ,duke ,ranuccio at
 ,parma1 where he decorated that        
admirable theatre1 which then stood     
unrivalled4 ,in that city1 and at       
,modena1 as well as other places1 ,i    

have seen some of his pictures in a     
taste wholly opposed to those of        
,bologna1 displaying a mixture of the   
,caracci and of ,parmigianino4 ,his     
histories in the ducal gallery at       
,modena are highly beautiful2 such as   
the ,susanna and the ,elders1 and the   
,prodigal ,son4 ,one of his most        
remarkable is the ,martyrdom of a       
,saint1 at ,s4 ,sepolcro in ,parma1 and 
the ,st4 ,jerome1 in the ,carmelitani1  
in the same city4 ,specimens such as    
these must have been among his last1 at 
a period when he was residing in        
affluence at court1 and enabled to      
conduct his works at leisure4 ,his good 
fortune terminated with the life of     
,ranuccio2 for with the loss of such a  
patron his talent1 too1 seemed to have  
deserted him1 and he shortly followed to
 the tomb4 ,the names of some of his    
scholars occur in the schools of        
,lombardy4 ,here too we ought to add    
that of ,pietro ,desani of ,bologna1 who
 following him into ,reggio1 there      

established himself2 a young artist of  
rapid hand and quick genius1 whose works
 are to be met with very frequently in  
,reggio and its vicinity4  ,lorenzo     
,garbieri was an artist of more learning
 and caution than ,lionello1 though     
resembling him in point of style4 ,his  
austere1 and almost fiery disposition1  
with an imagination abounding in wild   
and mournful ideas1 impelled him to a   
style of painting less open than that of
 the ,caracci4 ,to this cause must be   
added his emulation of ,guido1 whom1    
like ,lionello1 he wished to humble1 by 
adopting a very powerful manner2 and1   
though he did not put himself under     
,caravaggio1 he eagerly copied his      
pictures1 including all the best at     
,bologna4 ,garbieri was one of the most 
successful imitators of ,lodovico2 less 
select in the heads1 but grand in the   
forms1 expressive in the attitudes1 and 
studied in his large compositions2      
insomuch that his paintings at ,s4      
,antonio in ,milan1 which are less      

loaded with shade1 were attributed by   
,santagostini in his ,guide to the      
,caracci4 ,to this style of the ,caracci
 he added the daring character of       
,caravaggio1 and he was skilful in      
selecting always funereal subjects most 
suitable to his genius2 so that we meet 
with little else than scenes of sorrow1 
slaughter1 death1 and terror1 from his  
hand4 ,at the ,barnabiti1 in ,bologna1  
he painted for the chapel of ,s4 ,carlo 
an altar-piece with two lateral         
pictures2 it presents us with the       
horrors of the ,milanese plague1 amidst 
which is seen the saint visiting the    
sick1 and conducting a penitential      
procession4 ,he painted also at the     
,filippini in ,fano a picture of ,st4   
,paul1 near the ,st4 ,peter of ,guido1  
in the act of raising the young man from
 the dead2 a work of such power of hand 
and expression as to excite at once     
terror and pity in the beholders4 ,at   
,s4 ,maurizio1 in ,mantua1 he exhibited 
in a chapel the ,martyrdom of ,s4       

,felicita and her seven children2 a     
piece inferior indeed to the ,miracle of
 ,st4 ,paul in point of vigour1 but     
containing such variety of images1 and  
such deathly terror1 as not to be       
surpassed in tragic interest by any     
thing from the same school4 ,he had the 
choice of establishing himself as       
court-painter at ,mantua1 an office he  
rejected1 preferring to take a wife with
 a handsome dowry at ,bologna4 ,this    
step was a loss1 however1 to the art1 as
 mentioned by ,malvasia2 since from that
 period finding himself rich1 and       
occupied with family cares1 he painted  
little1 and with as little study1       
leaving his final labours by no means   
equal to the preceding4 ,his son ,carlo 
applied still less than his father to   
the profession1 though he gave proofs in
 several works exhibited in public1 that
 in time he would have equalled his     
father4 ,lorenzo educated few other     
pupils1 but he was highly esteemed for  
his profound knowledge1 and for his     

method of communicating it1 at once easy
 and precise1 resting upon few but      
comprehensive maxims4  ,giacomo         
,cavedone was from ,sassuolo1 and hence 
included among the artists of the       
,modenese state by ,tiraboschi1 in whose
 work we may read the origin of his     
career4 ,his genius was more limited1   
his spirit less animated1 than those of 
the preceding2 but being assisted by the
 ,caracci in the right path1 he attained
 to equal1 and even greater celebrity4  
,leaving the intricacies of the art to  
the more enterprising1 he fixed upon    
attitudes comparatively easy and devoid 
of foreshortening1 gentle expressions   
distinct from the stronger passions1    
correct design in his figures1 and more 
particularly in the hands and feet4     
,nature had endued him with promptness  
and facility2 so that on occasion of    
designing models1 or copying pictures1  
he with rare exactness took the         
substance of the subject1 and afterwards
 reduced the whole by a more easy method

 in his own peculiarly resolute and     
graceful touch1 in which he has always  
remained original4 ,he was equally novel
 in his frescos2 employing few tints1   
but so attractive1 that ,guido was      
induced to make him his pupil1 and      
retained him at ,rome as his assistant4 
,another striking characteristic was his
 strength of colouring1 which he        
acquired from those ,venetians          
themselves1 who shone the masters of his
 masters4 ,here he attained to such     
excellence1 that ,albani1 when asked    
whether there were any pictures of      
,titian's at ,bologna1 replied1 there   
were not2 but we may substitute the two 
at ,s4 ,paolo by ,cavedone 7a ,nativity 
and an ,epiphany7 which look like       
,titian's1 and are executed with a      
bolder hand4 ,one of his most           
distinguished productions at ,bologna is
 the ,s4 ,alo at the ,mendicanti1 in    
which ,girupeno discovers1 besides its  
fine design1 a ,titianesque taste that  
excites astonishment2 and a ,french     

tourist entitles it a most admirable    
work1 such as might be fairly attributed
 to the ,caracci4 ,the mistake indeed   
has occurred to persons of first rate   
tact1 most frequently at ,imola1 on     
contemplating the beautiful picture of  
,st4 ,stephen at that church2 and yet   
more out of ,italy1 in regard to his    
pictures of private ornament1 in which  
he is more than usually attractive and  
perfect4 ,judges know how to recognize  
,cavedone's hand by his very compendious
 manner of treating the hair and beards1
 as well as by that graceful and rapid  
touch1 loaded with much lightish yellow1
 or burnt terra gialla4 ,length of      
proportions is likewise considered      
another peculiarity1 with a flow of the 
folds more rectilinear than in other    
artists of the same school4 ,such       
ascendancy in the art was maintained by 
,cavedone during some years1 till the   
death of a favourite son1 who had early 
distinguished himself in the same       
career1 united to other heavy sorrows1  

deprived him of his powers1 and he      
subsequently executed nothing of        
importance4 ,a specimen of that period  
is in possession of the fathers of ,s4  
,martino2 an ,ascension that excites    
only our compassion1 with similar pieces
 met with throughout ,bologna1 that can 
boast no glimpse of grace4 ,still       
deteriorating1 he was at length deprived
 of commissions and reduced to penury1  
which1 in his old age1 attended him to  
the tomb4  ,lucio ,massari possessed a  
more joyous spirit1 ever glad and       
festal2 devoted to the theatre and to   
the chase1 rather than to his academy   
and his pallet2 being usually impatient 
and averse to commence his subjects1    
until his genius and good humour were   
propitious4 ,for this reason his works  
are few1 but conducted in a happy vein1 
graceful and finished1 both in colour   
and in taste appearing to breathe of    
cheerfulness4 ,his style most resembles 
,annibal's1 whose works he copied to    
admiration1 and after whose example1    

while a few months at ,rome1 he designed
 the most finished and noble remnants of
 ,grecian sculpture4 ,there shines also 
in his countenances the spirit of       
,passerotti1 his earliest master1 and   
more frequently the gracefulness of his 
near friend1 ,albani1 whose society he  
enjoyed both in his studio and his      
villa1 and in works undertaken in       
conjunction4 ,his ,s4 ,gaetano1 at the  
,teatini1 is crowned with a glory of    
exquisitely graceful cherubs1 that seem 
from the hand of ,albani2 and in his    
other pictures we often recognise those 
full countenances1 those delicate       
fleshes1 that sweetness1 and those      
sportful expressions1 in which revelled 
the genius of ,albani4 ,in point of     
beauty1 the ,noli me tangere1 at the    
,celestini1 and the ,nuptials of ,st4   
,catherine1 at ,s4 ,benedetto1 are among
 his most esteemed pieces2 to say       
nothing of his histories at the ,cortile
 of ,s4 ,michele in ,bosco1 where he    
left many very elegant specimens4  ,on  

occasion of treating strong or tragic   
subjects1 he did not shrink from the    
task2 and although he had a real        
knowledge of the art1 he conducted them 
without that extreme study of           
foreshortenings and naked parts1 of     
which others make so lavish a display4  
,he shewed noble clearness and decision1
 fine colouring1 a grand spirit1        
enlivening them with light and graceful 
figures1 more particularly of women4    
,such is the ,slaughter of the          
,innocents1 at the ,bonfigliuoli palace1
 and the ,fall of ,christ1 at the       
,certosini1 a most imposing production1 
from the number1 variety1 and expression
 of the figures1 whose pictoric fire    
surpasses all we could mention from the 
hand of ,albani4 ,he has left some      
cabinet pictures1 always in good design1
 and mostly possessing soft and savoury 
tints2 so that all we would farther look
 for is1 occasionally1 a more gradual   
distribution of tints in the background 
of his pieces4 ,among other pupils1 he  

instructed ,sebastiano ,brunetti1       
polished by ,guido1 a sweet and delicate
 artist1 but of brief career2 and       
,antonio ,randa of ,bologna4 ,malvasia  
has observed1 that there is little good 
to be said respecting him1 apparently   
alluding to a deed of homicide committed
 by him at ,bologna4 ,in other respects1
 he includes him among the best pupils1 
first of ,guido1 next of ,massari1 to   
whose style he became attached4 ,on     
account of his reputation the ,duke of  
,modena granted him an asylum in his    
state1 declaring him1 according to      
,orlandi1 his court-painter1 in #afad4  
,here he was much employed1 and         
subsequently at ,ferrara1 for the most  
part at ,s4 ,filippo2 also in many      
places of the ,polesine1 where ,i find  
his ,martyrdom of ,s4 ,cecilia1 in      
possession of the ,sign4 ,redetti1 at   
,rovigo1 the most celebrated of his     
productions4 ,finally1 he betook himself
 to the cloister1 a fact unnoticed by   
,malvasia1 which might have induced him 

to speak of him in milder terms4        
,pietro ,facini entered late into the   
profession1 at the suggestion of        
,annibal ,caracci1 who from one of his  
playful sketches in charcoal1 declared  
how excellent a painter he would become1
 if he were to enter his school4        
,annibal subsequently regretted the     
discovery1 not only because ,facini's   
progress excited his jealousy1 but1     
because1 on leaving the academy1 he     
became his rival in educating young     
artists1 and even plotted against his   
life4 ,he has two striking              
characteristics1 vivacity in his        
gestures1 and in the expression of his  
heads1 such as to place him on a footing
 with ,tintoretto1 and a truth of       
carnations1 which induced ,annibal      
himself to observe1 that he seemed to   
have ground human flesh in his colours4 
,with this exception1 he has nothing    
superior2 feeble in point of design1 too
 large in his naked figures of adults1  
incorrect in the placing of his hands   

and heads4 ,neither had he time to      
perfect himself1 dying young1 and before
 the ,caracci1 in #afjb4 ,there is a    
picture of the ,patron ,saints1 at ,s4  
,francesco1 in ,bologna1 with a throng  
of cherubs1 which is indeed among his   
best works4 ,in the ,malvezzi           
collection1 and in others of the city1  
are much esteemed some of his ,country  
,dances1 and ,sports of ,boys1 in the   
manner of ,albani1 but on a larger      
scale4 ,he had a pupil in ,gio4 ,mario  
,tamburini1 who afterwards attached     
himself to ,guido1 forming himself on   
his manner1 as we have already stated4  
,francesco ,brizio1 gifted with rare    
genius1 was1 up to his twentieth year1  
employed as a shoe-maker's boy4         
,impelled1 at length1 by his bias for   
the art1 he acquired a knowledge of     
design from ,passerotti1 and of         
engraving from ,agostino ,caracci4      
,lastly1 he commenced painting under    
,lodovico1 and very soon arrived at such
 celebrity1 that by some he has been    

pronounced the most eminent disciple of 
the ,caracci4 ,doubtless1 if we except  
the previous five1 he was equal to any  
others1 and1 excepting ,domenichino1    
gifted with the most universal genius4  
,he was not deficient1 like ,guido1 in  
perspective2 nor in the branch of       
landscape1 like ,tiarini2 nor in        
splendour of architecture1 like so many 
others4 ,in these accessaries he        
surpassed all his rivals1 as we gather  
from his histories1 painted for ,s4     
,michele in ,bosco2 at least such was   
the opinion of ,andrea ,sacchi4 ,he is  
extremely correct in his figures1 and   
perhaps approached ,lodovico more       
closely than any other artist4 ,the     
graceful beauty of his cherubs excites  
admiration1 an excellence at that period
 so greatly studied by all the school2  
and here1 in the opinion of ,guido1 he  
outshone even ,bagnacavallo4 ,his chief 
talent lay in imitation2 owing to which1
 and his character for indecision1 in   
addition to the number of great artists1

 superior to him in manners1 he was     
deprived of assistants and commissions1 
and reduced to execute such as he had   
solicited at very insignificant prices4 
,one of the most extensive altar-pieces 
in the city is from his hand1           
representing the ,coronation of the     
,virgin1 at ,s4 ,petronio1 with a few   
figures in the foreground truly joyous  
and well arranged2 besides others in the
 distance grouped and diminished with   
art2 a picture of great merit even in   
strength of colouring4 ,he produced also
 for the noble family ,angelelli the    
,table of ,cebes1 in one grand painting2
 the work of an entire year1 which      
displayed all the depth1 imagination1   
and genius of a great artist4 ,there are
 also a number of small engravings from 
his hand1 in which he often approaches  
,guido4  ,his son ,filippo and ,domenico
 degli ,ambrogi1 called ,menichino del  
,brizio1 were his most distinguished    
disciples4 ,these artists painted more  
for private ornament than for that of   

the churches4 ,the latter became        
celebrated for his design2 was employed 
chiefly in friezes for chambers1 in     
architecture1 and landscape in fresco1  
sometimes in conjunction with ,dentone  
and ,colonna1 sometimes alone4 ,he was  
also a finished artist of pictures for  
private rooms1 occasionally exhibiting  
there copious histories1 as in that we  
read of in the full and well drawn up   
catalogue of the ,sig4 ,canon           
,vianelli's pictures at ,chioggia4 ,it  
presents us with the entrance of a      
pontiff into the city of ,bologna4 ,it  
is not surprising that he should be     
acknowledged and esteemed even in the   
,venetian territories1 having been the  
preceptor of ,fumiani1 and master of    
,pierantonio ,cerva1 who painted a good 
deal for the ,paduan state4  ,gio4      
,andrea ,donducci1 called from his      
father's profession ,mastelletta1#da    
inherited a genius for the art4         
,impatient1 however1 of the precepts of 
the ,caracci1 his masters1 he neglected 

to ground himself in the art1 was       
unequal to designing naked figures1 and 
far from producing any masterpiece4 ,his
 method was short1 and wholly intent    
upon attracting the eye by effect2      
loading his pictures with shadow in such
 a way as to conceal the outlines1 and  
opposing to his shadows masses of light 
sufficiently strong1 thus succeeding in 
disguising from judges the inaccuracies 
of his design1 and gratifying the       
multitude with a display of apparent    
novelty4 ,i have often imagined that    
this artist had great influence with the
 sect of the ,tenebrosi1 which          
afterwards spread itself through the    
,venetian state1 and almost every       
district in ,lombardy4 ,he was enabled  
to support his credit by a noble spirit 
of design1 by a tolerable imitation of  
,parmigianino1 the sole artist adapted  
to his disposition1 and by a natural    
facility that enabled him to colour a   
very large extent of canvass in a short 
time4 ,among such specimens are the     

,death1 and the ,assumption of the      
,virgin1 at the ,grazie1 and some       
similar histories1 not unfrequent in    
,bologna4 ,perhaps his picture of ,s4   
,irene1 at the ,celestini1 is superior  
to any other4 ,when advanced in life1   
hearing the applause bestowed on the    
clear1 open style1 he began to practise 
it1 but with no kind of success1 not    
possessing ability to appear to         
advantage out of his own obscure manner4
 ,in his former one he had painted at   
,s4 ,domenico two miracles of the saint1
 which were esteemed his masterpieces2  
but these he altered according to his   
new method1 and they were thenceforth   
regarded among his most feeble          
performances4 ,in his half-figures the  
same diversity of manner is observable2 
and those executed in the first1 such as
 his ,miracle of the ,manna1 in the     
,spada palace1 with others at ,rome1 are
 justly held in esteem4 ,the same may be
 said of his landscapes1 which1 in many 
galleries1 are attributed to the        

,caracci2 but the taste in the rapidity 
of touch1 very original and remarkable  
in ,mastelletta1 is sufficient to       
distinguish them4 ,annibal was so well  
pleased with these pictures for         
galleries1 that1 having his company at  
,rome1 he advised him to settle there   
and confine himself to similar labours2 
advice by no means pleasing to          
,donducci4 ,but he a good deal          
frequented the studio of ,tassi1 and    
these artists mutually assisted each    
other1 freely communicating between     
themselves what they knew4 ,soon after  
he returned to ,bologna1 and resumed his
 more extensive works2 but met with     
serious disappointments1 such as to     
induce him to enter as a friar1 first   
among the ,conventuals1 next with the   
canons of ,s4 ,salvatore4 ,he educated  
no pupils of merit1 except that one     
,domenico ,mengucci1 of ,pesaro1        
resembled ,mastelletta a good deal in   
his landscape2 an artist better known at
 ,bologna than in his native place4     

,footnote #da3 ,a pail or bucket maker4 
,besides the forementioned disciples of 
the ,caracci academy1 several others are
 entitled to consideration2 such as     
,schedone and more names recorded in the
 schools already described1 with a few  
yet left to mention in those of which we
 have to treat4 ,many names will also   
find a place among the ,bolognese       
painters of landscape1 or those of      
perspective4 ,a few others1 who devoted 
themselves to figures1 have been        
scarcely alluded to by ,malvasia1 either
 because then living1 or not so         
distinguished as some of the preceding2 
nevertheless they are not despicable1   
for to hold a second or third rank1     
where ,domenichino and ,guido are the   
foremost1 is a degree of honour not to  
be regretted4 ,one of these is          
,francesco ,cavazzone1 a writer too on  
the art1 of whom the ,canon ,crespi     
subsequently collected very ample       
notices1 in particular extolling a      
,magdalen kneeling at the feet of the   

,redeemer1 a truly imposing picture1    
that ornamented the church of that saint
 in via ,s4 ,donato4 ,of much the same  
degree of merit was ,vincenzio          
,ansaloni1 who gave only two            
altar-pieces to the public1 but         
sufficient to establish his title to the
 character of a great artist4 ,giacomo  
,lippi1 called also ,giacomone da       
,budrio1 was another distinguished      
artist1 of universal genius1 in whose   
fresco histories at the portico of the  
,nunziata we trace the pupil of         
,lodovico1 not very select1 but of      
prompt and practised hand4 ,some        
pictures in fresco too by ,piero        
,pancotto1 at ,s4 ,colombano1 gave rise 
to feelings of disgust from the ridicule
 attempted to be cast on his own parish 
priest1 caricatured by him in the       
features of a holy evangelist1 though as
 an artist he could not be despised4    
,among the histories at ,s4 ,michele in 
,bosco1 already described1 is seen the  
,sepulture of the ,,ss4 ,valeriano and  

,tiburzio by ,alessandro ,albini1 a     
painter of spirit2 the ,giving ,alms of 
,s4 ,cecilia1 by ,tommaso ,campana1 who 
afterwards followed ,guido2 the ,st4    
,benedict among the ,thorns1 by         
,sebastiano ,razali2 the ,conference    
between ,cecilia and ,valeriano1 by     
,aurelio ,bonelli2 all respectable      
artists1 except that ,malvasia blames   
the last mentioned as unworthy of a     
school productive of so many noble      
disciples2 but it is rare that in such  
rich abundance some abortive specimen   
does not appear4 ,florio and ,gio4      
,batista ,macchi1 ,enea ,rossi1         
,giacinto ,gilioli1 ,ippolito           
,ferrantini1 ,pier-,maria ,porettano1   
,antonio ,castellani1 ,antonia          
,pinelli2#db all these gave to the      
,bolognese public some superior         
specimens of their skill1 and more in   
the adjacent places2 and we may add     
,gio4 ,batista ,vernici1 who was        
subsequently employed by the ,duke of   
,urbino4 ,nothing remains there from the

 hand of ,andrea ,costa1 or of          
,vincenzio ,gotti2 of whom the former1  
according to ,malvasia1 painted for the 
,s4 ,casa of ,loreto some admirable     
pieces1 now known1 if ,i mistake not1   
under another name4 ,the latter resided 
in the kingdom of ,naples1 mostly at    
,reggio1 an artist of singular rapidity1
 whose altar-pieces in that city alone  
amount to the number of two hundred and 
eighteen4 ,other followers of the       
,caracci are known to have renounced    
painting in favour of engraving and     
sculpture4 ,the academy was closed on   
,lodovico's death2 and the casts1 with  
other requisites for the art1 remained  
for a long period at ,bologna4 ,domenico
 ,mirandola1 on the opening of ,facini's
 academy1 quitted that of ,lodovico1    
became a celebrated sculptor1 enriched  
himself with the spoils of both1 and    
kept an open studio1 regulated according
 to the method of his first masters2    
called for this reason by some the      
studio of the ,caracci4 ,names1 however1

 are not realities2 and correctness of  
design was not maintained in this       
soi-disant academy1 but gradually       
deteriorated2 the honour of its revival 
being reserved for the genius of        
,cignani1 of whom we shall say more in  
our fourth epoch4       ,footnote #db3  
,the wife of ,bertusio1 and admired by  
,lodovico      ,caracci for her singular
 modesty and attachment to the art4     
,her finest production adorns the       
,nunziata1 composed from                
,lodovico's design1 in which she drew   
her own portrait with a      bonnet1 and
 that of her husband4  ,the review of   
the ,bolognese artists is here complete4
 ,in the year #afag the state of        
,ravenna had to boast a ,guarini1 an    
artist of a sound style1 not far removed
 from that of the ,caracci1 if we may   
judge from a ,pieta1 at ,s4 ,francesco1 
in ,rimini1 to which place he belonged4 
,there too was one ,matteo ,ingoli1 who 
is mentioned in the ,venetian ,school1  
to which he wholly devoted his talents4 

,to the same state belonged the family  
of ,barbiani1 who have continued down to
 this period their services to their    
country4 ,giambatista1 the most ancient1
 is mentioned by ,orlandi2 his school is
 not known1 though he possesses an      
attractive manner1 much resembling      
,cesi's1 but differing from him in the  
study of each figure1 and on this       
account unequal with himself4 ,his ,st4 
,andrew1 and his ,st4 ,joseph1 on two   
altars at the ,francescani2 his ,s4     
,agatha1 in the church of that name1    
with other pieces in different places1  
are well executed in oil4 ,in the chapel
 of ,n4 ,signora del ,sudore1 in the    
cathedral1 is the vaulted ceiling       
painted by him with an ,assumption of   
the ,virgin1 which1 even compared with  
,guido's cupola at ,ravenna1 does not   
displease4 ,a son of ,gio4 ,batista     
succeeded him in his profession1 not in 
his reputation2 from whom1 or some other
 member of the family1 sprung ,andrea   
,barbiani1 who1 on the corbels of the   

said ceiling1 coloured the four         
evangelists1 and painted several        
altar-pieces both at ,ravenna and at    
,rimini4 ,after examining his manner1   
and in particular his tints1 ,i believe 
him to have been a pupil1 or at least a 
disciple of ,p4 ,pronti of ,rimini1     
shortly before commended among          
,guercino's disciples along with        
,gennari1 also from that place4 ,here   
likewise we shall mention a third1      
sprung from the school of ,padovanino1  
but residing in his native place2 a     
painter more of pictures for private    
ornament than for churches4 ,his name   
was ,carlo ,leoni1 and he competed with 
,centino in his picture of the          
,penitence of ,david1 at the ,oratorio1 
and with other excellent figurists who  
then flourished in ,romagna4 ,among     
,guercino's disciples will be found also
 natives of ,cesena2 and ,i am convinced
 that many other artists of ,romagna    
were retained by him at ,cento2 a fact  
which is alluded to in his life1 without

 any mention of the names4  ,at ,faenza1
 in the time of the ,caracci1 flourished
 one ,ferrau da ,faenza1 with the       
additional family appellation of        
,fanzoni1 or ,faenzoni1 derived probably
 from his country4 ,according to ,titi  
he was pupil to ,vanni1 but left nothing
 at ,rome besides his fresco paintings  
at the ,scala ,santa1 at ,s4 ,gio4      
,laterano1 and in great number at ,s4   
,maria ,maggiore4 ,they consist of      
scripture histories1 of exact design1   
very pleasing tints1 and good mixture of
 colours2 mostly executed in competition
 with ,gentileschi1 ,salimbeni1 ,novara1
 and ,croce4 ,from his hand is the ,s4  
,onofrio1 in the cathedral at ,foligno1 
with several pieces at ,ravenna and     
,faenza1 where however his manner seems 
to have changed4 ,there ,i heard him    
included among the pupils of the        
,caracci1 from whom perhaps he some time
 studied4 ,nor is this at all difficult 
to believe on contemplating the chapel  
of ,s4 ,carlo1 in the cathedral1 or his 

,deposition from the ,cross1 at the     
nunnery of ,s4 ,domenico2 or his        
,probatica1 at the confraternity of ,s4 
,giovanni1 which is the best preserved  
of all his pictures in the district1 and
 nearest resembling ,lodovico's style4  
,i am assured that his real family was  
the ,fenzoni1 of noble origin1 now      
extinct at ,faenza2 and that he died in 
his native place in #afde1 aged #hc4 ,it
 is related that he perpetrated an      
atrocious deed1 having assassinated1 out
 of mere professional jealousy1 one     
,manzoni of ,faenza1 a young artist of  
rising reputation1 as is apparent from  
several of his pictures1 of which two   
are in the possession of the ,ab4       
,strocchi1 ,giudice di ,pace1 in        
,faenza4 ,nor is he less esteemed for   
his altar-pieces1 particularly that of  
the ,martyrdom of ,s4 ,eutropio         
,vescovo1 exhibited in that church4 ,he 
would have shone a distinguished        
ornament of the art1 had not his career 
been thus untimely cut short by envy4   

,the assassin artist failed to restore  
to ,painting that of which he had       
deprived her1 even by educating his two 
young daughters1 ,teresa1 who painted   
much for her native place1 and ,claudia 
,felice1 perhaps her superior1 at       
,bologna1 where she died in #agjc4  ,one
 ,tommaso ,misciroli left several       
specimens of his hand at ,faenza1 known 
generally by the name of ,pittor        
,villano4 ,he flourished after ,ferrau1 
and owed his reputation to his genius   
rather than to any precepts of the art4 
,neither in his design1 his expression1 
nor his costume1 has he any thing to    
recommend him1 and in these he often    
errs4 ,but in the vivacity of his       
attitudes1 in his colouring1 acquired   
from ,guido1 his draperies from the     
,venetians1 he is equal to many of this 
school2 yet this remark applies only to 
a few works executed with much care4    
,the best of these is at the church of  
,s4 ,cecilia1 where he has exhibited the
 martyrdom of that saint2 and in the    

scene is introduced an executioner      
stirring up the flames1 a figure almost 
copied from the grand picture by        
,lionello1 at the church of ,s4         
,domenico in ,bologna4  ,gaspero ,sacchi
 da ,imola is known to me only from some
 pictures he conducted at ,ravenna1 and 
recorded first by ,fabbri1 next by      
,orlandi4 ,it is uncertain to what      
country the ,cav4 ,giuseppe ,diamantini 
belonged1 called by some in mistake     
,giovanni2 but generally acknowledged to
 have been a native of ,romagna4 ,in the
 twenty-eighth volume of the ,antichita 
,picene it is asserted that he came from
 ,fossombrone4 ,he resided at ,venice1  
and left at ,s4 ,moise an ,epiphany1 in 
which he displays great freedom of hand1
 and a bold effect in the execution4 ,he
 is more celebrated in collections      
belonging to the ,venetian state than in
 churches1 being met with at ,rovigo and
 at ,verona1 where1 in ,casa            
,bevilacqua1 are some heads of          
philosophers in a very novel manner4    

,his character indeed consisted in this 
kind of painting1 and he would seem to  
have derived his idea of them from      
,salvator ,rosa4  ,we shall now proceed 
to treat of the landscape1 flower1 and  
perspective painters2 all artists in    
short connected with minor branches of  
the art4 ,on this subject the historians
 who preceded me have attributed no     
improvement to the ,caracci1 except in  
landscape2 though ,i believe that their 
prevailing maxim of shunning all caprice
 and fallacy1 and confining themselves  
to representations of truth and nature  
in the art1 spread its influence from   
the human figure down to the insect1    
from the tree to the fruit1 from the    
palace to the cottage4 ,in a similar way
 too was introduced the maxim of        
avoiding in literature that affectation1
 prevalent in the sixteenth century1 in 
favour of the purity of better ages2    
owing to which the style of writing1    
from that of history even to familiar   
correspondence1 from the poetry of the  

epic to the sonnet1 shone with real     
lustre4  ,gio4 ,batista ,viola and ,gio4
 ,francesco ,grimaldi were the two      
leading painters of landscape at that   
period1 in the manner of the ,caracci4  
,viola was among the first to exclude   
from painting that hard1 dry style so   
much practised by the ,flemish4 ,he has 
been mentioned as being at ,rome1 where 
he established himself1 and decorated   
with landscape-frescos different villas 
belonging to those nobles2 in particular
 the ,villa ,pia4 ,but portable pictures
 of this artist are rarely to be met    
with1 except1 that being in company with
 ,albani at ,rome1 his landscapes were  
frequently introduced into the pictures 
of the latter1 and may be recognized in 
that city by judges as those of ,viola1 
like ,mola's in other pieces of ,albani 
at ,bologna4 ,grimaldi continued many   
years in the service of different       
pontiffs at ,rome2 and some years in    
that of the ,car4 ,mazarini at ,paris1  
and of ,louis ,,xiv4 ,he surpassed      

,viola in good fortune as well as       
science2 a noble architect1 excellent in
 perspective1 in figures1 and as an     
engraver of ,titian's landscapes and of 
his own4 ,his prints display singular   
judgment in the individual parts1 and   
great beauty in their edifices2 he is   
also much more ample in drawing the     
foliage than the ,caracci1 and also very
 different2 as is observed in the       
,lettere ,pittoriche4#dc ,his design    
always answers to the workmanship2 his  
touch is light1 his colouring very      
strong1 only partaking too much of the  
green4 ,he was employed by ,innocent    
,x41 in competition with other artists1 
in the ,quirinal and in the ,vatican    
palace2 and was also selected to        
decorate some churches1 in particular at
 ,s4 ,martino a' ,monti4 ,the ,colonna  
gallery is enriched with his views1 and 
he is often met with in others1 though  
not so much sought after in foreign     
parts as ,claude and ,poussin4 ,such is 
their number1 that ,i doubt not some of 

his works were executed by his son      
,alessandro1 who1 according to ,orlandi1
 was a disciple and follower of ,gio4   
,francesco4 ,his specimens are not      
equally abundant at ,bologna1 where1    
about the same period1 other landscape  
painters are known to have flourished4  
,footnote #dc3 ,vol4 ii4 p4 #bhi4  ,we  
have extolled ,mastelletta1 and now for 
a similar taste we must praise          
,benedetto ,possenti1 a pupil of        
,lodovico1 and also a spirited painter  
of figures4 ,his landscapes present us  
with seaports1 embarkations1 fairs1     
festivals1 and the like objects4        
,bartolommeo ,loto1 or ,lotti1 was also 
held in high esteem1 first a disciple   
and next competitor of ,viola1 one who  
invariably adhered to the taste of the  
,caracci4 ,paolo ,antonio ,paderna1 a   
pupil of ,guercino1 afterwards of       
,cignani1 displayed in his landscape    
admirable imitation of ,guercino's      
manner4 ,there was likewise ,antonio dal
 ,sole1 from the circumstance of        

painting with his left hand1 denominated
 il ,monchino de' ,paesi1#dd ,francesco 
,ghelli1 and ,filippo ,veralli1 all     
sprung from the school of ,albani1 and  
all much prized for their rural views in
 different collections4       ,footnote 
#dd3 ,the handless landscape painter4   
,annibal formed1 as stated in the second
 volume1 a ,gio4 da ,udine of his own1  
in a distinguished painter of fruits1   
called il ,gobbo di ,cortona1 or il     
,gobbo de' ,caracci4 ,similar reputation
 was acquired by two ,bolognese artists1
 ,antonio ,mezzadri1 whose flowers and  
fruits are in abundance at ,bologna2 and
 ,anton ,maria ,zagnani1 who received   
commissions even from princely          
foreigners4 ,both were excelled by      
,paolo ,antonio ,barbieri1 as famous for
 his representation of animals1 flowers1
 and fruits1 as his brother ,gio4       
,francesco for the human figure4 ,he    
bestowed1 however1 little study on the  
art1 being too much occupied with his   
family affairs4#de ,there was a pupil of

 ,guido1 by birth a ,milanese1 but      
settled at ,bologna1 named              
,pierfrancesco ,cittadini1 commonly     
called il ,milanese1 who surpassed all  
his fellow scholars4 ,some of his       
altar-pieces shew him to have been      
capable of greater performances2 but    
following the genius and example of     
several artists whom he saw at ,rome1 he
 restricted himself to painting small   
pictures on canvass1 and small branches 
of histories and landscapes4 ,yet these 
were excelled by his specimens of fruits
 and flowers1 with birds of every kind1 
to which he occasionally added portraits
 and very graceful figures1 in the same 
piece4 ,bologna abounds with his        
paintings1 as such a line of study      
proved useful to the quadraturists1#df  
who were often desirous to secure       
,cittadini's assistance and that of his 
pupils in their ornamental labours4     
,footnote #de3 ,as the head of the      
domestic establishment1 he      inserted
 in a book the pictures on which he and 

his brother      were employed1 with the
 prices which they obtained4 ,on his    
death this was continued by ,benedetto  
and ,cesare ,gennari1      who recorded 
the works conducted by their surviving  
uncle4      ,such a registry was very   
useful to ascertain the dates and       
prices of the ,guercinesque pictures2   
from the family of      ,gennari it came
 into possession of the ,prince         
,ercolani1 who      made a valuable     
collection of ,,mss4 and very rare books
 on      the fine arts4       ,footnote 
#df3 ,ornamental and architectural      
painters4  ,for portraits drawn from    
life1 without any other accessaries1    
,gio4 ,francesco ,negri1 pupil of       
,fialetti1 in ,venice1 was then in      
credit at ,bologna2 where he had for his
 fellow pupil ,boschini1 who finally    
became a designer and engraver in       
copper4 ,commendations of ,negri are met
 with in the volumes of ,malvasia and of
 ,crespi4  ,bologna had to boast little 
that was great in regard to ornamental  

architecture up to the time of ,dentone 
7,girolamo ,curti71 who became its      
restorer also in other parts of ,italy4 
,i say restorer1 inasmuch as ,gio4 and  
,cherubino ,alberti at ,rome1 and the   
,sandrini at ,brescia1 with the ,bruni  
in ,venice1 had produced some fine      
specimens4 ,nor1 if we consider the     
times1 were ,agostino dalle ,prospettive
 and ,tommaso ,lauretti1 in ,bologna    
itself1 destitute of merit1 as we have  
already stated4 ,but their models being 
either neglected or corrupted by their  
successors1 produced no solid advantage 
to the art2 so that there were either no
 quadraturists in any cities of ,italy1 
or they were extremely rare1 and        
esteemed only as the refuse of the      
figurists4 ,dentone1 with his           
companions1 not only revived1 but       
elevated and enlarged this art4 ,sprung 
from a spinning manufactory of the      
,signori ,rizzardi1 he commenced under  
,lionello ,spada to attempt the design  
of figures2 and finding this too        

difficult1 he turned to ornamental      
painting1 and acquired from ,baglione   
the use of the rule1 and to draw the    
lines4 ,he proceeded no farther with    
this master2 but1 having purchased the  
works of ,vignola and ,serlio1 he in    
these studied the different orders of   
architecture1 grounded himself in       
perspective1 formed a solid and well    
regulated taste1 which he farther       
improved with what he saw at ,rome1     
among the remains of ancient            
architecture4 ,he attempted much in the 
form of relief1 which is indeed the soul
 of this profession4 ,his fine illusions
 of cornices1 colonnades1 lodges1       
balustrades1 arches1 and modiglioni1    
seen with the effect of foreshortening1 
have led to the supposition of his being
 assisted by stuccos1 or some materials 
of strong relief2 while the whole is    
produced by the effect of chiaroscuro1  
brought to a facility1 truth1 and grace 
never before seen4 ,in his colours he   
preserved those of the stones and       

marbles2 avoiding those tints of gems   
and precious stones1 afterwards         
introduced at the expense of all        
verisimilitude4 ,it was an invention of 
his to lay gold-leaf over his works in  
fresco4 ,he made use of burnt oil1 with 
turpentine and yellow wax1 melted       
together1 and placed1 in a dissolved    
state1 with a fine pencil1 on the parts 
where the lights occur1 and where the   
gold leaf is applied4 ,still he but     
sparingly availed himself of such       
discovery1 consigning its abuse to his  
followers4 ,anxious for durability1 he  
was accustomed to rough sketch1 and     
afterwards to fill up with other layers1
 then making of the whole one solid     
impasto1 or mingled layers of colours2  
while in the most exposed spots1 not    
trusting wholly to the plaster1 he      
united very fine portions of white      
marble1 as subtly inserted as we see in 
the facade of the ,grimaldi palace4 ,he 
thus conferred fresh lustre on both     
palaces and churches2 and next          

proceeding to the theatres1 he exhibited
 novel spectacles in them4 ,the nearmost
 scenes he painted with the most        
commanding power of shade1 and          
diminishing its depth by degrees1       
conducted the eye to the most remote    
with sensations of harmony and delight4 
,this contrast of depth and sweetness   
gave the illusion of an immense prospect
 in small space2 and such was the degree
 of relief in the edifices there        
represented1 that numbers1 on the first 
appearance1 went upon the stage in order
 to explore the reality more nearly4    
,his excellence in this respect soon    
obtained him commissions out of         
,bologna2 from the ,card4 ,legate1 at   
,ravenna1 from the sovereigns of ,parma 
and ,modena1 and at ,rome from ,prince  
,lodovisi1 for whom he painted a hall1  
which outshone the ,sala ,clementina1   
decorated by ,gio4 ,alberti1 until then 
esteemed the most admirable of its kind4
  ,it was ,dentone's custom to retain   
the services of a figurist1 in order to 

model his statues1 prepare his          
chiaroscuri1 figures of boys1 and       
sometimes even animals and flowers1 with
 all which he ornamented1 not always    
with discreetness1 his architectural    
views4 ,the most erudite among the young
 artists here vied in offers of their   
services1 desirous of profiting by the  
same art1 and acquiring reputation4 ,in 
the hall of the ,conti ,malvasia1 at    
,trebbio1 he was assisted by ,brizio1   
,francesco and ,antonio ,caracci1 and   
,valesio2 also by ,massari1 in the grand
 chapel of ,s4 ,domenico1 who attended  
him as well in the library of the       
fathers of ,s4 ,martino1 where he       
painted the celebrated ,dispute of ,s4  
,cirillo4 ,in the ,tanara palace he even
 engaged ,guercino1 who there exhibited 
his grand ,hercules2 while elsewhere he 
was assisted by ,campana1 ,galanino1 and
 ,spada1 and a few cartoons were        
afforded him by ,guido himself4 ,but his
 most useful colleague was ,angiol      
,michele ,colonna1 who arriving at an   

early age from ,como1 and having studied
 some time under ,ferrantini1 finally   
united himself with ,dentone1 and became
 celebrated throughout ,europe4 ,this   
artist1 according to ,crespi1 enjoyed   
the reputation of the greatest fresco   
painter of whom ,bologna could boast2   
such was his spirited drawing both of   
men and animals1 such his eminence in   
perspective1 and every species of       
ornamental work1 that he was himself    
alone equal to any grand undertaking1   
and painted alone an entire chamber at  
the ,florentine court1 and a chapel at  
,s4 ,alessandro1 in ,parma4 ,the        
perspectives in the tribune of that     
church were by his hand2 the figures by 
,tiarini2 and in several other places   
the perspectives were by ,dentone1 the  
figures by ,colonna4 ,it formed his     
peculiar talent1 with whatever painter  
he might engage1 so to adapt himself to 
the style and spirit of his colleague1  
that the entire work seemed the idea of 
the same mind1 the product of a single  

hand4 ,nor did he require any delay2 for
 whilst his companion proceeded with his
 own portion1 he1 with wonderful        
velocity1 consistency1 and admirable    
harmony1 despatched the work2 a gift for
 which he was very generally sought     
after1 and more particularly by         
,dentone1 who retained him after his    
return from ,rome1 until the period of  
his decease4  ,whilst these two         
celebrated men thus promoted their      
profession1 there was rising into notice
 one ,agostino ,mitelli1 a youth of very
 prolific genius1 not unacquainted with 
the figure1 which ,passeri supposes he  
acquired from the ,caracci1 and         
well-grounded in perspective and        
architecture1 under ,falcetta4 ,when the
 two friends were engaged in decorating 
the archiepiscopal palace at ,ravenna1  
and at the courts of ,parma and ,modena1
 ,mitelli alternately assisted the      
figurist and the quadraturist4 ,this    
last1 however1 was the art he most      
affected1 and to which1 on separating   

from his masters1 he finally devoted    
himself4 ,his first labours proved very 
attractive to the public2 not that they 
equalled the force1 solidity1 and       
reality of ,dentone1 but on account of  
their peculiar grace and beauty1 such as
 almost to obtain for him the fame of   
the ,guido of the quadraturists4        
,employing his own taste1 he softened   
down the harder features of the art1    
made the elevations more delicate1 the  
tints more mild1 and added a style of   
foliage1 scrolls1 and arabesques1       
decorated with gold1 such as seemed to  
breathe of grace4 ,the play of the      
ornaments varied with the nature of the 
edifices2 some ideas were adapted to    
halls1 some to churches1 and others to  
theatres4 ,each ornament filled its     
appropriate place1 at just intervals2   
the entire work finally according with a
 delightful symmetry and harmony1 so as 
to take by surprise people not yet      
familiar with similar illusions1 and to 
remind them1 as it were1 of the         

enchanted palaces of the romancers4     
,mitelli's first assistants were two of 
his fellow pupils in this art1 ,andrea  
,sighizzi and ,gio4 ,paderna1 with      
occasionally the figurist ,ambrogi2     
names not unworthy of a place in the    
history of the arts1 though unequal to  
compete with such a colleague4  ,colonna
 alone seemed born to associate with    
him1 as he did after the death of his   
favourite ,curti4 ,an intimacy ensued1  
which was like the second act of ,angiol
 ,michele's life2 an intimacy which1    
strengthened by mutual esteem and       
interest1 and cherished by habit and    
kind offices1 continued during          
twenty-four years1 until terminated by  
the death of ,mitelli4 ,these two       
friends added greatly to the excellent  
models of the art at ,bologna2 and among
 their most celebrated labours are the  
chapel of ,rosario1 and the hall of the 
,conti ,caprara4 ,elsewhere1 as in the  
,bentivogli and ,pepoli palaces1        
,agostino produced only specimens of    

architecture2 and in others we see his  
pictures of perspective conducted a     
guazzo1 with figures by ,gioseffo1 his  
son1 a disciple of ,torre1 who engraved 
even better than he painted4 ,in their  
commissions beyond ,bologna1 ,mitelli   
and ,colonna were always invited        
together2 as to ,parma1 to ,modena1 to  
,florence1 by their respective rulers2  
by the ,marchesi ,balbi to ,genoa1 and  
by ,cardinal ,spada to ,rome1 whose     
ample hall they enlarged1 as it were1   
and dignified by means of feigned       
colonnades1 artful recesses1 and        
magnificent steps1 where numbers of     
figures1 arrayed in varied and novel    
drapery1 were seen ascending and        
descending4 ,called subsequently to the 
court of ,philip ,,iv41 they decorated  
three chambers and a magnificent hall in
 ,madrid1 where ,colonna1 too1 produced 
his so highly extolled ,fable of        
,pandora4 ,they here sojourned for the  
space of two years1 the last of         
,mitelli's life1 who died much regretted

 by the whole court1 and by the ,spanish
 artists1 at whose head stood ,diego    
,velasquez4  ,colonna returned into     
,italy1 and as a third act of his life1 
we may record the twenty-seven years    
which he afterwards lived2 during the   
earlier portion1 availing himself1 for  
his architectures1 of the services of   
,giacomo ,alboresi1 ,mitelli's great    
pupil2 and in the latter1 of            
,giovacchino ,pizzoli1 his own scholar1 
known also among painters of landscape4 
,crespi adds the name of ,gio4          
,gherardini1 and ,antonio ,roli1 or     
,rolli according to the ,cav4 ,titi1    
whose specimens in this branch1 at the  
,certosa of ,pisa1 he extols as perfect 
miracles of the art 7p4 #cja74 ,in this 
trio are included all belonging to      
,colonna's school4 ,it is observed by   
,malvasia1 that from ,mitelli's society1
 ,angiol ,michele himself derived       
utility1 as regarded architecture2 not  
that he ever equalled his deceased      
friend1 but from adopting thenceforward 

a more elegant manner4 ,this progress is
 apparent in the cupola of ,s4 ,biagio2 
as well as in the ceiling and in a      
chapel of ,s4 ,bartolommeo1 decorated by
 him after his return from ,spain4      
,other specimens he produced at this    
period1 at ,ponzacco1 a villa of the    
,marchese ,nicolini1 of ,florence2 in   
the ,morisini palace1 at ,padua1 and at 
,paris1 for ,m4 ,lionne1 state secretary
 to the ,french king4 ,colonna attained 
the age of eighty-six1 and left1 at his 
death1 numerous professors of an art1   
which he and his two colleagues may     
almost be said to have invented1 and    
given to the public4  ,i have enumerated
 different young artists of these       
schools2 and they1 too1 united together1
 traversing ,italy in the service of    
princes and nobles1 and forming pupils  
in every place2 so that no art ever     
spread more rapidly4 ,gio4 ,paderna1    
pupil to ,dentone1 and next an          
accomplished imitator of ,mitelli1      
became the colleague of ,baldassare     

,bianchi2 and the latter1 at the death  
of ,paderna1 having become ,mitelli's   
son-in-law1 was placed companion1 by the
 father-in-law1 with ,gio4 ,giacomo     
,monti4 ,this partnership also met with 
success in ,italy1 in particular at     
,mantua1 where they both received       
regular salaries4 ,their figure-painter 
was ,gio4 ,batista ,caccioli1 of        
,budrio1 pupil to ,canuti1 and a good   
disciple of ,cignani1 who left frescos1 
altar-pieces1 and private pictures2 in  
particular1 his heads of old men1 in    
high request4 ,another son-in-law of    
,mitelli1 ,giacomo ,alboresi1 was much  
employed at the court of ,parma1 in that
 of ,florence1 and in the villa         
,capponi1 of ,colonnata4 ,he was        
assisted in his figures by ,fulgenzio   
,mondini1 and on his death1 by ,giulio  
,cesare ,milani1 who was esteemed the   
best pupil of ,torre4 ,domenico ,santi1 
named ,mengazzino1 was also one of the  
ablest among ,mitelli's pupils1 and     
left1 at the ,servi1 in ,s4 ,colombano1 

and in the ,ratta palace1 some fine     
works in perspective1 with figures by   
,giuseppe ,mitelli1 by ,burrini1 and    
most of all by ,canuti1 never having    
left his native place4 ,his             
perspectives1 on canvass1 are highly    
esteemed in cabinets1 and are sometimes 
hardly to be distinguished from those of
 ,agostino4 ,andrea ,sighizzi1 the      
father and master of three artists1 was 
employed also at ,turin1 ,mantua1 and   
,parma1 where he received a salary from 
the court1 and had ,pasinelli for his   
best companion4 ,it would carry us too  
far1 to recount all the quadraturists   
sprung from these schools2 nor would    
all1 perhaps1 deserve commemoration4    
,though no art was more rapidly         
extended1 none sooner degenerated2      
caprice usurped the place of sound rules
 of architecture1 and was carried to a  
pitch of extravagance and impertinence1 
when the ,borrominesque taste began to  
extend through ,italy4 ,architecture    
itself1 which forms the basis of this   

profession1 began1 in course of time1 to
 be regarded as an accessary2 a greater 
share of study was employed in the vases
 of flowers1 in festoons1 in fruits1 and
 foliages1 and certain novelties of     
grotesque1 against which both ,algarotti
 and ,crespi have so justly and         
successfully inveighed4  ,we cannot     
close this account without the name of  
,giovannino da ,capugnano1 an artist    
very fully treated of by ,malvasia and  
,orlandi1 and highly extolled in the    
studies of the painters1 even in our own
 days4 ,misled by a pleasing            
self-delusion1 he believed himself born 
to become a painter2 like that ancient  
personage1 mentioned by ,horace1 who    
imagined himself the owner of all the   
vessels that arrived in the ,athenian   
port4 ,his chief talent lay in making   
crucifixes1 to fill up the angles1 and  
in giving a varnish to the balustrades4 
,next1 he attempted landscape in        
water-colours1 in which were exhibited  
the most strange proportions1 of houses 

less than the men2 these last smaller   
than his sheep2 and the sheep again than
 his birds4 ,extolled1 however1 in his  
own district1 he determined to leave his
 native mountains1 and figure on a wider
 theatre at ,bologna2 there he opened   
his house1 and requested the ,caracci1  
the only artists he believed to be more 
learned than himself1 to furnish him    
with a pupil1 whom he intended to polish
 in his studio4 ,lionello ,spada1 an    
admirable wit1 accepted this invitation2
 he went and copied designs1 affecting  
the utmost obsequiousness towards his   
master4 ,at length1 conceiving it time  
to put an end to the jest1 he left      
behind him a most exquisite painting of 
,lucretia1 and over the entrance of the 
chamber some fine satirical octaves1 in 
apparent praise1 and real ridicule of   
,capugnano4 ,his worthy master only     
accused ,lionello of ingratitude1 for   
having acquired from him in so short a  
space the art of painting so beautifully
 from his designs2 but the ,caracci at  

last acquainted him with the joke1 which
 acted as a complete antidote to his    
folly4 ,in some ,bolognese galleries his
 pictures are preserved as specimens1 in
 some degree connected with pictorial   
history2#dg and which1 though composed  
with all becoming gravity1 are as       
diverting as any caricature of ,miel or 
of ,cerquozzi4 ,were we to desire a     
second example of such imbecility in the
 art1 it would be found in ,crespi1#dh  
who gives some account of one ,pietro   
,galletti4 ,equally persuaded of having 
been born a painter1 ,pietro became a   
laughing-stock to the students1 who     
solemnly invested him with a doctorial  
degree in the art1 assembling for that  
purpose in the cellar of a monastery4   
,footnote #dg3 ,see ,lettere            
,pittoriche1 vol4 ii4 p4 #ec4           
,footnote #dh3 ,crespi1 p4 #ada4        
,,bolognese ,,school4                   
,,epoch ,,iv4       ,pasinelli1 and in  
particular ,cignani1 cause a ,change in 
the      ,style of ,bolognese ,painting4

 ,the ,clementine ,academy and its      
,members4   ,the commencement of the    
final epoch of the ,bolognese ,school   
may be dated some years previous to     
#agjj2 when ,lorenzo ,pasinelli and     
,carlo ,cignani had already produced a  
striking alteration in painting4 ,the   
disciples of the ,caracci1 who had      
imitated ,lodovico1 and those who had   
produced new manners1 had all           
disappeared2 while the pupils who still 
continued attached to their taste were  
very few2 consisting of ,guercino's     
,gennari1 of ,gio4 ,viani1 formerly     
pupil to ,torre1 and some other less    
distinguished names4 ,pasinelli himself 
ceased to exist1 on the opening of the  
new century1 leaving the entire credit  
of the preceptorship in the hands of    
,cignani4 ,this1 too1 was shortly       
increased by the formation of a public  
academy of the fine arts in the city1 to
 which he was appointed president during
 life4 ,these details are to be met with
 in the excellent ,history of the       

,clementine ,academy composed by        
,giampietro ,zanotti4 ,here we are made 
acquainted with the principles and      
progress of that celebrated society1    
which1 in the year #agjh1 received from 
,pope ,clement ,,xi4 its sanction and   
its name1 from the ,senate its rooms1   
and its organization from ,count ,luigi 
,ferdinando ,marsili2 besides effectual 
support both from him and other nobles2 
and here also we are presented with the 
lives of the academicians up to the year
 #agci4 ,to ,zanotti's ,history1 as well
 as to others of an older date1 much    
useful supplement was added by the      
,canon ,crespi2 and upon these two      
recent works1 with a due degree of      
caution1 ,i propose to rest the         
authority of my succeeding narrative4   
,in tracing the origin of the new taste1
 it will be requisite to go back to     
#afgj1 or near that period2 when        
,pasinelli and ,cignani1 after their    
return from ,rome1 commenced teaching   
and operating1 each in their respective 

method4 ,lorenzo pursued the design of  
,raffaello1 combined with the           
fascination of ,paul ,veronese2 while   
,carlo delighted in the grace of        
,coreggio1 united to ,annibal's         
learning2 and both had executed at ,rome
 studies agreeable to their genius4 ,it 
is reported1 that one day they happened 
to enter upon a long discussion of the  
relative merits of ,raffaello and       
,coreggio4 ,would that they had been    
joined by some new ,borghini1 as a third
 party1 who might have put the discourse
 into the form of a dialogue1 and have  
preserved it for posterity6 ,in course  
of time1 ,cignani came into higher      
repute than ,pasinelli1 though this     
excited no kind of jealousy2 they had   
both of them wisdom enough to be        
satisfied each with his own share of    
genius1 and to commend his competitor2  
thus abstaining from that indulgence of 
rivalry which gives1 even to the most   
celebrated artists and writers1 an air  
of meanness4 ,thus1 when the ,clementine

 academy was instituted1 the pupils of  
both masters readily united in serving  
that new assembly2 voluntarily          
submitting to the direction of ,cignani1
 placed by the pontifical diploma at    
their head4 ,thenceforward the style of 
,cignani came into vogue2 though others 
sprung from it1 composed of two or more 
manners1 which may yet be called        
national4 ,each has in it something of  
the ,caraccesque1 owing to the young    
artists having commenced their career by
 designing from the works of the three  
brothers4 ,a few of these painters      
exhibit even too much of their manner1  
and that of the best among other        
artists2 we find figures taken partially
 from different ancient masters1 and    
worked up into one composition2 as we   
see sometimes done in poetry1 with the  
lines of one or more writers4 ,about    
this period the study of the beau-ideal 
received some accession1 by means of the
 casts with which the academy was       
supplied4 ,the style of coloring is far 

from careless2 though in the principles 
then adopted1 there was a certain method
 pursued by different artists1 from     
which their shadows have grown deeper1  
and assumed a rusty colour2 and towards 
the middle of the same epoch1 false and 
capricious colours came into use1 and   
long continued to find patrons4 ,nor was
 this error confined solely to the      
,bolognese ,school4 ,balestra1 in one of
 his letters1 dated #agcc1 inserted in  
the ,pictoric ,collection1 7vol4 ii47   
laments the decline of all the ,italian 
schools1 from their having fallen into  
mistaken methods4 ,possessing himself in
 ,verona three scholars1 capable of     
great performances1 namely1 ,pecchio1   
who became a fine landscape painter1    
,rotari1 and ,cignaroli1 he seems to    
have had his fears even for them4 ,in   
particular1 speaking of the last1 he    
says1 ,i fear lest he1 too1 should      
suffer himself to be borne away by the  
prevailing stream1 and become enamoured 
of certain ideal manners1 and of a rapid

 touch2 consequently careless of good   
practice and of rules4 ,respecting these
 alterations1 however1 it is not yet    
time to treat4  ,to come down1 at       
present1 to the two heads of the school2
 ,pasinelli1 who first ceased to live1  
will first come under our consideration4
 ,he received his education in the art  
from ,cantarini2 subsequently from      
,torre1 whose school he too early left1 
owing to which1 most probably1 he never 
attained to perfect correctness of      
design4 ,in this1 nevertheless1 he      
surpassed ,paul ,veronese1 who formed   
his great prototype4 ,he did not imitate
 him1 according to the sectarists2 he   
borrowed from him that effective and    
majestic composition2 but the ideas of  
the faces1 and the distribution of the  
colours he acquired elsewhere4 ,he was  
naturally too inclined to create        
surprise by the display of copious1     
rich1 and spirited compositions2 such as
 his two pictures at the ,certosa1 of   
,christ's ,entrance into ,jerusalem1 and

 his ,return into ,limbo2 and such too  
is his ,history of ,coriolanus1 in the  
,casa ,ranuzzi1 a piece found repeated  
in many collections4 ,no one can behold 
these paintings without granting to     
,pasinelli a true painter's fire1 great 
novelty of idea1 and a certain elevated 
character1 never the boast of middling  
artists4 ,with these gifts1 however1 he 
is sometimes too extravagant in his     
attitudes1 and in his ,paolesque        
imitation of spectacles1 and strange    
novel draperies1 which he is thought to 
have carried to an extreme1 as in his   
,preaching of ,john the ,baptist1 in    
which his rival1 ,taruffi1 found1       
instead of the desert of ,judea1 the    
piazza of ,st4 ,mark1 in ,venice4 ,he   
knew1 withal1 to restrain his fire      
according to the genius of his themes1  
as we may see in that ,holy ,family in  
possession of the ,scalzi2 a work       
partaking of ,albani4 ,he painted more  
for private persons than for the public2
 uniform in the spirit1 varied in the   

colours of his pictures4 ,some of these 
private pictures boast1 at once1 a      
softness of hand1 and a peculiarly vivid
 and gay light1 that might be taken for 
those of the ,venetians or ,lombards2 in
 particular1 a few of his ,venuses1     
which are supposed to be portraits of   
one of his three wives4 ,in a few of his
 other specimens he displays very little
 relief1 whole colours1 a tint almost   
like that of the ,bolognese artists     
preceding the ,caracci2 and these ,i    
should either attribute to his early    
youth1 or his closing days4  ,one of the
 four leading artists of his age was the
 ,cav4 ,carlo ,cignani1 as elsewhere    
stated1 a genius more profound than     
prompt2 a hand eager to engage in       
labours1 but most difficult1 and ever   
dissatisfied in their completion4 ,his  
picture of ,joseph's ,flight into       
,egypt1 belonging to the ,counts        
,bighini1 of ,imola1 cost him six       
months' labour2 and many similar        
instances are recorded4 ,nevertheless1  

he always appears complete1 never hard  
or laborious2 and his facility is       
esteemed one of his rarest gifts4       
,cignani's inventions are often         
referable to ,albani1 who was his       
master4 ,he produced1 for a monastery of
 ,piacenza1 a picture of the ,conception
 of the ,virgin1 who1 robed in a white  
garment1 is seen bruising the serpent's 
head2 and arrayed in a garment of rich  
purple1 her infant son at her feet1 who1
 with an air at once of dignity and     
grace1 places his foot upon that of his 
mother2--what a language does this      
speak1 how truly sublime6 ,there is     
much1 too1 of a novel and poetic cast1  
in his ,birth of the ,virgin1 at the    
cathedral of ,urbino2 a picture that at 
,rome was censured even for its novelty4
 ,cignani was likewise a good composer1 
and so disposed his figures1 by the     
example of the ,caracci1 as to give his 
pictures an air of larger dimensions    
than they really have4 ,his four        
,scriptural ,histories1 in four ovals1  

each sustained by two cherubs1 among the
 most perfectly beautiful in ,bologna1  
are truly attractive ornaments of ,s4   
,michele in ,bosco2 nor are two others  
less so1 of the public hall1 where he   
represented ,francis ,i41 in the act of 
healing the lepers2 and ,paul ,,iii4    
seen entering into ,bologna4 ,less      
majestic1 perhaps1 but more beautiful1  
is one of his paintings1 in the palace  
of the ducal garden at ,parma4 ,agostino
 ,caracci had there decorated the       
ceiling of a chamber2 there ,cignani    
exhibited1 on the walls1 various fables1
 illustrative of the power of ,love2 in 
which1 if he surpassed not that great   
master1 he1 in the opinion of many1 at  
least equalled him4 ,in design he       
invariably emulated ,coreggio2 but1 in  
his outlines1 in his beauteous and noble
 countenances1 and in his grand1 ample  
folds1 he preserved something original1 
and distinct from the ,lombards2 while  
he is less studious than they respecting
 the use of foreshortening4 ,he aimed at

 a strong layer of colours1 which were  
clear and animated like ,coreggio's1 to 
which he added1 also1 a sweetness       
derived from ,guido4 ,he was especially 
careful in his chiaroscuro1 and gave a  
great degree of roundness to all his    
objects2 which1 though in certain       
subjects it may appear overwrought1 and 
more ample than in nature1 is           
nevertheless pleasing4  ,his historical 
pieces are rare2 but not so a number of 
others1 containing one or two           
half-length figures1 and still less his 
,madonnas4 ,one of the most beautiful is
 in the ,albani palace1 painted for     
,clement ,,xi41 with the ,holy ,child2  
and another1 representing her grief1    
belongs to the ,princes ,corsini1       
extremely graceful1 as is also the      
,angel seen consoling her4 ,it would be 
difficult to decide whether he excelled 
most in oils or in fresco1 which last is
 the kind of painting in which great    
artists have ever distinguished         
themselves4 ,he spent the closing years 

of a long life at ,forli1 where he      
established his family1 and left the    
proudest monument of his genius in that 
grand cupola1 perhaps the most          
remarkable of all the pictoric          
productions belonging to the eighteenth 
century4 ,the subject is the ,assumption
 of our ,lady1 the same as in the       
cathedral at ,parma2 and here1 too1 as  
there1 it exhibits such a real paradise1
 that the more we contemplate it1 the   
more it delights us4 ,near twenty years 
were devoted to its production1 from    
time to time2 the artist1 occasionally1 
during that period1 visiting ,ravenna1  
to consult the cupola by ,guido1 from   
whom he took his fine figure of ,st4    
,michael1 and some other ideas4 ,it is  
reported that the scaffolds were1       
against his wish1 removed1 as he        
appeared to be never satisfied with     
retouching and bringing the work to his 
usual degree of finish4  ,from these two
 masters ,i now proceed to their        
disciples1 and shall annex1 also1 a few 

others1 who sprung from other schools4  
,pasinelli had the good fortune to      
inherit1 from ,canuti1 an excellent     
master1 a number of fine scholars1 on   
the latter quitting ,bologna4 ,one of   
these was ,gio4 ,antonio ,burrini1 who1 
while he retained his first master's    
manner1 became attached1 also1 to the   
composition of ,paolo1 so much to the   
taste of ,pasinelli4 ,indeed1 he himself
 appeared naturally inclined to it1 by  
the richness of his imagination1 and his
 surprising eagerness and industry in   
his works4 ,he devoted much time to     
,paolo ,veronese1 at ,venice1 often     
imitating him in those pictures which   
are referred to his first style4        
,distinguished among these is an        
,epiphany1 painted for the noble ,ratta 
family1 which yields to very few pieces 
in their collection4 ,he subsequently   
executed a martyrdom of ,s4 ,vittoria   
for the cathedral of ,mirandola1 in     
competition with ,gio4 ,gioseffo dal    
,sole2 who on beholding it so greatly   

superior to his own picture1 was        
bitterly mortified4 ,he was reassured1  
however1 by ,pasinelli1 their common    
master1 who predicted he would become a 
better artist than ,burrini1 whose own  
facility of genius would at length      
betray him into a mere practical line4  
,and this prediction was very exactly   
fulfilled1 though he continued upwards  
of fifteen years to paint with tolerable
 care1 both for the ,prince of          
,carignano at ,turin1 and at ,novellara4
 ,he in particular appeared to advantage
 as a fresco painter at ,bologna1 being 
by some termed the ,pier da ,cortona1 or
 the ,giordano of his school4 ,his      
fresco histories in the ,casa ,albergati
 are well deserving notice1 as are those
 in the ,alamandini and the ,bigami     
families1 with others produced in early 
youth4 ,impelled at length by the cares 
of an increasing family to look for     
greater profits1 he gave way by degrees 
to his facility of hand1 and formed a   
second style1 which1 owing to the       

indolence of human nature1 obtained more
 disciples than his first4  ,gio4       
,gioseffo dal ,sole1 on the contrary1   
burned to become each day more perfect1 
and raised himself to one of the first  
posts among the artists of his age4 ,he 
had constant commissions from noblemen1 
both native and foreign1 and received   
invitations also from the courts of     
,poland and of ,england4 ,for some time 
he preserved a style conforming to      
,pasinelli's2 and in order to improve it
 from the same sources he frequently    
returned to ,venice1 though he never    
attained to that degree of beauty1 in   
his more elegant subjects1 that formed  
the boast of his master4 ,in many       
particulars1 however1 he displays       
exquisite grace2 as in the hair and     
plumes of the angels1 and equally in the
 accessaries1 such as the veils1        
bracelets1 crowns1 and armour4 ,he seems
 to have been inclined also more than   
,pasinelli to treat powerful themes2    
more observant of costume1 more         

methodical in composition1 and more     
informed in point of architecture and   
landscape4 ,in these indeed he is almost
 unique2 and the most beautiful         
specimens1 perhaps1 are to be seen at   
the ,casa ,zappi in ,imola1 representing
 ,evening1 ,night1 and ,morning1 all    
very pleasingly distributed1 and with   
sober tints1 such as the subject        
required4 ,his other works display1 in  
most instances1 the most lovely play of 
vivid fluctuating light1 more especially
 in his holy pieces and celestial       
visions1 as we see in the ,st4 ,peter of
 ,alcantara1 at ,s4 ,angiolo in ,milan4 
,moreover1 he was more exact and        
polished than ,pasinelli2 not that he   
was by any means deficient in celerity  
in conducting his works1 but esteemed it
 unworthy of an upright character to    
confer upon them less perfection than he
 was capable of bestowing4 ,being       
employed at ,verona for the noble family
 of ,giusti1 where he left several      
mythological pieces and scriptural      

histories1 truly beautiful1 he completed
 one of ,bacchus and ,ariadne1 which    
artists pronounced excellent1 within a  
week4 ,yet he cancelled almost the      
whole1 to remodel it according to his   
own wish1 declaring that it was enough  
to have shewn his rapidity of hand to   
satisfy others1 but that it became his  
duty1 by additional accuracy1 to satisfy
 also himself4 ,hence his fresco at ,s4 
,biagio in ,bologna1 which is his       
greatest work1 cost him an infinite deal
 of labour in its completion2 and in    
conducting his altar-pieces1 few and    
valuable1 as well as in his private     
pictures1 which are very numerous1 he   
called for high remuneration1           
persevering in his determination to     
paint only with care4 ,in this artist1  
as many others1 two manners are         
observable1 of which the second partakes
 of ,guido ,reni's4 ,it is on record1   
that he became attached to it late in   
life1 and was less successful in it4 ,it
 appears to me that a large portion of  

his pictures nearly approach the taste  
of ,guido1 and that the surname of the  
modern ,guido1 conferred upon him by so 
many1 has not been granted as matter of 
favour1 nor at the expense of little    
time4  ,no artist of these times could  
boast more disciples than ,giangioseffo 
dal ,sole1 if we except ,solimene1 who  
was held by him in high esteem4 ,in     
order to study his paintings1 executed  
for the ,counts ,bonaccorsi1 ,dal ,sole 
went to ,macerata1 where he conducted a 
few works for the church of the         
,vergini1 and for the house of the said 
nobles4 ,i am uncertain if he derived   
from this visit that style of colouring1
 more attractive than natural1 such as  
we find it in some of his smaller       
pictures1 and in some ,bolognese artists
 who succeeded him4 ,from his school    
sprung ,felice ,torelli of ,verona1 and 
,lucia ,casalini1 his wife1 of a        
,bolognese family4 ,torelli came to it  
already instructed in the art1 acquired 
in his native place from ,sante         

,prunato1 whose taste he1 in a great    
measure1 preserved4 ,he became a painter
 of strong character1 fine chiaroscuro1 
and of no common merit in canvass       
paintings for altars4 ,these are found  
at ,rome1 ,turin1 ,milan1 and other     
cities of ,italy4 ,that of ,s4          
,vincenzio is most conspicuous1 in the  
act of freeing a female possessed1 at   
the ,domenicans of ,faenza2 a picture   
finely varied in the heads1 in the      
draperies1 and the attitudes4 ,lucia    
likewise painted for some churches1 as  
nearly as she could in her consort's    
style2 but her chief merit lay in       
portrait1 such as to obtain for her     
admission of her own in the royal       
gallery at ,florence4 ,another artist of
 her sex1 initiated in the art of design
 by ,sirani1 and in colouring by        
,taruffi and ,pasinelli1 received her   
last instructions from ,gioseffo dal    
,sole4 ,her name was ,teresa ,muratori  
,scannabecchi1 who was in the habit of  
painting a good deal by herself1 and    

with great credit4 ,assisted by her     
master1 she executed a picture of ,st4  
,benedict in the act of preserving the  
life of a child2 a very graceful        
production and of good effect1 exhibited
 in a chapel of ,s4 ,stefano4           
,francesco ,monti1 another pupil of the 
same school1 was endowed by nature with 
an enthusiasm for ample and copious     
subjects1 to which he applied himself   
without much previous culture1 either   
from imitation or from art4 ,he executed
 for the ,counts ,ranuzzi1 who          
patronised him1 a picture of the ,rape  
of the ,sabines2 and for the court of   
,turin the ,triumph of ,mardocheo2 works
 abounding with figures1 and highly     
extolled2 besides many other oil        
paintings for different collections and 
churches4 ,but his surpassing merit is  
to be sought for in his frescos1 and    
more particularly at ,brescia1 in which 
city he fixed his residence4 ,he also   
conducted many pieces for the adjacent  
places1 applauded for his fertile genius

 and his masterly style of colouring4 ,a
 number of churches and noble houses1   
such as the ,martinengo1 the ,avogadro1 
the ,barussi1 were also decorated by him
 on a very extended scale of painting4  
,some portraits1 too1 executed by his   
daughter ,eleonora1 who received        
constant commissions from the same      
nobility1 are held in high esteem4      
,gio4 ,batista ,grati and ,cesare       
,mazzoni remained at ,bologna1 and as   
belonging to the ,clementine            
,academicians who then flourished1 we   
meet with their lives in ,zanotti4      
,subsequent to their decease1 ,crespi   
was enabled to treat their memory with  
more fairness4 ,he praises the accuracy 
of the former1 and regrets his want of  
talent2 the second he pronounces a      
commendable artist1 observing that he   
was long employed at ,faenza1 ,turin1   
and ,rome1 as well as at ,bologna       
itself2 though not with good fortune4   
,antonio ,lunghi also flourished for the
 most part in foreign states2 at        

,venice1 in ,rome1 and the kingdom of   
,naples4 ,he returned1 at an advanced   
age1 to his native place1 where there is
 his picture of ,s4 ,rita at ,s4        
,bartolommeo1 and others in different   
churches1 which merited for their author
 some favourable consideration of       
,crespi4 ,yet he has omitted him1 for   
the purpose1 as ,i suppose1 of reserving
 him for the fourth volume of the       
,felsina ,pittrice4 ,it would be too    
much to attempt a complete sketch of    
,gio4 ,gioseffo's disciples who         
flourished in other schools1 such as    
,francesco ,pavona of ,udine1 a good    
painter in oil1 and better in crayons2  
superior in his large altar-pieces1 and 
still more in his portraits4 ,he        
afterwards studied at ,milan1 and thence
 proceeded to ,genoa2 next into ,spain1 
,portugal1 and ,germany1 being well     
received in all these courts2 after     
which he married and had a family at    
,dresden4 ,subsequently he returned to  
,bologna1 which he left in the course of

 a few years for ,venice1 where he      
shortly afterwards died4 ,francesco     
,comi also left ,bologna1 called il     
,fornaretto1#di and the ,mute of        
,verona1 being deprived both of speech  
and hearing4 ,nevertheless he was       
distinguished in the art1 and is        
commemorated by ,pozzo among the artists
 of his country1 and also by ,orlandi4  
,there are others1 of whom we make      
mention in almost every school4         
,footnote #di3 ,literally1 the little   
baker4  ,donato ,creti1 a cavalier of   
the gold spurs1 ranks as one of the most
 eminent of ,pasinelli's pupils1 and as 
the most attached to his manner2 though 
he was inclined to modify it with that  
of ,cantarini1 and of both composed a   
third1 sufficiently noble and graceful4 
,he would have made it still more free  
and original1 had he applied himself    
diligently in early youth2 which he     
omitted to do1 and carried his regrets  
for such omission down with him to the  
tomb4 ,his merit is impaired by his     

colouring1 which has in it something    
hard and crude2 entertaining a maxim1   
that tints1 such as they are in nature1 
ought to be employed1 and left to time  
for sobering and harmonizing--a maxim by
 some attributed to ,paul ,veronese4 ,if
 there were ever a painter who knew not 
when to remove his hand from the        
canvass1 it was ,creti4 ,in painting his
 ,s4 ,vincenzio1 intended to be placed  
opposite the ,s4 ,raimond of ,lodovico1 
he completed it with every attention to 
the art2 yet was dissatisfied with the  
work1 insomuch that the person who gave 
the commission was compelled to take it 
by force out of his studio1 in order to 
place it in the grand church of the     
,padri ,predicatori4 ,this is1 perhaps1 
his best altar-piece4 ,his ,alexander's 
,feast also boasts some merit1 executed 
for the noble ,fava family2 by some even
 it is supposed to be his masterpiece4  
,creti had a pupil1 named ,ercole       
,graziani1 who added greater power of   
execution to his master's style1 a more 

enlarged character1 greater freedom of  
hand1 with other qualities which display
 his superiority4 ,he approached        
,franceschini and others who succeeded  
to the school of ,cignani4 ,he has been 
accused by one of his rivals of too much
 effeminacy in his painting1 and study  
of minutiae in his ornaments4 ,others   
seek for a more just equality in his    
colours2 others more spirit2 though all 
must give him credit for genius and     
industry equal to compete with the      
eminent artists of his day1 and to      
surpass many1 had he enjoyed the good   
fortune to have met with an experienced 
master4 ,he painted for ,s4 ,pietro1    
that ,apostle in the act of ordaining   
,s4 ,apollinare2 a history both copious 
and full of dignity2 commissioned by the
 ,cardinal ,lambertini1 who1 on becoming
 pope1 caused him to make a duplicate   
for the church of ,s4 ,apollinare at    
,rome4 ,also his pictures of ,s4        
,pellegrino1 in ,sinigaglia1 the princes
 of the ,apostles1 who take leave1 with 

the most beautiful expression1 to meet  
their martyrdom1 placed at ,s4 ,pietro  
in ,piacenza1 with others belonging to  
his happier hours1 are equally          
excellent4 ,to ,creti and ,graziani we  
have to add ,count ,pietro ,fava1 in    
whose house both were1 during some time1
 brought up1 at once assistants and     
companions in the studies of this noble 
artist4 ,he is ranked among ,pasinelli's
 pupils and the ,clementine             
academicians2 and we have an account of 
his studying the works of the ,caracci1 
to whose manner1 equally with any other 
artist1 he became attached4 ,although   
the cavalier is described as a          
dilettante in the art1 yet on beholding 
his altar-pieces of the ,epiphany and of
 the ,resurrection of ,christ1 which he 
presented to the cathedral of ,ancona1  
with a few other productions at         
,bologna1 he appears more worthy of     
enrolment among its noble professors4   
,aureliano ,milani acquired the         
principles of painting from ,cesare     

,gennari and ,pasinelli2 but1 struck    
with the ,caracci's style1 he devoted   
his whole time to copying their         
compositions entire1 as well as         
separate1 repeating his designs of the  
heads1 the feet1 the hands1 and the     
outlines4 ,he caught their spirit1      
without borrowing their forms4 ,it is   
remarked by ,crespi1 that no ,bolognese 
shewed more of the ,caraccesque in the  
naked figure1 and in the whole symmetry 
and character of his painting4 ,after   
,cignani1 too1 ,i have heard it noticed1
 that no one better maintained the      
design and the credit of the school4 ,in
 colouring he was not so excellent2     
sometimes a follower of ,gennari1 as in 
his ,st4 ,jerome1 at the church of the  
,vita in ,bologna1 and in some degree in
 his ,st4 ,john beheaded1 at the church 
of the ,bergamaschi in ,rome4 ,here he  
took up his residence1 being ill able to
 support a family of ten children at    
,bologna4 ,here1 too1 he abounded with  
commissions1 and promoted with          

,muratori1 another pupil of ,pasinelli1 
established there from early youth1 the 
honour of his native place4 ,of the last
 one1 however1 we have treated under    
that school4  ,aureliano taught during  
many years at ,bologna1 and among other 
pupils of his was the celebrated        
,giuseppe ,marchesi1 called il ,sansone4
 ,he first studied under ,franceschini1 
whose taste he nearly approaches in the 
vaulted ceiling of the ,madonna di      
,galiera4 ,it is even the opinion of    
some1 that1 in his skill of             
foreshortening1 and in the tone of his  
colours1 no artist succeeded in         
imitating him so well4 ,he took his     
design from ,milani2 though at times his
 naked portion is rather too much       
loaded1 which ,i would not venture to   
say of his master4 ,among his best      
pictures is the ,martyrdom of ,s4       
,prisca1 in the ,rimini cathedral2 an   
altar-piece of many and fine figures1   
and good tints1 for which the ,s4       
,agnese of ,domenichino supplied him    

with some ideas4 ,he painted much for   
galleries1 and among other pieces1 one  
of his pictures representing the four   
seasons1 7where it now is ,i cannot     
say17 is reputed1 by a first rate judge1
 among the first works of the modern    
,bolognese school4  ,antonio ,gionima   
was some time also a pupil of ,milani4  
,he was a ,paduan of obscure birth1     
whose father and grandfather had been   
artists2 educated first by ,simone his  
father 7p4 #aga71 afterwards by ,milani1
 and for a longer period by ,crespi4 ,he
 died young1 leaving works highly prized
 at ,bologna for their inventive spirit 
and for the high tone and clearness of  
their colouring4 ,his picture of ,st4   
,florian and accompanying martyrs was   
engraved by ,mattioli2 and a grand      
canvass history of ,haman is shewn in   
the ,ranuzzi apartment1 conspicuous     
among numbers in the same place1 where  
no common artists gained admittance4    
,leaving aside certain other pupils of  
,pasinelli1 of less account1 as ,odoardo

 ,orlandi1 or ,girolamo ,negri1 who had 
a place1 however1 in the ,dictionary of 
,painters1 we shall close this catalogue
 with two others1 who1 becoming friends 
in the school of ,lorenzo1 continued    
their intimacy to extreme old age2      
,giuseppe ,gambarini and ,gian ,pietro  
,cavazzoni ,zanotti4 ,gambarini attended
 the studio of ,cesare ,gennari1 whose  
rapidity of touch and power of natural  
effect1 he afterwards retained4 ,he     
added no dignity of forms2 owing to     
which his few altar-pieces and other    
serious subjects obtained him no        
reputation4 ,applying himself           
subsequently to ,flemish composition1 he
 represented women intent on domestic   
affairs1 boys' schools1 mendicants      
begging alms1 with similar popular      
objects1 copied faithfully from life2 in
 all which he abounded with commissions4
 ,at ,bologna such familiar pieces by   
him and his able pupil ,gherardini are  
very common1 and please by their spirit 
and their exactness4 ,sometimes he      

represented also serious subjects1 as in
 that picture in ,casa ,ranuzzi1        
exhibiting the coronation of ,charles   
,v4 during the government of a          
,gonfalonier of the family4  ,zanotti is
 well known among the writers on        
pictoric subjects2 and few have been    
more successful in wielding with equal  
excellence both pencil and pen4 ,his    
,directions for the ,progress of young  
,artists contain some learned maxims1   
which were meant to stem the corruption 
of the art1 by rescuing it from a low   
mechanical manner1 and replacing it upon
 its true principles4 ,upon the same    
maxims he composed his ,history of the  
,clementine ,academy1 although he was   
not enabled to adopt corresponding      
freedom of style2 having there written  
the lives of the academicians1 then     
lately deceased1 or still alive4 ,this  
work1 printed by ,lelio dalla ,volpe1 in
 #agci1 with a splendor nearly unknown1 
up to that period1 in ,italy1 excited   
some degree of indignation in good      

artists1 who found1 next their own1 many
 names of mere mediocrity distinguished 
by portraits and lives1 on a footing    
with themselves4 ,the complaints raised 
by ,spagnuolo1 are recorded by the      
,canon ,crespi in his ,felsina1 7p4     
#bbg1 c474 ,other accusations were      
doubtless advanced against him by       
inferior parties1 who1 though commended 
beyond their merits1 secretly1 perhaps1 
believed themselves deserving of still  
higher praise4 ,zanotti1 too1 inserted  
notices relating to himself1 who held in
 that assembly the offices of president 
and of secretary1 for a much longer     
period4 ,but domestic and literary      
matters combined1 withdrew his attention
 from painting in his maturer years2    
whence we may date his more feeble      
performances1 which convey no great idea
 of him4 ,before1 however1 he had       
conducted works which exempted him from 
the pictoric crowd2 in which list we may
 include his grand picture of an        
,embassy from the ,people of ,romagna to

 the ,bolognese1 which ornaments the    
public palace4 ,in private houses1 too1 
are other compositions1 either          
historical or mythological1 composed in 
excellent taste1 one of which is in     
possession of the ,signore ,biancani    
,tazzi1 a piece greatly admired by      
,algarotti1 as a perfect model of       
refined taste4 ,a similar graceful      
little picture of a ,cupid and nymphs1  
which ,i saw at ,signor ,volpi's1       
displays much poetical imagination1 this
 artist delighting in poetical          
composition1 very different from        
,lomazzo's and ,boschini's1 to an       
extreme old age4#ej       ,footnote #ej3
 ,see ,lett4 ,pittor4 tom4 iv4 p4 #acf4 
,from ,zanotti1 who was an excellent    
master1 ,ercole ,lelli acquired his     
knowledge of design4 ,his extraordinary 
genius1 his anatomical preparations in  
wax1 made by himself and ,manzolini for 
the institution1 and his great influence
 in the instruction of young artists1 in
 the three branches of the fine arts1   

acquired him great reputation in ,italy4
 ,at the same time1 it is known that he 
lectured much better than he painted2   
the art requiring1 like a knowledge of  
languages1 close and persevering        
application1 such as ,lelli could not   
command4 ,one of his altar-pieces is    
reported in the ,bolognese ,guide2 and  
standing in need of defence1 it was     
truly stated1 that it was among his     
earliest pieces4 ,in the ,guide to      
,piacenza1 another1 his ,s4 ,fedele1 at 
the ,cappuccini1 is also noticed2 though
 it is added1 with more candour1 that   
his highest merit did not consist in    
painting4  ,gio4 ,viani was fellow-pupil
 to ,pasinelli in the school of ,torre2 
but it is only a conjecture that he was 
also his assistant4 ,he was a learned   
painter1 not inferior in design to any  
contemporary of the same school2 and    
added to his powers by assiduous drawing
 from the living model in the academy1  
and the study of anatomy1 until the     
close of his career4 ,to such knowledge 

he united elegance in his forms1        
softness of colouring1 engaging         
attitudes1 lightness of drapery1        
studying much from life1 and giving it  
an air of grace1 in the manner of       
,torre1 or of ,guido4 ,that exquisite   
picture of ,st4 ,john di ,dio1 at the   
hospital of the ,buonfratelli1 is such a
 specimen of his art4 ,in the portico of
 the ,servi he represented1 in a        
lunette1 ,s4 ,filippo ,benizi1 borne up 
to heaven by two angels2 a figure which1
 both in countenance and action1        
breathes an expression of beatitude1    
conspicuous1 even at the side of another
 history1 by ,cignani4 ,in other        
lunettes of the same portico he does not
 excite equal admiration1 and gives us  
an idea of an artist able to compete    
with the best masters1 but obliged to   
work with a much larger share of study  
than they were accustomed to bestow4    
,viani opened school opposite that of   
,cignani1 and taught to some extent2 in 
which he was succeeded by his son       

,domenico1 whose life was written by    
,guidalotti1 who1 in point of merit1    
prefers him to his father4 ,few will    
subscribe to this opinion1 he not having
 attained to that exactness1 much less  
to that dignity of design1 exhibited by 
his father2 and inferior to him in the  
nature1 truth1 and clearness of his     
colouring4 ,still he possessed a grander
 character in his outline1 a stronger   
execution1 like ,guercino's1 more       
splendid ornaments1 like the ,venetians1
 whom he assiduously studied in their   
own capital4 ,there is his ,st4 ,antony1
 at ,s4 ,spirito1 in ,bergamo1 in the   
act of convincing a sceptic by a        
miracle2 a surprising picture1 extolled 
by ,rotari and ,tiepolo1 and perhaps the
 best work which he left at ,bologna4   
,at the same place is his ,jove1 painted
 on copper1 for the ,casa ,ratta1       
besides other works in private houses1  
to which he chiefly devoted himself4    
,his fellow-pupils in the paternal      
school were four ,clementine            

academicians1 whose altar-pieces we find
 mentioned among the ,paintings of      
,bologna4 ,these were ,gian ,girolamo   
,bonesi1 who renounced both the name and
 style of ,viani1 in order to follow    
,cignani1 and complained of being       
included in ,viani's school4 ,however   
this might be1 his pictures pleased1 by 
adding to the beautiful a peculiar      
delicacy and sweetness that characterize
 him4 ,carlo ,rambaldi1 imitating both  
the ,viani1 was not the less employed by
 ,bonesi2 and pictures of both are met  
with1 especially half-length figures1 in
 select galleries at ,bologna1 and a few
 historical pieces in the royal         
collection at ,turin4 ,antonio ,dardani 
possessed more universal talent than    
either of the preceding1 but was not    
equally refined4 ,pietro ,cavazzi was a 
fine connoisseur in prints1 and only on 
this account was celebrated in ,italy   
and abroad4 ,tronchi1 ,pancaldi1        
,montanari1 with others1 not admitted   
into the ,clementine academy1 may be    

found mentioned in ,crespi4 ,no one1 ,i 
imagine1 would desire an account of the 
under graduates1 when the academicians  
who enjoyed the first rank1 were many of
 them1 according to ,zanotti1 only      
artists of mediocrity4  ,from the school
 of ,cignani1 to which ,i now proceed1  
scarcely any disciple issued who        
ultimately adhered to his style4 ,a     
master1 whose maxim it was to labour    
every picture1 as if his entire         
reputation depended on it2 who preferred
 to cancel1 rather than retouch his less
 successful pieces1 might1 perhaps1 have
 scholars1 but not many emulators4 ,two 
of his family1 however1 imitated him2   
,count ,felice his son1 who long        
assisted him1 particularly in the       
,cupola at ,forli2 and the ,count ,paolo
 his grandson1 whom he1 perhaps1        
instructed in the outset2 while his     
father indisputably employed him at     
,forli1 and ,mancini at ,rome4 ,both    
were gifted with facility of genius2 but
 being sufficiently wealthy1 they only  

devoted themselves to the art for the   
sake of the pleasure it afforded4       
,felice is seldom mentioned in the      
,guide to ,bologna2 in which1 however1  
his ,st4 ,antony1 at the ,carita1 meets 
with praise4 ,at ,forli is the          
altar-piece of ,st4 ,philip1 by some    
ascribed to him1 and by others to ,count
 ,carlo1 in his declining years2 so     
inferior is it to the best style of that
 artist4 ,in collections his paintings  
are not rare2 though appearing1 like a  
young boy in the presence of his father4
 ,of ,count ,paolo's ,i only recollect a
 single altar-piece at ,savignano1      
representing ,st4 ,francis in the act of
 appearing to ,st4 ,joseph da           
,copertino1 and putting a demon to      
flight4 ,the scene appears illuminated  
by torch-light1 and has a fine effect2  
and the figures1 in regard to their     
studied and finished manner1 display the
 taste of his grandfather4  ,after the  
relatives of ,carlo comes ,emilio       
,taruffi1 his fellow-pupil with ,albani1

 as well as his assistant1 first at     
,bologna1 in decorating the public hall1
 and next at ,rome1 where he resided    
three years1 sometimes employed at ,s4  
,andrea della ,valle1 at others for     
private houses4 ,no artist then better  
conformed to ,cignani's style2 and      
,taruffi could at least second him in   
painting histories4 ,but his genius lay 
more in minor compositions4 ,he was an  
excellent copyist of any ancient manner2
 a portrait painter of great spirit1    
and1 in landscape1 one of the best      
pupils formed by ,albani4 ,in these     
three branches he obtained his usual    
commissions1 which he ever discharged   
with credit4 ,he also conducted some    
altar-pieces1 and that of ,s4 ,pier     
,celestino1 at the church of that name1 
yields to few of the same period4       
,cignani's most distinguished pupils and
 heads of new schools were ,franceschini
 and ,crespi4 ,the ,cav4 ,marcantonio   
,franceschini left the school of ,gio4  
,batista ,galli for that of ,cignani1   

and became his most effective assistant 
and intimate friend4 ,this friendship   
was cemented by his union with          
,cignani's cousin1 sister of ,quaini1   
whom ,i shall shortly again mention4    
,some productions of ,franceschini might
 be taken for ,cignani's himself2 but   
these were among his earliest1 before he
 had formed his characteristic manner4  
,he remained with his friend many years1
 and possessing peculiar gracefulness of
 design1 ,cignani availed himself of it 
to draw from life the individual        
portions of his compositions1 engaging  
him to consult various models1 in order 
to select the best forms from each4 ,by 
this study of nature1 in which he       
persevered1 and by copying from the     
designs and under the eye of his master1
 he attained much of the taste1 the nice
 selectness1 and the grandeur of        
,cignani4 ,to these he added a certain  
grace of colouring1 and a facility which
 gave a novel character to his          
productions2 besides an originality1    

equal to any other artist1 in the form  
of his heads1 in his attitudes1 and in  
the costume of his figures4 ,his        
freshness1 his harmony1 his just        
equilibrium of full and retreating      
parts2 in short1 his whole style        
presents a glowing spectacle never      
before seen4 ,if we trace in his works1 
especially on an extended scale1 a      
degree of mannerism1 it may almost be   
excused3 would that his disciples had   
restrained themselves within the same   
limits6 ,but easy roads to painting are 
like walking on a declivity1 where it is
 difficult to count one's steps1 or     
restrain one's motions4 ,franceschini   
seemed born to execute works on a large 
scale1 fertile in ideas1 and with       
facility to dispose them in every point 
of view1 and to colour them at any      
distance4 ,he was accustomed to compose 
his cartoons in chiaroscuro1 and1 having
 fixed them in the intended spot1 to    
judge of the success of his proposed    
work2 a method it would be desirable to 

inculcate and adopt more generally4     
,his large fresco paintings are         
numerous2 the recess in the ,ranuzzi    
palace1 the cupola and ceiling in the   
church of ,corpus ,domini1 the tribune  
of ,s4 ,bartolommeo at ,bologna4 ,among 
those in other states we shall mention  
only the corbels of the cupola1 with    
three histories1 in the cathedral of    
,piacenza1 and the grand ceiling of the 
,hall of ,public ,counsel at ,genoa4    
,this painting1 of which it is enough to
 state that ,mengs devoted many hours in
 examining it in detail1 the noblest of 
,franceschini's performances1 perished  
by fire1 without a single engraving     
having been taken to commemorate its    
grandeur of conception4 ,the same       
fertility of ideas and attraction of    
style are conspicuous in his grand      
histories1 dispersed among the first    
galleries of ,europe1 and in his no less
 copious altar-pieces4 ,such is the ,s4 
,tommaso da ,villanova1 in the act of   
dispensing alms1 placed at the          

,agostiniani di ,rimini2 a picture truly
 imposing by its magnificent            
workmanship1 and which surprises by the 
beauty of its figures4 ,what is equally 
surprising1 the ,cavalier ,franceschini1
 when nearly an octogenarian1 displayed 
pictorial powers equal to his best days2
 as we gather from his ,pieta1 at the   
,agostiniani of ,imola1 and his ,,bb4   
,fondatori1 at the ,serviti in ,bologna1
 which betray no traces of decline4     
,this artist rejected the most          
advantageous offers from courts1 which  
all vied in soliciting his services4    
,giordano even was not invited to that  
of ,madrid1 until the situation had been
 refused by ,franceschini4 ,he chose to 
reside in ,upper ,italy1 there assuming 
the same rank1 as head of his school1   
with almost the same success as ,cortona
 in ,lower ,italy4 ,both schools adhered
 much to the ,caracci's style1 and in   
some measure rendered it more popular2  
and hence1 those who at ,rome are not   
familiar with the features and contrasts

 characteristic of ,cortona's sect1     
would easily confound them with the more
 modern artists of ,bologna4  ,luigi    
,quaini1 cousin to ,carlo ,cignani1 and 
brother-in-law to ,franceschini1 was one
 of the most animated characters of his 
time2 equally well versed in history1 in
 architecture1 and in poetry4 ,the      
pupil1 first of ,guercino1 next of      
,cignani1 he was employed by the last as
 an assistant1 and with such success1   
that1 in painting1 his hand could not be
 distinguished from that of his master4 
,in distributing their labours to       
,franceschini and to ,quaini1 he ordered
 the former to paint the fleshes for the
 roundness and softness he gave to them2
 while to the latter he committed       
certain gay and spirited countenances1  
and a certain finishing of parts1 in    
which1 from his peculiar talent1 he     
admirably succeeded4 ,later in life1 he 
united with ,franceschini1 and leaving  
to him the inventive parts1 he followed 
him in the style of the figures2        

inferior1 doubtless1 to that of         
,cignani1 in force of chiaroscuro and   
colouring1 but more attractive from its 
peculiar beauty and felicity4 ,he would1
 afterwards1 wholly ornament the        
composition by himself1 with flowers1   
armour1 beautiful landscape1 and noble  
perspective2 an art acquired from       
,francesco1 his own father1 a fine pupil
 of ,mitelli4 ,in this way did these two
 artists continue to paint1 conjointly1 
at ,bologna1 at ,modena1 ,piacenza1     
,genoa1 and ,rome2 at which last place  
they composed some cartoons for the     
cupola of ,st4 ,peter's1 which were     
afterwards executed in mosaic4 ,quaini  
also painted many historical pictures of
 his own invention4 ,they decorate      
private houses2 his only composition in 
public being his ,st4 ,nicholas visited 
in prison by our ,lady1 a beautiful     
altar-piece1 occupying the best place in
 the church of that name4               
,marcantonio's school1 from which he    
also derived those assistants who       

followed ,quaini1 dates its commencement
 from his son1 the ,canon ,jacopo       
,franceschini4 ,the ,bolognese          
historians only represent him in the    
character of an honorary academician2 so
 that1 by their account1 ,i ought here  
to omit him4 ,the ,cav4 ,ratti1 however1
 informs us that ,marcantonio1 coming to
 ,genoa to adorn the church of ,s4      
,filippo1 brought with him his son as   
his assistant1 together with ,giacomo   
,boni4 ,in the same city1 too1 ,i saw a 
large history1 in the hall of the       
,marchese ,durazzo1 as well as other    
pieces by him1 well worthy commendation4
 ,at ,bologna1 also1 are several        
paintings in public1 all conducted in   
the style1 and with the assistance of   
his father4  ,boni was employed by      
,franceschini in many of his works1 more
 particularly in that at ,rome4 ,he had 
been pupil also to ,cignani1 along with 
a few more1 to be mentioned in the same 
school2 under whose care he chiefly had 
in view works of a more difficult cast4 

,such was the ceiling of ,s4 ,maria     
della ,costa1 at ,s4 ,remo1 and of ,s4  
,pier ,celestino1 at ,bologna2 besides  
several paintings at ,genoa1 where he   
became established4 ,two of his         
pictures1 at the church of the          
,magdalen1 met with great applause2     
namely1 a ,preaching at ,gethsemane1 and
 a ,pieta4 ,he more particularly        
distinguished himself in fresco2 and in 
a chamber of his ,excel4 ,pallavicini is
 an infant ,jove1 in the act of         
receiving nutriment from a goat1        
executed in the most elegant style4 ,he 
was much employed in that capital1      
where1 says ,crespi1 there is neither   
palace1 nor church1 nor monastery1 nor  
house1 in which his works are not met   
with2 all striking and commendable4 ,nor
 did he produce little at ,brescia1 at  
,parma1 and at ,remo2 besides being     
honoured with commissions from ,prince  
,eugene of ,savoy1 and the ,king of     
,spain1 for whose chapel he forwarded an
 altar-piece4 ,this artist sometimes    

betrays the haste of a mere mechanist1  
not completing fully1 or polishing his  
work2 besides colouring with a degree of
 lightness of hand which easily yields  
to age4 ,yet he always retains a        
delicacy and a precision in his         
contours1 with a certain open spirit and
 joyousness which delight the eye4      
,antonio ,rossi never conducted works on
 so large a scale as ,boni1 but he      
surpassed him in diligence2 which       
induced his master1 when entrusting     
commissions to his pupils1 to prefer him
 to any other4 ,he exercised himself in 
painting pictures for churches1 and     
greatly added to his reputation by his  
,martyrdom of ,s4 ,andrea1 placed at ,s4
 ,domenico4 ,he was much occupied1 also1
 with architectural pictures and        
landscape1 to which he added small      
figures1 so well adapted as to appear by
 the same hand4 ,on this account he was 
an artist much liked by the artificers  
of similar representations1 particularly
 by ,orlandi and ,brizzi4 ,girolamo     

,gatti was less employed for churches   
than ,rossi1 but is distinguished for   
small figure pieces1 with one of which  
he decorated the hall of the ,anziani4  
,it exhibited the coronation of ,charles
 ,v4 in ,s4 ,petronio1 and shewed the   
artist to be as good a figurist as a    
painter of perspective4 ,although       
educated by ,franceschini1 as we learn  
from the new ,guide1 he did not imitate 
his colouring3 this he sought to attain 
from ,cignani4 ,giuseppe ,pedretti long 
resided in ,poland2 and on his return to
 ,bologna executed a number of works in 
a good style4 ,giacinto ,garofolini1 a  
pupil and kinsman of ,marcantonio1      
displayed very middling ability when    
employed alone2 but in conjunction with 
his relative1 and with ,boni1 he        
conducted various works in fresco1 from 
which he is entitled to what reputation 
he obtained4 ,to these ,bolognese       
artists and academicians various        
foreigners might be added1 as one       
,gaetano ,frattini1 known at ,ravenna by

 some altar-pieces at the ,corpus       
,domini1 and a few others whom we have  
referred to different schools4 ,we shall
 now return to that of ,cignani4        
,giuseppe ,maria ,crespi1 whom for his  
neatness of attire his fellow pupils    
surnamed ,lo ,spagnuolo1 was instructed 
first by ,canuti1 next by ,cignani2     
being early grounded in the best        
principles of taste4 ,with unwearied    
assiduity he copied the ,caracci        
paintings at ,bologna2 and at his       
leisure studied those of the first      
,venetians in that capital4 ,he         
examined1 too1 ,coreggio's at ,modena   
and ,parma1 and long sojourned in       
,urbino and ,pesaro to consult the works
 of ,baroccio4 ,some of these he copied1
 and sold at ,bologna for the originals4
 ,his object invariably was1 to form a  
new manner out of many others1 which he 
accomplished2 at some times ,baroccio   
would be his most admired model2 at     
another1 when he wished to employ more  
shade1 he chose ,guercino2 nor did he   

dislike ,cortona in respect to taste of 
composition4 ,to the examples1 too1 of  
the dead1 he added the observation of   
the living2 and was averse1 if we may   
credit his son1 to the labours of a mere
 mechanist4 ,he drew every thing from   
nature1 and even had a camera optica in 
his house1 from which he copied the     
objects that offered themselves to view1
 and remarked the various play and      
picturesque reflections of the vivid    
light4 ,his compositions1 indeed1 teem  
with these novelties1 and his           
shortenings also are as singular2 so    
that he often places a number of figures
 in a small space1 while the conceptions
 which he interweaves in his pictures1  
are more peculiarly fanciful4  ,this    
turn for novelty at length led his fine 
genius astray2 insomuch that ,mengs is  
brought to lament that the ,bolognese   
,school should approach its close in the
 capricious ,crespi1 7vol4 ii4 p4 #abd74
 ,in his heroic pieces1 and even in     
scriptural subjects1 he left room       

occasionally for caricature4 ,wishing to
 exhibit novelty in his shadows and in  
his draperies he fell into mannerism2   
and varying his first method of         
colouring similar to the old painters1  
he adopted another more lucrative but   
less excellent4 ,it consists of few     
colours1 selected chiefly for effect1   
and very common and oily2 gums applied  
by him to colouring1 as other artists   
use them for a veil1 or varnish2 few    
strokes1 employed indeed with judgment1 
but too superficial and without strength
 or body4 ,such was the method which we 
see pursued in so many of his pictures2 
or to speak more correctly1 which are no
 longer to be seen1 the tints having    
decayed or disappeared1 so as to require
 them to be newly copied by another     
hand4 ,his son did not attempt to       
conceal this fault1 though he wished to 
excuse it4 ,the reader may peruse the   
defence in his ,felsina ,pittrice1 p4   
#bbe2 and should he feel convinced by   
it1 with similar benignity he may       

apologize for ,piazzetta1 who acquired  
his method of colouring from ,crespi2   
with others who more or less pursued the
 same practice1 at this period extinct4 
,as a specimen of his more solid style1 
the picture of the ,,bb4 ,fondatori1 at 
the church of the ,servi1 appears to    
much advantage2 our ,lord's ,supper1    
also1 in ,casa ,sampieri2 a few pieces  
in the royal ,pitti palace1 where he was
 long employed by the great ,prince     
,ferdinando2 besides a few other of his 
first productions4 ,in his other style  
are various pictures conducted for the  
galleries of the ,roman nobility2 the   
,,ss4 ,paolo and ,antonio as eremites1  
for the ,princes ,albani2 the ,magdalen 
for the ,chigi palace2 the ,seven       
,sacraments for the ,card4 ,ottoboni1 of
 which ,i have seen copies in the       
,albani palace at ,urbino4 ,the whole of
 these seven pictures display certain   
bold coruscations and contrasts which   
dazzle the eye2 all shew novelty of     
idea2 in particular that of the         

,spousals between a young girl and an   
octogenarian1 to the visible mirth of   
the spectators4 ,spagnuolo lived to     
advanced age1 honoured by the pope with 
the insignia of cavaliere1 esteemed     
among the first of his age1 while his   
paintings everywhere abounded4          
,different houses1 both in and beyond   
,bologna1 possess them in great number2 
histories1 fables1 and familiar pieces4 
,he received most part of his           
commissions from the ,signori ,belloni1 
who decorated various chambers with his 
historical pieces1 remunerating him with
 one hundred crowns each1 though they   
contained but few figures1 and all of an
 ell's length4  ,spagnuolo's manner was 
not one that could be pursued by every  
pupil with applause4 ,those artists who 
were unable to direct it with equal     
imagination1 power of design1 spirit and
 facility1 produced very trifling       
results4 ,even his own sons1 ,d4 ,luigi 
the canon1 and ,antonio1 who painted for
 various churches1 did not wholly follow

 their father's style1 but appear       
invariably more studied4 ,the canon     
wrote much upon the art1 as the lives of
 the ,bolognese artists1 or the third   
volume of the ,felsina ,pittrice1 edited
 in #agfi2 notices of the painters of   
,ferrara and ,romagna1 still            
unpublished2 various treatises2 with    
numerous letters inserted by ,bottari in
 the pictoric collection4 ,to few of his
 age is the history of painting so much 
indebted1 although in certain national  
subjects he failed to satisfy the whole 
of his fellow citizens4 ,the authors of 
the new ,guide of ,bologna require from 
him more diligence in examining         
documents2 greater fidelity as a public 
instructor2 more justice to the real    
merit of ,ercole ,lelli4 ,the four      
dialogues in defence of his ,felsina    
,pittrice1 written by a friend1 were    
published by ,bottari in the seventh    
volume of the work just cited1 and are  
worth perusal4 ,in the same volume 7p4  
#adc7 we also meet with a letter of     

,crespi1 in which he confesses his      
different errors1 declaring that he     
would correct them in the fourth volume 
of his ,felsina1 which he was then      
composing1 and which ,i am uncertain    
whether he ever completed4 ,from these  
notices we gather1 that1 notwithstanding
 his violent temper1 he was not wanting 
in fidelity as an historian1 and in that
 readiness to retract his own errors1   
without which none can pretend to       
maintain the true literary or historical
 character4  ,for the rest1 he must have
 afforded occasion for those clamours   
against his ,felsina and other writings 
by some satirical strokes1 which are    
assuredly severe1 accompanied by many   
personal reflections on his             
contemporaries4 ,concerning that very   
respectable academy he relates some     
observations of his deceased father1    
which had better have been consigned to 
oblivion4 ,he disapproves the methods   
introduced into his school1 and laments1
 that owing to the failure of good      

masters1 ,bologna was no longer         
frequented as formerly by students4 ,he 
detects1 too1 certain little impositions
 introduced into the art2 such for      
instance as displaying in the studio a  
number of pictures prepared for         
colouring1 to convey an idea of         
possessing abundance of commissions2    
pronouncing in a breath a number of     
anatomical terms on the bones and       
muscles1 to inspire a high opinion of   
the artist's learning2 publishing       
eulogiums on some particular painting in
 an article of the day1 which only the  
artist himself could have conceived1 and
 written1 paid for1 and believed to be  
true4 ,such1 or similar details1 which  
must have sufficed to recognize         
particular individuals1 doubtless       
provoked many replies from persons not  
publicly known1 as the author gave no   
contemporary names1 but deeply offended 
and provoked to retaliate upon him4     
,among the pupils of ,crespi was        
,gionima1 who survived only1 as ,i have 

stated1 to his thirty-fifth year4 ,nor  
did ,cristoforo ,terzi reach a much more
 advanced age1 the pupil also of        
different masters4 ,from his outset he  
boasted a decision of hand1 able to     
sketch at few strokes very spirited     
heads1 which1 however1 by dint of       
excessive retouching1 he deprived of    
much of their expression4 ,this defect  
he remedied under ,crespi1 and improved 
himself by residing several years at    
,rome4 ,many collections at ,bologna    
possess some of his half-length figures 
and heads of old men1 which are mistaken
 by less experienced judges for those of
 ,lana4 ,in the list of ,crespi's       
pupils1 too1 are ,giacomo ,pavia of     
,bologna1 who flourished in ,spain2     
,gio4 ,morini d',imola2 ,pier           
,guarienti1 a ,veronese1 who flourished 
at ,venice1 and was afterwards appointed
 director of the ,dresden gallery2 and  
the same who wrote the additions to     
,orlandi's dictionary4 ,francesco       
l',ange of ,savoy1 a pupil of ,crespi1  

became a ,philippine monk at ,bologna4  
,his chief merit lay in small scriptural
 pictures1 some of which ,i saw in      
,vercelli1 in possession of his         
,eminence ,martiniana1 bearing the      
author's name1 and quite deserving1 by  
their design and colouring1 of a place  
in that collection4  ,besides           
,franceschini and ,crespi1 many others  
were educated by ,cignani4 ,their names 
have been given by ,zannelli1 who       
published their lives2 a book ,i have   
vainly endeavoured to obtain while      
engaged in writing the present work4 ,by
 ,crespi we have an account of some     
pupils whom he instructed in perspective
 and landscape1 as well as in flowers2  
this skilful preceptor being accustomed 
to ascertain the young artists' talents1
 and confine them to the inferior1 when 
not competent to the higher branches of 
art1 and even to direct them to other   
professions when unequal to these4 ,such
 pupils as he retained1 ought not1 then1
 to be lightly contemned1 although      

little celebrated1 either because they  
died young1 were dispersed abroad1 or   
obscured by brighter names4 ,among such 
are ,baldassare ,bigatti1 ,domenico     
,galeazzi1 ,pietro ,minelli1 known in   
history by a few altar-pieces4 ,matteo  
,zamboni died young1 leaving in some    
private houses a few specimens of his   
works1 as much in ,cignani's style as   
those of any artist4 ,i am uncertain    
what public works he conducted in       
,bologna2 but he acquitted himself well1
 for his age1 in two histories at ,s4   
,niccolo in ,rimini2 the one            
representing ,st4 ,benedict1 the other  
,s4 ,pier ,celestino4 ,antonio          
,castellani is included by ,guarienti in
 the school of ,cignani1 though ,i think
 by mistake1 as he belongs to that of   
the ,caracci4 ,not so ,giulio ,benzi1   
also mentioned in the ,guide of         
,bologna1 and to be distinguished from  
the ,genoese of that name4 ,i may       
observe the same of ,guido ,signorini1  
recorded by ,crespi1 and not to be      

confounded with another ,guido          
,signorini1 heir to ,guido ,reni4 ,so   
far of the artists of ,bologna4         
,federigo ,bencovich was a foreigner of 
a ,dalmatian family1 and ,i give his    
name as he himself wrote it4#ea ,in the 
,dictionaries it is spelt ,boncorich and
 ,bendonich2 and by ,zannelli1          
,benconich2 so that foreigners may be   
well excused for often mistaking the    
names of ,italian painters4 ,federigo1  
commonly called in his own time1        
,federighetto1 acquired more of         
,cignani's solidity than amenity of     
style2 correct in his design1 strong in 
his execution1 and well informed in the 
best principles of his art4 ,some of his
 altar-pieces are at ,milan1 ,bologna1  
and ,venice2 though most of his         
productions adorn collections1 even in  
,germany1 where he resided many years4  
,in that of the ,signori ,vianelli of   
,chioggia1 mention is made of his ,s4   
,jacopo ,sedente2 and in another        
collection1 of ,count ,algarotti1 at    

,venice1 his landscape1 with a village  
girl1 to which ,piazzetta added another 
figure4 ,occasionally1 his manner is    
somewhat too much loaded with shadows1  
but by no means to be pronounced        
contemptible1 as asserted by ,zanetti1  
7p4 #dej7 in opposition to the opinion  
of ,guarienti4       ,footnote #ea3 ,in 
his two letters1 directed to ,rosalba   
,carriera4 ,see ,catalogue of the       
deceased ,canon ,vianelli's             
,collection1 7p4 #cd74 ,this artist also
 published a ,diary1      in #agbj and  
#agba1 written at ,paris by the same    
lady2 in      which she notices her own 
works1 her remuneration1 and            
honours4 ,it is accompanied by learned  
notes4 ,i have recently      received   
notice of the work1 which causes me to  
mention it      in this school4         
,girolamo ,donnini also resided out of  
his country2 born at ,coreggio1 he lived
 at ,bologna2 and being inclined to that
 school1 was first treated of by        
,crespi1 next by ,tiraboschi4 ,he had   

studied under ,stringa at ,modena1 and  
under ,giangioseffo dal ,sole at        
,bologna4 ,thence he went to ,forli1 at 
the instigation of ,cignani1 not so much
 to become a machinist and a painter in 
fresco1 as in order to treat less       
difficult subjects in oil4 ,his chief   
merit lay in painting for private       
ornament1 and ,orlandi1 then living1    
bore testimony that his pictures were   
held in high request for the decoration 
of houses4 ,he excelled also on a larger
 scale2 one of his altar-pieces of ,s4  
,antonio1 at the ,filippini in ,bologna1
 being conducted in a very masterly     
style2 as well as others1 dispersed     
about ,romagna1 at ,turin1 in his native
 place1 and elsewhere1 the manner of    
which1 as is remarked by ,crespi1       
clearly displays the hand of ,cignani's 
disciple4 ,a favourite pupil of         
,donnini1 and whom he assisted in a     
variety of circumstances1 was ,francesco
 ,boni1 termed also il ,gobbino#eb de'  
,sinibaldi1 from being in the service of

 those lords4 ,he was from ,faenza1 and 
left several good pictures in his native
 place2 among others1 a ,s4 ,teresa1    
with ,s4 ,gio4 della ,croce1 at the     
,carmelitani2 a ,noli me tangere1 and   
the ,meeting of ,s4 ,domenico and ,s4   
,francesco1 in the church which formerly
 belonged to the ,domenicans4 ,pietro   
,donzelli1 of ,mantua1 placed an        
altar-piece in the cathedral of ,pescia1
 in which he represented ,s4 ,carlo     
administering to the sick of the plague1
 displaying the style of a pupil of     
,cignani2 and this constitutes all the  
information ,i could obtain respecting  
him4       ,footnote #eb3 ,gobbino1 the 
little hunch-back4  ,the other foreign  
pupils of the ,cav4 ,carlo1 who diffused
 his manner through the ,italian        
schools1 are commemorated in the places 
where they flourished2 as ,lamberti1 for
 instance1 at ,rome1 and ,parolini at   
,ferrara4 ,here ,i shall add a brief    
sketch of the artists of ,romagna1 whom 
,i unite to those of ,bologna4 ,antonio 

,santi was an ,ariminese1 whose school  
only is mentioned by ,crespi2 but in the
 ,guide of ,rimini1 where a few of his  
works remain1 he is extolled as one of  
its best pupils1 though he died young4  
,the same ,guide makes mention of some  
paintings in oil and fresco1            
particularly in the church of the       
,angioli1 attributed to ,angiolo        
,sarzetti1 pupil to ,cignani2 from whom1
 also1 he obtained a design for an      
altar-piece at ,s4 ,colomba4 ,innocenzio
 ,monti is included by ,crespi among the
 ,bolognese1 and by ,orlandi among the  
painters of ,imola1 where he left some  
works4 ,one1 of the ,circumcision of our
 ,lord1 at the ,gesu of ,mirandola1     
executed in #afij1 is extolled in a     
little book of poems4 ,he was more      
industrious than ingenious1 and more    
successful in ,germany and in ,poland   
than in ,italy4 ,gioseffo ,maria        
,bartolini1 also of ,imola1 is esteemed1
 in his native place1 for a ,miracle of 
,s4 ,biagio1 and for other works at ,s4 

,domenico1 and in other churches4 ,he   
was employed a good deal at ,imola1     
where he opened school1 and throughout  
,romagna2 an artist of great facility1  
and partaking1 in some degree1 of the   
manner of ,pasinelli1 his first master4 
,the artists of ,forli1 among whom      
,cignani lived during some years1 are   
not a few4 ,filippo ,pasquali was       
colleague to ,franceschini1 whose grand 
altar-piece at ,rimini he surrounded    
with a very pleasing ornament4 ,some of 
his earliest efforts are met with in    
,bologna1 at the portico of the         
,serviti2 but not equal to the          
altar-piece in the church of ,s4        
,vittore at ,ravenna1 which he painted  
at a more advanced age1 and which does  
him great credit4 ,andrea and ,francesco
 ,bondi1 two brothers1 are recorded by  
,guarienti2 though1 in the ,guides of   
,pesaro and ,ravenna only one is alluded
 to1 whose name is not given2 and what  
pieces ,i saw at ,forli itself would    
seem to have proceeded from one hand2   

such as the chapel of ,s4 ,antonio1 at  
the ,carmelites1 the ,crucifixion at ,s4
 ,filippo1 besides others4 ,he boasts   
the fine execution of ,cignani2 but the 
forms and expressions are not equally   
select4 ,among other artists of ,forli1 
instructed by ,cignani1 was the priest  
,sebastiano ,savorelli1 employed in some
 church paintings even in the adjacent  
cities4 ,to him we may add ,mauro       
,malducci1 and ,francesco ,fiorentini1  
both priests1 too1 of ,forli2 of all of 
whom there is found some account in the 
life of ,cignani4  ,under the ,roman    
,school we treated of ,francesco        
,mancini1 from ,s4 ,angelo in ,vado1    
who1 along with ,agostino ,castellacci1 
from ,pesaro1 was instructed by         
,cignani2 both nearly contiguous to     
,romagna1 but of unequal powers4        
,agostino is little known1 even in his  
own state2 but ,mancini was celebrated  
throughout ,lower1 as much as           
,franceschini in ,upper ,italy2 and he  
also educated several artists for the   

countries adjacent to ,romagna4         
,sebastian ,ceccarini was ,mancini's    
pupil1 born at ,urbino1 and often       
mentioned in the ,guide of ,rome1 where1
 in the time of ,clement ,,xii41 he     
painted the altar-piece for the ,swiss  
chapel at the ,quirinal4 ,he is more    
known1 however1 at ,fano1 where he was  
established1 and long continued to live1
 with a handsome salary from that city4 
,there he appears an artist of various  
styles1 who would have shone little     
inferior to his master1 had he always   
adhered to his best manner4 ,his ,s4    
,lucia1 at the ,agostiniani1 and        
different sacred histories1 in the      
public palace at ,fano1 display many    
fine imitations1 strong chiaroscuro1 and
 well-varied tints4  ,the ,canon ,gio4  
,andrea ,lazzarini1 from ,pesaro1 also  
acquired his knowledge from ,mancini4   
,he was both a good poet and prose      
writer1 and truly well informed in      
sacred and profane literature4 ,few     
,italian writers can compare with him in

 treating pictoric subjects4 ,his       
,account of the ,paintings in the       
,cathedral at ,osimo1#ec and            
particularly1 his ,catalogue of the     
,pictures in the ,churches at ,pesaro1  
cited by us elsewhere1 afford ample     
proofs of his superiority1 no less than 
those brief ,observations on the best   
works there met with1 and that very full
 ,dissertation upon the ,art of         
,painting1 that has been often          
republished4 ,it relates wholly to the  
branch of invention2 and he has other   
unedited works of equal merit1 on       
,composition1 on ,design1 on ,colouring1
 and on ,costume1 which were read in the
 academy of ,pesaro1 as early as #agec4 
,these embrace a true course of         
painting1 an art which he taught        
gratuitously in his native place4#ed    
,count ,algarotti1 in drawing up his    
,essay on ,painting1 both read and      
profited by them1 as ,i heard1 at least1
 from ,lazzarini2 and as the ,count1    
indeed1 candidly himself confessed1 in a

 letter which he forwarded to him with  
the work4 ,he also evinced his high     
regard for his pictoric talents1 by     
giving him a commission for two         
paintings to adorn his select gallery1  
which were afterwards inserted in the   
catalogue4 ,the subjects consist of     
,cincinnatus called to the              
,dictatorship1 and ,archimedes absorbed 
in his scientific studies1 during the   
storming of ,syracuse4 ,these two       
histories are well executed1 inasmuch as
 ,lazzarini was perfectly master of good
 painting1 as well as good writing2     
easy1 yet always studied in every part2 
at once noble and graceful1 with depth  
of learning to throw an air of antiquity
 round his productions1 but1 at the same
 time1 free from all affectation and    
parade4 ,his first colouring was of a   
strong character1 as appears from a     
,pieta1 at the hospital of ,pesaro1     
conducted1 ,i believe1 after having     
studied the ,venetian and the ,lombard  
,schools1 in the course of a pictoric   

tour4 ,subsequently1 he imbibed a       
certain sweetness1 which ,i may call    
more like ,maratta's1 in which his      
rivals discover a want of vigour4       
,though he enjoyed long life1 he did not
 leave many works1 as he applied himself
 with assiduity to his clerical duties4 
,frequently he had occasion to paint for
 private families1 and succeeded        
admirably in his ,madonnas2 one of      
which1 seen weeping1 in the ,varani     
collection at ,ferrara1 is among his    
most studied pieces4 ,his native place  
possesses three altar-pieces at the     
,magdalen1 three at ,s4 ,caterina1      
others in different churches1 and in    
general upon a small scale4 ,but his    
genius is more clearly apparent in some 
larger pictures1 which are to be seen in
 the cathedrals of ,osimo and of        
,foligno2 at ,s4 ,agostino1 of ,ancona2 
and the two at ,s4 ,domenico1 in ,fano4 
,one of these contains various saints of
 the order1 placed around the ,virgin1  
whose portraits1 positions1 and action1 

exhibit singular variety and grace4 ,the
 other represents ,s4 ,vincenzio1 seen  
in the act of healing the sick1 before  
the people assembled by sound of bell2  
nor is it easy1 in this immense throng1 
to find any one figure resembling       
another1 or superfluous1 or less happy  
in expressing what it ought4 ,but the   
work in which he appears1 as ,i have    
been informed1 to surpass himself1      
adorns the chapel of the ,counts        
,fantuzzi1 in ,gualdo1 a diocese of     
,rimini4 ,he had spent several years at 
,rome1 at the house of ,monsig4         
,gaetano1 afterwards ,cardinal          
,fantuzzi2 for whom he made that fine   
collection of pictures1 from each       
school1 which afterwards went to his    
heirs1 one of whom1 ,count ,marco1 is   
well known to the public by his         
,monuments of ,ravenna1 edited and      
illustrated in several volumes1 with    
much research and erudition2 and to     
whose courtesy ,i owe much of my        
information respecting ,lazzarini4 ,in  

this collection are several of the      
canon's paintings1 of various kinds2    
landscape1 a branch in which he appears 
to perfection2 instruments and books of 
music1 porcelain1 and fruits that       
deceive the eye2 and1 in particular1 two
 pictures1 on imperial canvass1 one     
exhibiting the ,baptism of ,christ2 the 
other1 the ,flight out of ,egypt2 where1
 in the ,egyptian plants and monuments  
we seem to recognize that ancient land  
itself4 ,still the altar-piece at       
,gualdo shews a greater degree of       
originality1 as he here displayed his   
utmost care in imitating ,raffaello1    
whom he had accurately studied1 so as to
 derive from his forms and composition  
all that could go to adorn a picture of 
the ,virgin and ,holy ,child1 seen      
between ,st4 ,catherine the martyr1 and 
the ,b4 ,marco ,fantuzzi1 a ,franciscan1
 who will1 perhaps1 obtain the honours  
of a solemn canonization4 ,the place is 
decorated with architecture1 the        
pavement variegated with marbles of     

different colours4 ,the ,holy ,child1   
placed with the ,divine ,mother1 upon a 
pedestal1 is seen putting a crown on    
,st4 ,catherine's head2 while the       
,mother holds another in her hand1 in   
order that the ,b4 ,marco may be crowned
 by her in his turn4 ,two angels form   
the train1 one of whom points to the    
wheel1 a symbol used by the saint1 and  
indeed touches with his finger a sharp  
point1 the better to give an idea of the
 sufferings of her martyrdom4 ,the other
 is an ,angel of the ,apocalypse1 with  
book and sword2 a figure well suited to 
the last judgment1 whose terrors the ,b4
 ,marco inculcated in his sermons4      
,there are two other beautiful cherubs1 
which add to the interest2 one standing 
near ,st4 ,catherine1 holds a roll of   
,egyptian papyrus1 with some ,coptic    
characters1 in which were described the 
acts of her passion2 while his companion
 points the attention of the spectator  
to a maxim continually repeated by the  
,b4 ,marco1 ,nolite diligere mundum1    

inscribed upon marble4 ,how widely      
different1 in point of invention1       
appears an artist versed in literature1 
and one with no taste for letters6      
,this1 however1 is not the whole merit  
of such a painting3 the saint and one of
 the angels are truly ,raffaellesque    
figures2 the ,beato in extasy1 brings to
 mind the ,b4 ,michelina of ,baroccio2  
the other figures are all exceedingly   
well studied1 and seem intended to      
display the artist's refined gratitude  
towards his patrons4       ,footnote    
#ec3 ,these paintings1 executed in the  
abside of the      cathedral1 with the  
assistance of his pupils1 constitute his
      most celebrated frescos4 ,in this 
,account there is a      ,discourse1    
well worth notice1 on ,ancient ,marbles 
of      different ,colours1 which he    
introduced in those paintings1      and 
the method he adopted in uniting them4  
,such a treatise1      not to be found  
in any other writer1 renders this little
      volume valuable2 which shews1 too1

 that he likewise excelled      in      
architecture4       ,footnote #ed3      
,these ,treatises were published at     
,pesaro in      #ahjf2 and1 although1 as
 the industrious editor well            
observes1 they were drawn up from       
unfinished sketches1 they      still    
gratify us1 no less by their extensive  
information1      than by the ingenuity 
which they display4  ,the best          
professors that ,romagna could boast at 
this period have already been recounted 
in different ,bolognese ,schools2 for   
which reason1 without treating them     
separately1 ,i shall proceed to the     
painters of landscape4 ,among these1    
excelling as well in drawing as in      
figuring1 ,orlandi gives us the name of 
,maria ,elena ,panzacchi1 instructed in 
the art by ,taruffi2 but her landscapes 
are now little known1 even in ,bologna2 
and ,crespi has indicated not more than 
two4 ,those of ,paolo ,alboni1 her      
contemporary1 are recognized in ,naples 
and ,rome itself1 and in ,germany1 where

 he passed many years4 ,those which are 
seen in the ,pepoli palace1 at the      
,march4 ,fabri's1 and in other noble    
galleries1 might be mistaken1 according 
to ,crespi1 for the productions of      
,holland or ,flanders1 on whose models  
he was almost incessantly employed4     
,angiol ,monticelli formed a style under
 ,franceschini and the younger ,viani1  
which the same biographer highly extols4
 ,no artist1 at this period1 better knew
 how to dispose his colours2 none tinged
 his leaves1 his earths1 his buildings1 
and his figures1 with more nature and   
variety4 ,but he was cut short in       
mid-career3 he became blind when his    
talents were in their perfection4       
,nunzio ,ferraiuoli1 called also ,degli 
,afflitti1 was born at ,nocera de'      
,pagani1 not a ,bolognese4 ,from the    
studio of ,giordano1 he went to that of 
,giuseppe dal ,sole1 in ,bologna1 in    
which city he was established4 ,he      
incessantly employed himself in taking  
rural views1 both in oil and fresco1 and

 succeeded to admiration1 equal1 says   
,p4 ,orlandi1 to ,claude and ,poussin2  
an opinion to be attributed to the      
friendship subsisting between them4 ,he 
had a mixed style1 half foreign and half
 ,albanesque1 if we except his          
colouring1 which is not so natural4     
,cavazzone provided him with two pupils1
 who1 urged by their own genius1        
assisted by ,ferraiuoli1 became         
tolerably good landscape painters2      
namely1 ,carlo ,lodi and ,bernardo      
,minozzi4 ,the first was an excellent   
disciple of his master2 the second      
formed a manner peculiar to himself4    
,besides his ability in frescos1 he was 
distinguished for his landscape in      
water-colours1 which he illuminated on  
pasteboard1 and it met with much        
admiration both at home and abroad4     
,gaetano ,cittadini1 nephew to ,pier    
,francesco1 excelled in the same manner1
 his rural views displaying singular    
taste1 fine effect of the lights1 and   
spirited figures4 ,i have met with them 

throughout ,romagna1 as well as in      
,bologna4 ,in ,romagna1 however1 ,marco 
,sanmartino1 a ,neapolitan1 or          
,venetian1 is more generally met with2  
and1 in particular1 at ,rimini1 where he
 some time fixed his residence4 ,his    
pieces are ornamented with beautiful    
little figures1 in which he excelled4   
,he also attempted more extensive works1
 such as the ,baptism of ,constantine1  
in the cathedral of ,rimini1 and the    
,saint preaching in the ,desert1 in the 
college of ,s4 ,vincenzio1 at ,venice2  
though there1 too1 he is distinguished  
by his landscape1 which formed1 indeed1 
his profession4 ,in the ,guide of       
,rimini1 he is named ,sammartino1 as    
well as by ,zanetti and ,guarienti4     
,this last declares that he remained at 
,venice most part of his life2 and1 in  
the next article1 gives the name of one 
,marco ,sanmarchi1 a ,venetian1 both a  
landscape and a figure painter1 on a    
small scale1 much extolled by ,malvasia1
 and flourishing about the time of      

,sammartino4 ,on the authority of       
,melchiori1 who names him ,sammartino1  
or ,sanmarchi1 ,i believe that these two
 landscape-painters of ,guarienti       
resolve themselves into one2 and that   
the mistake arose from the resemblance  
of the two names1 by which one and the  
same person was popularly known2 as we  
have had occasion to observe in other   
instances4 ,moreover1 what could be the 
reason that this ,sanmarchi1 a          
,venetian1 is not known in ,venice      
itself1 but only in ,bologna1 where it  
does not appear that he ever had a      
permanent abode8  ,the elder ,cittadini1
 who excelled in flowers1 and fruits1   
and animals1 is commended in the        
preceding epoch4 ,in the present1 we    
shall make mention of his three sons1   
,carlo1 ,gio4 ,bastista1 and ,angiol    
,michele1 who1 however able in figures1 
at least the two first1 are known to    
have assisted their father1 and imitated
 him in the subjects most familiar to   
him2 hence they were termed by ,albano1 

syndic to the ,bolognese professors1#ee 
the fruiterers and florists4 ,from      
,carlo sprung ,gaetano1 the landscape   
painter1 and ,gio4 ,girolamo1 who down  
to our own days1 though without         
attempting figures1 excelled in painting
 different animals1 fruits1 and vases of
 flowers4 ,but this family was          
successfully rivalled by ,domenico      
,bettini1 a ,florentine professor in the
 same line2 who1 after remaining a long 
time at ,modena1 where we have mentioned
 him1 came to establish himself at      
,bologna1 towards the end of the        
sixteenth century4 ,he had learnt design
 under ,vignali1 and next continued to  
improve himself in the school of ,nuzzi1
 at ,rome4 ,he was among the first1 says
 ,orlandi1 who dismissing those obscure 
and dismal grounds1 painted more clear  
and openly2 adding attractions to such  
paintings1 by the invention of          
situations1 and by the introduction of  
perspective3 he was frequently invited  
to different ,italian cities1 to        

decorate halls and cabinets4 ,but the   
favourite artist in this kind1 of his   
day1 was ,candido ,vitali1 who1 taught  
by ,cignani1 always attentive to the    
peculiarities of his pupils1 made rapid 
progress in these attractive branches of
 the art4 ,the freshness which appears  
in his flowers and fruits1 the beauty of
 his quadrupeds and birds1 are farther  
recommended by a taste of composition1  
and a delicacy of hand1 which are prized
 both in ,italy and abroad4 ,baimondo   
,manzini1 a miniaturist rather than a   
painter1 painted less in oil2 but with  
such a degree of nature1 that his       
animals1 exhibited in cartoons1 and     
placed by him in a certain light1 have  
deceived even painters themselves2 for  
which he has been extolled by ,zanotti  
as a modern ,zeuxis4 ,an assemblage of  
his fishes1 birds1 and flowers1 is to be
 seen in the fine gallery of the ,casa  
,ercolani4       ,footnote #ee3         
,malvasia1 vol4 ii4 p4 #bfe4  ,at the   
same period the art was indebted to the 

judgment of ,cignani for a good painter 
of battle-pieces in ,antonio ,calza1 a  
,veronese1 mentioned in the third       
volume2 where it is observed that1 being
 subsequently assisted by ,borgognone1  
he became master of that branch of art  
at ,bologna4 ,contemporary with him was 
another pupil of ,cortese1 who resided  
during several years in the same city1  
named ,cornelio ,verhuik1 of ,rotterdam4
 ,besides his battle-pieces in his      
master's manner1 displaying strong and  
vivid colouring1 he painted in the      
,flemish style markets1 fairs1 and      
landscape1 which he enlivened with small
 figures1 like those of ,callot4 ,from  
,cignani also the ,bolognese ,school    
received an excellent portrait painter  
in ,sante ,vandi1 more commonly called  
,santino da' ,ritratti4 ,few of his age 
were qualified to compete with him in   
point of talent1 grace1 and correctness 
in the characteristic features1         
particularly when drawn in small        
proportions1 such as were calculated    

even to decorate boxes and rings4 ,for  
these he had constant commissions1 both 
from private persons and from princes1  
most of all from the ,grand ,duke       
,ferdinando of ,tuscany1 and            
,ferdinando1 ,duke of ,mantua1 who gave 
him a salary at his court1 until his    
return to ,bologna on the duke's death4 
,but he remained there only a short     
time1 being still invited to different  
cities1 so that he educated no pupils   
for his native place1 and died abroad4  
,with him1 observes ,crespi1 disappeared
 the manner of producing portraits at   
once so soft and powerful1 combined with
 such natural expression4  ,above every 
other branch of inferior painting1      
however1 the ornamental and perspective 
then flourished at ,bologna4 ,this art1 
as we have stated1 after the solid      
foundations on which it had been placed 
by ,dentone and ,mitelli1 aimed too much
 at a pleasing and beautiful1 without   
consulting a natural effect4 ,but the   
school did not all at once deteriorate1 

being some time maintained by imitators 
of some of the most correct models4 ,in 
this number ,zanotti extols ,jacopo     
,mannini1 a most accurate artist1 who   
decorated a chapel at ,colorno for the  
,duke of ,parma1 in which the ,cav4     
,draghi was employed as figurist1 whose 
genius was at once as eager and rapid as
 ,mannini's was slow4 ,much like two    
steeds of opposite temper yoked to the  
same vehicle1 their sole occupation     
seemed that of biting and kicking each  
other2 and it became necessary to       
separate them1 the slow one being sent  
back to his native ,bologna1 where owing
 to this blemish he never met with any  
encouragement4 ,arrigo ,haffner1 a      
lieutenant1 with ,antonio his brother1  
who died a ,philippine friar in ,genoa1 
were also followers of ,mitelli in      
delicacy and harmony of colour4 ,they   
had been much employed at ,rome under   
,canuti1 their master in figures1 and   
the former was chosen by ,franceschini  
to paint the perspectives in the church 

of ,corpus ,domini4 ,they produced also 
a good deal at ,genoa and its state1    
sometimes with one1 sometimes with      
another of the more eminent figurists4  
,antonio acquired most reputation1      
superior perhaps in all but invention to
 his brother1 particularly in the sweet 
union of his tints1 as well as in the   
estimation of distinguished personages4 
,he was called by the ,grand ,duke ,gio4
 ,gastone to ,florence1 to consult him  
respecting the altar of pietre dure1    
intended for the chapel of the ,depositi
 at ,s4 ,lorenzo4  ,a still higher      
station in this profession was attained 
by ,marcantonio ,chiarini1 an excellent 
architect as well as writer in that     
department4 ,he had frequent invitations
 from ,italian princes and lords1 and   
even from ,germany1 where he painted    
along with ,lanzani in the palace of    
,prince ,eugene of ,savoy4 ,many of his 
pictures1 conducted in perspective for  
noble ,bolognese families1 still remain1
 and are held as models of a sound and  

true taste1 imitating the ancient       
colouring and design1 without giving    
admission to certain marbles1 which     
appear like gems1 but please only the   
inexperienced4 ,from ,chiarini's manner 
was derived that of ,pietro             
,paltronieri1 universally known under   
the name of the ,mirandolese dalle      
prospettive4 ,he was the ,viviano of    
this latter age1 and his architectural  
pieces on the ancient model are met     
with1 not only in ,bologna1 where he    
resided1 but in ,rome1 where he long    
continued1 and in a number of other     
cities4 ,they consist of arches1        
fountains1 aqueducts1 temples1 ruins1   
tinged with a certain reddish colour1   
which serves to distinguish them among  
many others4 ,to these he adds skies1   
fields1 and waters1 which appear real2  
nor do they want appropriate figures1   
introduced by ,graziani and other select
 young artists at ,bologna4 ,we must not
 confound ,mirandolese with ,perracini1 
also known in ,bologna by the name of   

,mirandolese1 who flourished at the same
 period1 but with no sort of reputation 
beyond that of a tolerable figurist4    
,the school of ,cignani increased that  
of the perspective painters4 ,it first  
presented them with ,tommaso            
,aldrovandini1 nephew to ,mauro2 both of
 whom accompanied ,cignani's figures in 
the public palace of ,forli4 ,tommaso   
was employed with ,cignani himself at   
,bologna and ,parma4 ,conforming        
himself1 under the eye of this          
celebrated master1 to his best style1 he
 so far succeeded1 that the whole       
appears the work of ,carlo alone1 more  
especially in the chiaroscuro4 ,his     
ornamental portion1 too1 is there       
conducted so that neither the precise   
extent of the light1 nor of the shade1  
is apparent1 but only an effect         
resulting from them1 as we see it in    
nature4 ,he executed the architectural  
ornaments in the grand hall of ,genoa1  
painted1 as we have said1 by            
,franceschini2 and he left other works  

in that capital4 ,it was his invariable 
custom to modify his style1 alternately 
soft or strong1 in the manner of the    
figurist4 ,he instructed in the art     
,pompeo1 son of ,mauro1 and his cousin1 
who1 after having displayed some        
specimens at ,turin1 ,vienna1 ,dresden1 
and in many other foreign cities1       
resided1 and died at ,rome1 with the    
reputation of a very elegant artist4    
,from the school of ,pompeo sprung two  
ornamental painters1 ,gioseffo ,orsoni1 
and ,stefano ,orlandi1 who1 in          
conjunction1 painted some able frescos  
in various ,italian cities1 besides many
 theatrical pieces for the same places4 
,whatever splendor of ornament may have 
been conferred upon the theatre by the  
,aldrovandini family1 so greatly devoted
 to it2 that of the ,galli1 in the      
present age1 sprung from ,gio4 ,maria1  
pupil to ,albani1 surnamed1 from his    
country1 ,bibiena1 has acquired still   
greater celebrity4 ,by the same surname 
were distinguished ,ferdinando and      

,francesco1 his sons1 with their        
posterity2 nor has any pictoric family1 
either in this or any other age1        
advanced higher claims to public notice4
 ,there was hardly any court that       
invited not some of the ,bibieni into   
its service2 nor was any sphere more    
eligible for that family than the great 
courts1 whose sovereign dignity was     
equalled by the elevation of their      
ideas1 which only princely power could  
carry into execution4 ,the festivals    
which they directed on the occasion of  
victories1 of nuptials1 or of royal     
entrances1 were the most sumptuous that 
,europe ever witnessed4 ,the genius of  
,ferdinando1 formed for architecture1   
and for this reason wholly directed to  
it by ,cignani1 attained such           
excellence1 that he was enabled to teach
 it1 in a volume which he printed at    
,parma4 ,he afterwards corrected some   
parts of it1 in two little volumes      
published at ,bologna2 the one upon     
civil architecture1 the other on the    

theory of perspective4 ,indeed1 his     
genius and works gave new form and      
character to the theatres4 ,he was the  
real inventor of those magnificent      
scenes which we now witness1 and of that
 rapid mechanic motion with which they  
are seen to move and change4 ,he spent  
great part of his life in the ,duke of  
,parma's service2 a good deal at ,milan1
 and at ,vienna1 in the court of        
,charles ,,vi42 always more esteemed as 
an architect than as a painter4 ,but    
here1 too1 he shone1 not only in        
colouring scenes1 and similar           
productions for public festivals2 but in
 perspectives for palaces and temples1  
more particularly for the state of      
,parma4 ,francesco1 less learned1 but an
 equally prompt and elevated designer1  
pursued the same line1 and extended it  
in different cities1 being invited to   
,genoa1 ,naples1 ,mantua1 ,verona1 and  
,rome1 at which last he remained three  
years4 ,he entered the service of the   
,emperors ,leopold and ,joseph1 who     

changed his resolution of proceeding to 
,england1 and subsequently to ,spain1   
where ,philip ,v4 had already declared  
him his architect4 ,in different        
collections the perspective pieces of   
the two brothers appear2 and they are   
occasionally enlivened with figures by  
the hand of ,francesco1 who acquired his
 knowledge from ,pasinelli and ,cignani1
 instances of which ,i have seen in     
different collections at ,bologna4      
,ferdinando had a numerous family1 of   
whose members we shall mention          
,alessandro1 ,antonio1 and ,giuseppe2   
not because equal to their predecessors1
 but as being versed in the practice of 
their manner1 both in oil and fresco2   
and on this account eagerly sought after
 by the different courts of ,europe4    
,the first entered into the service of  
the ,elector ,palatine1 in which he     
terminated his days4 ,the second was    
much employed at ,vienna and in         
,hungary4 ,on returning into ,italy1    
too1 he still removed from place to     

place1 being retained by all the first  
cities in ,tuscany2 and still more in   
,lombardy1 until the period of his      
death1 which occurred at ,milan4 ,he was
 an artist more admired for his facility
 of genius than for his correctness4    
,giuseppe1 who1 on his father's         
departure from ,vienna on account of    
illness1 was substituted architect and  
painter of court festivals in his       
twentieth year1 afterwards left that    
city for ,dresden1 where he enjoyed the 
same office1 and1 after the lapse of    
many years1 also at ,berlin4 ,he was    
invariably patronised by princes1 who   
gave him regular salaries2 and by other 
members of the empire1 who engaged him1 
at the moment1 to adorn their festivals 
and theatres4 ,his son ,carlo pursued   
the same career1 being pensioned first  
by the ,margrave of ,bareith1 and       
afterwards by the ,king of ,prussia1 as 
successor to his father2 but he acquired
 greater reputation in foreign          
countries4 ,for1 ,germany becoming      

involved in war1 he took occasion to    
make the tour of ,france1 proceeding    
through ,flanders and ,holland1 and     
visiting ,rome on his return into       
,italy4 ,last of all he made a voyage   
into ,england1 and at the court of      
,london rejected very advantageous      
offers to take up his residence in that 
city4 ,many of the decorations invented 
by ,giuseppe and ,carlo1 on occasion of 
public festivals1 have been engraved    
from their designs1 in the production of
 which they were equally rapid1         
masterly1 and refined4  ,where the      
,bibieni had failed in introducing their
 novel inventions for grand spectacles1 
their disciples finally succeeded4 ,in  
this list1 according to the history of  
,zanotti and of ,crespi1 the most       
eminent rank is held by ,domenico       
,francia1 once the assistant of         
,ferdinando at ,vienna1 afterwards      
architect and painter to the ,king of   
,sweden4 ,after his term with that court
 had elapsed1 he visited ,portugal1 and 

again proceeded to ,italy and ,germany1 
till his arrival in his native place1   
where he died4 ,to him we may add the   
name of ,vittorio ,bigari1 mentioned in 
high terms by ,zanotti1 an artist       
employed by different sovereigns of     
,europe1 and the father of three sons1  
who pursued the same career4 ,he also   
displayed singular merit in his figures4
 ,nor must we omit ,serafino ,brizzi1   
who obtained equal reputation for his   
perspectives in oil interspersed both   
throughout foreign and native cities4   
,it would form1 however1 an undertaking 
no way adapted to a compendious history1
 to collect the names of all the        
professors of so extended an art2 and   
the more so as1 in the course of the    
present age1 it was becoming the general
 opinion that in many respects such art 
was greatly on the decline1 owing to the
 prevalence of only middling and        
inferior artificers4  ,not many years   
ago1 however1 it seemed to revive1 and a
 new epoch opened upon the public1 the  

praise of which is due to ,mauro ,tesi1 
to whom his friends raised a marble     
monument in ,s4 ,petronio1 with a bust  
and the following inscription3 ,mauro   
,tesi elegantiae veteris in pingendo    
ornatu et architectura restitutori4 ,he 
belonged to the state of ,modena1 and1  
when young1 was put to the school of a  
very poor painter of arms in ,bologna4  
,thus it was his lot1 writes ,algarotti1
 to have had not a single master of     
architecture among the moderns4 ,by     
means of a peculiar natural genius1 and 
studying the designs of ,mitelli and    
,colonna1 examining at the same time    
their models throughout the city1 he    
re-conducted the art to a style1 solid  
in architecture1 sparing in decoration1 
as it had formerly been1 and in some    
parts still more philosophical and      
learned4 ,his patron1 the excellent     
,count ,algarotti1 assisted in          
perfecting his taste1 and made him his  
companion on his tours1 encouraging him 
to make very excellent observations on  

the works of the ancients4 ,whoever has 
perused his life and publications1 a    
fine edition of which appeared at       
,venice1 edited by the learned          
,aglietti1 will have perceived that he  
was as much attached to ,tesi as if he  
had been his own son4 ,nor did ,tesi    
shew less respect to ,algarotti than to 
a father2 and when the latter went to   
,pisa for his health1 his young friend  
devoted himself so assiduously to him1  
as to contract the same disease1 of     
which he died two years afterwards1     
still very young1 at ,bologna4 ,here he 
left various works1 the most conspicuous
 consisting of a gallery belonging to   
the deceased ,marquis ,zambeccari1 with 
marbles1 camei1 and figures1 very well  
executed2 a picture displaying grand    
relief combined with the most finished  
exactness4 ,in ,tuscany also are some   
remains of his taste1 at ,s4 ,spirito in
 ,pistoia1 and in the hall of the       
,marquis ,gerini at ,florence4 ,i saw1  
too1 in possession of the count's heirs 

at ,venice1 two pictures1 conceived by  
,algarotti and painted by ,mauro4 ,one  
of these1 which he has described 7vol4  
vi4 p4 #ib7 represents a temple of      
,serapis1 decorated in the ,egyptian    
manner1 with bassi-relievi and pyramids 
in the distance2 fit to adorn the       
choicest cabinet4 ,it is enriched with  
figures by ,zuccherelli1 in the same way
 as ,tiepolo added them to ,tesi's other
 pieces4 ,there are engravings of some  
of ,mauro's works in possession of the  
same nobles1 as well as his whole studio
 of designs1 landscapes1 views of       
architecture1 capitals1 friezes1        
figures2 a rich and copious assemblage  
of materials1 almost superfluous in so  
short but bright a career4 ,after       
,mauro1 no greater proofs of esteem in  
this art were shewn by ,algarotti to any
 one than to ,gaspero ,pesci1 to whom he
 directed a number of his letters2 of   
him too ,algarotti's heirs possess two  
pictures1 consisting of ancient         
architecture1 with slight sketches of   

figures1 scarcely indicated4  ,but at   
length we approach a conclusion4 ,the   
,bolognese academy still continues to   
flourish in pristine vigour2 the aids   
afforded to the pupils have even been   
extended2 and1 in addition to the       
academical prizes1 there are dispensed  
others1 which the noble families        
,marsili and ,aldrovandi established at 
stated meetings1 and which still go by  
their name4 ,i cannot1 however1 as in   
other schools1 record very splendid     
remunerations to the masters4 ,but this 
forms the more rare and distinguished   
honour of the ,bolognese artists--to    
labour for distinction1 and to confer   
their preceptorial services in the arts 
and sciences upon their country1 not    
only without reward1 but even to their  
own loss1 a subject fully treated of by 
,crespi 7pp4 #d1 #e7 in his ,felsina4   
,notwithstanding these disadvantages    
they have continued to maintain1 during 
two centuries1 the character of masters 
in the art4 ,from the time the ,caracci 

first spoke1 almost every other school  
listened and was silent4 ,their         
disciples followed1 divided into a      
variety of sects2 and these continued1  
for a long period1 to hold sway in      
,italy4 ,the reputation of the figurists
 being somewhat on the decline1 a       
substitute sprang up in the decorative  
and perspective painters1 who           
established laws1 and produced examples1
 still eagerly imitated both in ,italy  
and other parts4 ,neither the ,bibieni1 
the ,tesi1 nor the others whom ,i have  
mentioned towards the close1 are so     
exclusively entitled to historical      
consideration1 but that the ,gandolfi#ef
 family1 with several others1 which have
 either recently become extinct1 or     
still flourish1 may claim a share4      
,doubtless these will not be in want of 
deserved eulogy from other pens1 that   
will successively follow mine4          
,footnote #ef3 ,previous to the present 
edition1 ,gaetano      ,gandolfi        
breathed his last2 ,ubaldo1 his elder   

brother1      having already preceded   
him to the tomb1 at the time he was     
preparing to decorate the cupola of ,s4 
,vitale in ,ravenna4      ,ubaldo had   
been pupil to ,torelli1 to ,graziani1   
and in      particular under ,lelli had 
exercised his talents in drawing        
successfully from the naked model1 and  
to such a foundation      added dignity 
of style4 ,of this1 several works in    
painting      conducted with extreme    
care1 as well as some in clay and       
stucco1 at ,bologna1 and other places in
 ,romagna1 are the      proof4 ,but to  
judge more particularly of his merits1  
we      ought to examine his academical 
designs4 ,in his ideas he was           
common1 and not very natural in his     
colouring1 and generally      considered
 on this account inferior to his brother
 ,gaetano1      who was esteemed in     
,italy one of the most able artists of  
his day4 ,bologna1 always grateful to   
its eminent citizens1      expressed at 
his decease the degree of esteem in     

which he      was held while living4    
,his obsequies1 of which a separate     
account was published in folio1 equal   
what we read in      ,malvasia          
respecting those of ,agostino ,caracci2 
and the      oration there recited in   
his praise by ,sig4 ,grilli1 deserves   
insertion in any of the most select     
works written on the      art4 ,there   
too1 ,gandolfi1 very judiciously1 is not
 held up      as a model in painting2 a 
forbearance which he himself            
displayed1 even refusing to receive     
pupils1 and observing      that he was  
himself in want of instruction4 ,yet    
from the      influence of his great    
reputation he was frequently            
imitated1 and1 as it happened1 with most
 success in his      worst qualities1   
more particularly in his tints4 ,in this
      respect he had been ill grounded  
by his elder brother2 but      improved 
himself by studying for the space of a  
year at the      fountain head of       
colourists1 in ,venice1 and by copying  

for a      ,venetian dilettante the     
finest pieces of the ,caracci at        
,bologna4 ,it is difficult to account   
for his fine colouring      in some     
paintings1 equal at least to the good   
artists of his      time1 and his       
inferior colouring in others1 as that of
 the      ,death of ,socrates1 at       
,monsig4 ,trenta's1 bishop of ,foligno4 
,it is feeble and deficient in truth1   
owing either to caprice      or to age4 
,in his preparations of paintings he was
 more      commendable3 his first       
conceptions were sketched on slate      
with pencil1 and more carefully on      
paper4 ,he next began to      select2   
modelled the figures in chalk1 and      
draped them2      afterwards forming the
 design on a large scale1 and by aid    
of his experiments1 and of the living   
model1 he went on      completing and   
retouching his work4 ,he has been       
accused of      borrowing a little too  
freely from ancient models2 but         
whoever had seen him1 aged as he was1   

devoting himself in      the public     
academy to the practice of modelling1   
will not      unjustly confound him with
 those plagiarists1 so notorious      in
 our own day4 ,moreover1 he may be      
pronounced inimitable to      most      
artists1 in those rare gifts1 which     
nature had lavished      upon him3      
enthusiasm1 fertility of invention1     
sensibility1      and skill in depicting
 the passions2 to which he added a      
correct eye1 and ability both to design 
and compose1 in the      decoration of  
friezes for the institute1 exotic plants
 and      other rarities of nature1 as  
well as to engrave with much            
elegance1 and skill to paint in oil as  
well as in fresco4 ,a      really       
impartial biographer must pass his      
opinion on every      man1 and let his  
verdict result from an examination of   
his      masterpieces4 ,such belonging  
to ,gandolfi are his ,assumption1       
in the ceiling at ,s4 ,m4 della ,vita1  
and the ,nuptials of      ,cana1 at the 

refectory of ,s4 ,salvatore in ,bologna2
 not to      insist on the ,martyrdom of
 ,s4 ,pantaleone1 at the church of      
the ,girolimini in ,naples1 with some   
other works scattered      through      
various parts of ,italy4                
,,book ,,iv4                   ,,school 
,,of ,,ferrara4                         
,,epoch ,i4                   ,the      
,ancients4   ,ferrara1 once the capital 
of a small principality under the dukes 
of ,este1 but1 since the year #aeig1    
reduced into a legation1 dependant upon 
the see of ,rome1 lays claim to a series
 of excellent artists1 greatly superior 
to its power and population4 ,this1     
however1 will appear less extraordinary1
 if we call to mind the number of its   
illustrious poets1 commencing even      
before the time of ,boiardo and         
,ariosto1 and continued down to our own 
days2 a sure indication of national     
genius1 equally fervid1 elegant1 and    
inventive1 adapted1 more than common1 to
 the cultivation of the agreeable arts4 

,added to this felicity of disposition  
was the good taste prevalent in the     
city1 which1 in its distribution of     
public labours1 or its approbation of   
their results1 was directed by learned  
and enlightened men1 of whom it could   
boast in every department4 ,thus the    
artists have in general observed        
appropriate costume1 kept their         
attention on history1 and composed in   
such a manner that a classical eye1     
particularly in their paintings in the  
ducal palaces1 recognizes the image of  
that antiquity of which it has          
previously obtained a knowledge from    
books4 ,the conveniences of its site1   
also1 have been favourable to the       
progress of painting at ,ferrara2 which1
 situated near ,venice1 ,parma1 and     
,bologna1 not far from ,florence1 and at
 no very great distance from ,rome      
itself1 has afforded facility to its    
students for selecting from the ,italian
 schools what was most conformable to   
the peculiar genius of each4 ,hence the 

origin of so many beautiful manners as  
adorn this school2 some imitating only  
one classic master1 others composed of  
various styles2 so that ,giampietro     
,zanotti was in doubt whether1 after the
 five leading schools of ,italy1 that of
 ,ferrara did not surpass every other4  
,it is not my purpose to decide the     
question1 nor could it be done without  
giving offence to one or other of the   
parties4 ,i shall here only attempt a   
brief history of this school upon the   
same plan as the rest2 and ,i shall     
include a few artists of ,romagna1      
agreeably to my promise in the preceding
 book1 or1 to speak more correctly1 in  
its introduction4  ,the most valuable   
information which ,i have to insert will
 be extracted from a precious ,,ms4     
communicated to me by the ,ab4 ,morelli1
 the distinguished ornament of his age  
and country1 no less than of the learned
 office he fills4#eg ,this ,,ms4        
contains the lives of ,ferrarese        
professors of the fine arts1 written by 

,doctor ,girolamo ,baruffaldi1 first a  
canon of ,ferrara1 next archpriest of   
,cento4 ,to these is prefixed a laboured
 preface by ,pierfrancesco ,zanotti1    
with copious emendations and notes by   
the ,canon ,crespi4 ,such a work1 drawn 
up by this polished writer1 and thus    
approved1 continued1 and illustrated by 
two men of the profession1 was long a   
desideratum in ,italy2 nor do ,i know   
why it never made its appearance4 ,a    
specimen1 indeed1 was given by ,bottari1
 at the end of his ,life of ,alfonso    
,lombardi1 in the course of which he    
inserted the life of ,galasso1 and of a 
few other artists of ,ferrara4          
,moreover1 in the fourth volume of the  
,lettere ,pittoriche1 he published a    
letter of the deceased ,can4 ,antenore  
,scalabrini1 relating to ,baruffaldi's  
,,ms41 which underwent this noble       
ecclesiastic's corrections1 communicated
 by him to ,crespi1 who inserted them in
 his annotations4 ,baruffaldi1 also1    
having commenced the lives of the       

artists of ,cento1 and of ,lower        
,romagna1 a work left unfinished1       
,crespi supplied all it wanted2 and it  
has been mentioned by us in the school  
of ,guercino1 and among some artists who
 flourished at ,ravenna and other cities
 of ,romagna4 ,cittadella1 author of the
 ,catalogue of ,ferrarese ,painters and 
,sculptors1 7edited in #aghb1 in #d     
vols47 declares that he drew his chief  
information from ,baruffaldi1 7vol4 iii4
 p4 #adj74 ,he complains1 however1 in   
the preface1 that a more correct work   
being either destroyed or lost1         
7alluding probably to this work with    
,crespi's notes71 he has not been in    
possession of such undoubted authorities
 as might be desired2 a very candid     
admission1 fully entitled to credit4    
,but this work having come into my      
possession1 through the courtesy of my  
learned friend1 ,i shall avail myself of
 it for public information4 ,on such    
authority ,i shall freely ground this   
part of my history1 adding notices drawn

 from other sources1 and not            
unfrequently from the ,guide of         
,ferrara1 published by the learned      
,frizzi1 in #aghg2 a work that may be   
included among the best yet given to    
,italy4 ,so much we state by way of     
exordium4       ,footnote #eg3 ,that of 
head librarian at ,st4 ,mark's4  ,the   
,ferrarese ,school took its twin origin1
 so to say1 with that of ,venice1 if we 
may credit a monumental testimony1 cited
 by ,dr4 ,ferrante ,borsetti1 in his    
work called ,historia almi ,ferrariensis
 ,gymnasii1 published in #agce4 ,this   
memorial was extracted from an ancient  
codex of ,virgil1 written in #aaic2     
which1 according to ,baruffaldi1 passed 
from the library of the ,carmelites at  
,ferrara1 into the possession of the    
,counts ,alvarotti at ,padua1 whose     
books1 in course of time1 were added to 
the library of the ,paduan seminary4 ,at
 the end of this codex is read the name 
of ,gio4 ,alighieri1 the miniaturist of 
this volume2 and in the last page there 

had afterwards been added1 in the       
ancient vulgar tongue1 the following    
memorial3--that in #abdb1 ,azzo d',este1
 first lord of ,ferrara1 committed to   
one ,gelasio di ,niccolo1 a painting of 
the ,fall of ,phaeton2 and from him too 
,filippo1 bishop of ,ferrara1 ordered an
 image of our ,lady1 and an ensign of   
,st4 ,george1 which was used in going to
 meet ,tiepolo1 when he was despatched  
by the ,venetian republic as ambassador 
to ,ferrara4 ,gelasio is there stated to
 belong to the district of ,st4 ,george1
 and to have been pupil in ,venice to   
,teofane of ,constantinople1 which      
induced ,zanetti to place this ,greek at
 the head of the masters of his school4 
,on the authority of so many learned    
men1 to whom such memorial appeared     
genuine1 ,i am led to give it credit2   
although it contains some marks that1 at
 first sight1 appear suspicious4 ,i have
 further made inquiries after it in the 
,paduan seminary1 but it is not to be   
found there4  ,approaching the          

fourteenth century1 ,i find mention1    
that whilst ,giotto was returning from  
,verona into ,tuscany1 he was compelled 
to stop at ,ferrara1 and paint in the   
service of these lords of ,este1 at     
their palace2 also some pieces at ,s4   
,agostino1 which are still there2 that  
is1 in ,vasari's time1 from whom these  
words are cited4 ,i am uncertain whether
 any yet exist2 but they afford         
sufficient authority to believe that the
 ,ferrarese ,school1 directed by such   
models1 revived in an equal degree with 
the other schools of ,italy4 ,there are 
no accounts of the artists who          
flourished nearest to ,giotto1 from     
which we may judge how far they were    
influenced by his manner4 ,his          
successors1 however1 must have been one 
,rambaldo and one ,laudadio1 who1 about 
#achj1 are recorded1 in the annals of   
,marano1 to have painted in the church  
of the ,servi4 ,this is now demolished1 
nor does there exist any account of the 
style of these painters4 ,as early as   

#achj appeared paintings in fresco in   
the monastery of ,s4 ,antonio1 by an    
unknown hand1 and also retouched1 but of
 whose style ,i find no indication4 ,in 
the ,bolognese ,school ,i treated of one
 ,cristoforo1 who painted about the same
 time1 at the church of ,mezzaratta2 but
 as it is a disputed question whether he
 belonged to ,ferrara or to ,modena1    
nothing certain can be concluded as to  
his manner4 ,thus the history of letters
 affords us some degree of light1 up to 
the opening of the fifteenth century2   
but the history of existing monuments   
only dates from ,galasso ,galassi1 an   
undoubted ,ferrarese1 who flourished    
subsequent to the year #adjj1 when even 
in ,florence the ,giottesque style had  
begun to decline in favour of more      
recent artists4  ,the master of this    
artist is unknown2 nor can ,i easily    
suppose1 with some1 that he was educated
 at ,bologna4 ,i found my objection upon
 an observation made upon ,galasso's    
pictures1 mentioned by us in the church 

of ,mezzaratta at ,bologna1 and obvious 
to all4 ,they consist of histories of   
the ,passion1 signed by the author's    
name2 and1 if ,i mistake not1 they are  
wholly opposed to the style of all other
 pieces in the same place4 ,the         
character of the heads is well studied  
for that period1 the beards and hair    
more in disorder than in any other old  
painter ,i have seen2 the hands small1  
and fingers widely detached from each   
other2 and1 in the whole1 something     
peculiar and novel1 apparently not      
derived from the ,bolognese1 from the   
,venetians1 nor from the ,florentines4  
,i conjecture1 then1 that he acquired   
this style of design when young1 and    
introduced it from his native place2 the
 more so1 as this production appearing  
in #adjd1 according to ,baruffaldi1 must
 have formed one of his earliest        
specimens at ,bologna4 ,he afterwards   
remained there many years1 though ,i    
cannot think the date #adfb1 said to be 
attached to one of his histories1       

genuine2 and1 if there1 it must have    
been added subsequently2 but other      
proofs are not wanting of his permanent 
residence4 ,for he there took the       
portrait of ,niccolo ,aretino1 the      
sculptor1 who died in #adag1 as we are  
assured by ,vasari2 and on other        
authority1 he produced some             
altar-pieces1 one of which yet exists at
 ,s4 ,maria delle ,rondini4 ,it         
represents the ,virgin sitting among    
various saints1 and boasts1 says        
,crespi1 a depth of colouring1 combined 
with architecture1 countenances1 and    
drapery not ill designed4 ,he has also a
 ,nunziata1 in the ,malvezzi museum1 a  
picture displaying ancient design1 but  
well finished and of soft colouring4    
,his best piece was a history in fresco1
 representing the ,obsequies of the     
,virgin1 conducted by order of the      
,card4 ,bessarion1 ,bolognese legate1 at
 ,s4 ,maria del ,monte1 in #adej2 a work
 much admired by ,crespi1 in whose time 
it was destroyed4 ,from similar facts1  

added to the commendations bestowed on  
,galasso by ,leandro ,alberti1 ,i       
conclude that he must have obtained much
 reputation in the above city4 ,he died 
in his native place1 in what precise    
year is uncertain4 ,vasari treats of him
 at length in his first edition1 but in 
the second he is dismissed with a few   
lines4 ,hence the ,ferrarese also have  
directed against him the same complaints
 as the other schools4  ,in the time of 
,galasso flourished ,antonio da         
,ferrara1 a disciple of the             
,florentines4 ,vasari bestows on him a  
short eulogy1 among the pupils of       
,angiolo ,gaddi2 observing that he      
produced many fine works at ,s4         
,francesco d',urbino1 and at ,citta di  
,castello4 ,treating too of ,timoteo    
della ,vite1 born at ,urbino1 the son of
 ,calliope1 daughter of ,mastro ,antonio
 ,alberto da ,ferrara1 he adds1 that    
this last artist was a very fair painter
 for his age1 such as his works at      
,urbino and elsewhere declare him4      

,nothing undoubted now remains of him2  
if1 indeed1 a picture on gold ground in 
the sacristy at ,s4 ,bartolommeo1       
representing the ,acts of the holy      
,apostle1 with others of the ,baptist1  
in small figures1 is not from his hand4 
,the work doubtless belongs to that age2
 bearing much resemblance to ,angiolo1  
with colours even more soft and warm4   
,in ,ferrara he left nothing that now   
survives2 the chambers which he painted 
for ,alberto d',este1 marquis of        
,ferrara1 in his palace1 afterwards     
changed into a public studio1 being     
destroyed4 ,this work was conducted     
about #adch1 when the general council   
for the reunion of the ,greeks was      
opened at ,ferrara1 in the presence of  
,pope ,eugenius ,,iv41 and ,john        
,paleologus1 the emperor4 ,the ,marquis 
ordered ,antonio to represent this grand
 assembly on different walls1 with the  
likenesses of full size of the principal
 personages then present4 ,in other     
apartments he exhibited the ,glory of   

the ,blessed1 which conferred on that   
place the name it still bears1 of the   
,palace of ,paradise4 ,from a few relics
 of this work it may with certainty be  
deduced1 that this artist displayed     
greater beauty in his heads1 more       
softness of colouring1 more variety in  
the attitude of his figures1 than       
,galasso4 ,orlandi calls him ,antonio da
 ,ferrara1 adding1 that he flourished   
about the year #aejj2 a term of life too
 protracted for us to venture here to   
confirm4  ,towards the middle of the    
fifteenth century appeared ,bartolommeo 
,vaccarini1 whose paintings1 signed with
 the artist's name1 ,baruffaldi declares
 that he himself had seen4 ,there was   
also ,oliviero da ,s4 ,giovanni1 a      
fresco painter1 whose ,madonnas were    
then by no means rare in the city4 ,to  
these we may add ,ettore ,bonacossa1    
painter of that holy image of our ,lady 
called del ,duomo1 which not long ago   
was solemnly crowned1 at the foot of    
which is read the name of ,ettore1 and  

the year #addh4 ,still they were only   
artists of mediocrity2 but others       
attained greater celebrity1 having      
modernized their style in some degree1  
after the example1 as ,i incline to     
think1 of two foreigners4 ,one of these 
was ,pier della ,francesca1 invited to  
,ferrara to paint in the palace of      
,schivanoia by ,niccolo d',este1 as it  
is conjectured in a note to ,baruffaldi4
 ,surprised by sickness1 he was unable  
to complete the work1 but he painted    
there a few apartments1 which yet remain
 as a model for young artists4 ,the     
other was ,squarcione1 who also1 in the 
days of ,niccolo d',este and his son    
,borso1 opened a school in ,padua2 whose
 manner had followers without number    
throughout ,italy1 and must have        
influenced the ,ferrarese artists2      
distant1 perhaps1 two days' journey from
 ,padua4  ,possessing such means        
appeared ,cosimo ,tura1 whom ,vasari and
 other historians term ,cosme1 and give 
him as pupil to ,galasso4 ,he was       

court-painter in the time of ,borso     
d',este and ,tito ,strozzi1 who left a  
poetic eulogy upon him4 ,his style is   
dry and humble1 as was customary in that
 age1 still far removed from true       
dignity and softness4 ,the figures are  
treated in the style of ,mantegna1 the  
muscles clearly expressed1 the          
architecture drawn with care1 the       
bassi-relievi highly ornamented1 and    
laboured in the most minute and exact   
taste4 ,this is remarkable in his       
miniatures1 which are pointed out to    
foreigners in the choral books of the   
cathedral and the ,certosa1 as extreme  
rarities4 ,nor does he vary in his oil  
paintings2 as in his ,presepio1 in the  
sacristy of the cathedral2 the ,acts of 
,s4 ,eustace1 in the monastery of ,s4   
,guglielmo2 various ,saints surrounding 
the ,virgin1 in the church of ,s4       
,giovanni4 ,in his larger figures he is 
not so much commended2 though           
,baruffaldi speaks highly of his works  
in fresco1 in the forementioned palace  

of ,schivanoia4 ,the design was         
distributed into twelve compartments1 in
 a grand hall2 and it might well be     
entitled a small poetic series1         
representing the exploits of ,borso4 ,in
 each picture was included a month in   
the year1 which was scientifically      
indicated with astronomical symbols and 
classical deities1 adapted to each2 an  
idea very probably borrowed from the    
saloon at ,padua4 ,in each month1 too1  
was introduced the prince in his usual  
employment at such season2 in the       
judgment-hall1 in the chase1 at         
spectacles1 with great variety of       
circumstances1 and full of poetry in the
 execution4  ,there was also an artist  
of considerable merit named ,stefano da 
,ferrara1 pupil to ,squarcione1 and     
recorded by ,vasari1 in the life of     
,mantegna1 as a painter of few pieces1  
among which were the ,miracles of ,s4   
,antonio painted round the ark4 ,though 
,vasari describes his works only as     
tolerable1 it must be observed that he  

was considerably above mediocrity1 at   
least in the smaller figures2 since     
,michele ,savonarola 7de ,laud4         
,patavii1 #a4 i47 says of the specimens 
before mentioned1 that they seemed to   
move1 while the dignity and importance  
of the place in which he painted conveys
 a high idea of his reputation4 ,this   
work is lost2 but there remains in the  
same temple a half-figure of the        
,virgin1 which ,vasari attributes to    
,stefano2 and in the church of the      
,madonnina at ,ferrara is one of his    
altar-pieces of ,s4 ,rocco1 in a good   
manner4 ,baruffaldi supposes that he    
flourished till about #aejj1 when he    
found mention of the death of one       
,stefano ,falsagalloni1 a painter2 an   
age very likely to be correct1 when     
speaking of a contemporary of ,mantegna4
 ,on the other side1 there is cited an  
altar-piece at ,s4 ,maria in ,vado1     
executed in #aeca1 but which might      
possibly come from the hand of another  
,stefano4  ,however it be respecting    

this epoch1 certain it is1 that towards 
the beginning of the sixteenth century  
,ferrara was in no want of celebrated   
artists2 since ,vasari1 as we have      
observed in the ,bolognese ,school1     
affirms that ,gio4 ,bentivoglio caused  
his palace to be decorated by various   
,ferrarese masters1 besides those of    
,modena and of ,bologna4 ,among these he
 included ,francia1 on whom1 about      
#adij1 he confers the name of a new     
painter4 ,in the list of artists of     
,ferrara ,i included ,lorenzo ,costa2   
and from the circumstance of ,francia   
being then a new painter1 and other     
reasons1 ,i drew an argument against the
 received opinion that ,costa was the   
pupil of ,francia2 which1 therefore1 ,i 
shall not here repeat4 ,i must not1     
however1 omit other information         
respecting him1 as connected with       
,ferrara1 where he resided before coming
 into notice at ,bologna4 ,at court1 as 
well as for private individuals1 he     
there conducted pictures and portraits1 

with other works held in much esteem2   
and at the ,padri di ,s4 ,domenico he   
painted the whole choir1 now long since 
destroyed2 where we recognise the care  
which he used in the art1 and how much  
study he bestowed upon his works4       
,these1 ,i believe1 and other pieces    
conducted at ,ravenna1 acquired him     
reputation at ,bologna1 and disposed the
 ,bentivogli to avail themselves of his 
talents4  ,it remains to discover on    
which of the ,ferrarese artists who     
attended him1 such commission was       
conferred4 ,cosme and ,stefano were then
 living2 but it is known that more      
closely connected than these with the   
,bentivogli1 was ,cossa of ,ferrara1 a  
painter almost forgotten in his native  
place1 from having resided so long at   
,bologna4 ,some of his pieces are still 
there1 consisting of ,madonnas1 seated  
between saints and angels1 with         
tolerably good architecture4 ,one of    
these1 bearing his name1 and date of    
#adgd1 is now in the ,institute1 vulgar 

in point of features and but middling in
 colouring4 ,this1 however1 is not his  
best specimen1 there being two portraits
 of the ,bentivogli1 7one at the church 
of the ,baracano1 the other in the      
,merchants' palace17 from which ,i      
should conjecture that he is one of     
those artists of whom we are in search4 
,nor1 at this time1 is there any other  
,ferrarese artist whom ,i can add to    
him1 besides ,baldassare ,estense1 some 
of whose pictures1 signed by himself1   
are cited by ,baruffaldi2 and in museums
 are some of his medals1 two1 more      
particularly1 in honour of ,ercole      
d',este1 ,duke of ,ferrara1 very ably   
executed in the year #adgb4  ,on the    
subject of first rate artists ,i am     
often constrained to introduce notices  
in different places2 in particular1 when
 they were employed in some cities1 and 
in others became heads of schools4 ,such
 was ,costa in respect to ,ferrara4 ,he 
formed pupils for other schools2 as one 
,gio4 ,borghese1 from ,messina1 and a   

,nicoluccio ,calabrese1 who1            
apprehending that he was caricatured in 
one of ,costa's productions1 fiercely   
assaulted1 and almost despatched him    
with his dagger4 ,i pass over others    
ascribed to him by ,orlandi1 ,bottari1  
and ,baruffaldi2 in which they are      
mistaken1 as ,i remarked in the ,school 
of ,bologna1 when treating of ,francia4 
,the ,ferrarese constitute his real     
honour2 ,costa being here what ,bellini 
was at ,venice1 and ,francia at         
,bologna1 the founder of a great school1
 and a public teacher4 ,some of his     
pupils competed with the best artists of
 the fourteenth century2 and part       
approached the splendor of the golden   
age4 ,we shall review the whole series1 
which1 commencing at this period1 and   
continuing to the following epoch1 gives
 him a claim to a primary station among 
the masters of ,italy4 ,all his         
disciples became excellent designers and
 noble colourists1 transmitting both    
these qualities to their successors4    

,their tints exhibit a peculiar kind of 
strength1 or1 as a great connoisseur    
used to express it1 of fire and ardour1 
which often serves to characterize them 
in collections2 a quality not so much   
derived from ,costa as from some other  
masters4  ,ercole ,grandi1 called by    
,vasari1 in his life1 ,ercole da        
,ferrara1 became an abler designer than 
his master ,costa1 and is greatly       
preferred to him by the historian4 ,such
 too ,i believe to have been the public 
opinion from the period when ,grandi was
 employed with ,costa at ,bologna1 in   
preference to whom he was invited to    
different places to paint alone4 ,but   
his affection for his master1 and his   
own modesty1 led him to reject every    
advantageous offer2 so that when ,costa 
went to ,mantua1 he would have followed1
 had he been permitted so to do4        
,lorenzo1 however1 could no longer brook
 a disciple who already surpassed him2  
owing to which1 and the necessity of    
completing the painting he had begun in 

the ,garganelli chapel at ,st4 ,peter's1
 he left ,grandi in his stead at        
,bologna4 ,ercole there produced a work 
which ,albano pronounced equal to       
,mantegna1 to ,pietro ,perugino1 or any 
artist who professed the modern antique 
style2 nor perhaps did any boast a touch
 altogether so soft1 harmonious1 and    
refined4 ,he painted to advance the art1
 and spared neither time nor expense to 
attain his object1 employing seven years
 on his fresco histories at ,st4        
,peter's2 and five more in retouching   
them when dry4 ,this was only at        
occasional intervals1 employing himself 
at the same period in other works1      
sometimes at1 and sometimes out of      
,bologna4 ,he would even have continued 
to render his work more perfect1 had it 
not been for the jealousy of some       
artists in the city1 who nightly robbed 
him of his designs and cartoons1 which  
so greatly incensed him that he         
abandoned his labours1 and ,bologna     
itself4 ,such is the account of         

,baruffaldi1 and it agrees with the     
invidious character of certain artists  
of that period1 drawn by ,vasari1 who in
 this respect also drew down upon       
himself the indignation of ,malvasia4   
,in the chapel of ,garganelli ,ercole   
painted1 on one side1 the ,death of the 
,virgin1 and on the other the           
,crucifixion of ,christ2 nor did he     
produce in such a variety any one head  
like another4 ,he also added a novelty  
in his draperies1 a knowledge of        
foreshortening1 an expression of        
passionate grief1 such1 says ,vasari1 as
 can scarcely be conceived4 ,the        
soldiers are finely executed1 with the  
most natural and appropriate action that
 any figures up to that time had        
displayed4 ,many years ago1 when this   
chapel was taken down1 as much as       
possible of ,ercole's painting was      
preserved1 and placed in the wall of the
 ,tanara palace1 where it may still be  
seen4 ,it is indeed his masterpiece1 and
 one of the most excellent that appeared

 in ,italy during his times1 in which   
the artist seemed to have revived the   
example of ,isocrates1 who devoted so   
many years to the polish of his         
celebrated panegyric4 ,there is little  
else of his remaining at ,bologna2 but  
at ,s4 ,paolo in ,ferrara is a genuine  
altar-piece1 and nothing more in public4
 ,some other of his works are preserved 
in the church of ,porto in ,ravenna1 and
 some pictures in the public palace at  
,cesena4 ,he has some specimens in      
foreign galleries2 two of his pictures  
are at ,dresden1 a few others at ,rome  
and ,florence2 though frequently his    
name has been usurped by that of another
 painter1 ,ercole not having enjoyed the
 celebrity which he deserved4 ,thus his 
picture of the ,woman taken in          
,adultery1 used to be pointed out in the
 ,pitti palace for a work of ,mantegna4 
,for the rest1 his paintings are        
extremely rare1 as he did not survive   
beyond his fortieth year1 during which  
period he painted with the caution of a 

modest scholar1 more than with the      
freedom of a master4  ,lodovico         
,mazzolini is not to be confounded with 
the ,mazzolino mentioned by ,lomazzo in 
his ,idea of the ,temple or ,theatre of 
,painting2 thus entitling ,francesco    
,mazzuola1 as if in sport4 ,mazzolini of
 ,ferrara was transformed by ,vasari    
into ,malini1 by a ,florentine writer   
into ,marzolini1 and by others divided  
into two1 so as to become a duplicate1  
and answer for two painters--one        
,malini1 another ,mazzolini2 both of    
,ferrara1 and pupils to the same ,costa4
 ,to crown his misfortunes1 he was not  
sufficiently known to ,baruffaldi       
himself1 who described him as no        
despicable scholar of ,costa1 having    
probably seen only some of his more     
feeble efforts4 ,he did not excel in    
large figures1 but possessed very rare  
merit in those on a smaller scale4 ,at  
,s4 ,francesco in ,bologna is one of his
 altar-pieces1 the ,child ,jesus        
disputing in the ,temple2 to which is   

added a small history of his birth4 ,it 
was admired by ,baldassare da ,siena2   
and ,lamo1 in his ,,ms4 often before    
cited1 describes it as an excellent     
production2 but this piece was retouched
 by ,cesi4 ,other little pictures1 and  
among these the duplicates of his       
histories already recorded1 are to be   
seen at ,rome in the ,aldobrandini      
gallery1 presented1 perhaps1 as a legacy
 by the ,cardinal ,alessandro1 who in   
,mazzolini's time was legate at         
,ferrara4 ,other pieces are at the      
,campidoglio1 formerly belonging to     
,card4 ,pio1 as ,i gather from a note of
 ,mons4 ,bottari4 ,from such specimens1 
in considerable number and genuine1 we  
may form an idea of ,mazzolini's manner1
 which ,baruffaldi laments should       
continue to be one nearly unknown to the
 dilettanti4 ,it displays an incredible 
degree of finish2 sometimes appearing in
 his smallest pictures like miniature2  
while not only the figures1 but the     
landscape1 the architecture1 and the    

bassi-relievi1 are most carefully       
executed4 ,there is a spirit and        
clearness in his heads1 to which few of 
his contemporaries could attain2 though 
they are wholly taken from life1 and not
 remarkably select2 in particular those 
of his old men1 which in the wrinkles   
and the nose sometimes border on        
caricature4 ,the colour is of a deep    
tone1 in the style before mentioned2 not
 so soft as that of ,ercole2 with the   
addition of some gilding even in the    
drapery1 but sparingly applied4 ,in some
 collections his name has been          
confounded with that of ,gaudenzio      
,ferrari1 perhaps derived by mistake    
from ,lodovico da ,ferrara4 ,thus1 in   
the royal gallery at ,florence1 a little
 picture of the ,virgin and ,holy       
,child1 to whom ,s4 ,anna is seen       
presenting fruits1 with figures of ,s4  
,giovacchino and another saint1 has been
 attributed to ,ferrari4 ,but it is the 
work of ,mazzolini1 if ,i do not deceive
 myself1 after the comparison made with 

others examined at ,rome4  ,from the    
resemblance of his style to ,costa1 and 
even superior in the heads1 it is       
conjectured that ,michele ,coltellini   
sprung from the same school4 ,some      
specimens of his works are recorded in  
the church and convent of the ,,pp4     
,agostiniani of ,lombardy1 two of which 
yet remain in existence2 one an         
altar-piece at the church1 in the usual 
composition of the fourteenth century1  
and in the refectory a ,s4 ,monica with 
four female saints belonging to that    
order4 ,the date inscribed1 together    
with his name1 on an altar-piece1       
informs us that he was still living in  
the year #aeag4 ,it is uncertain in what
 school ,domenico ,panetti received his 
education2 but ,i know that his works1  
during several years1 appear only feeble
 efforts4 ,his former pupil1 ,garofolo1 
however1 returning subsequently from    
,rome1 after acquiring the new style    
under ,raffaello1 he received his old   
master1 ,panetti1 as a pupil1 and so    

greatly improved him as to render his   
latter works worthy of competition with 
the best masters of the fourteenth      
century4 ,such is his ,st4 ,andrew1 at  
the ,agostiniani1 just before recorded1 
in which he displays not only accuracy1 
but1 what is far more rare for his      
times1 a dignified and majestic manner4 
,the artist's name1 which is affixed1   
with several other works conducted in   
the same taste 7one of which is now seen
 in ,dresden7 bear evidence of a change 
in pictoric character without example4  
,gio4 ,bellini and ,pietro ,perugino1   
indeed1 improved themselves upon the    
models of their disciples1 but they had 
previously attained the rank of eminent 
masters1 which cannot be averred of     
,panetti4 ,vasari relates that ,garofolo
 was pupil to ,domenico ,lanero1 in     
,ferrara2 an error resembling that of   
,orlandi1 who terms him ,lanetti1 and   
all these are the same individual       
,domenico ,panetti4 ,he flourished some 
years during the sixteenth century1 in  

the same manner as the two ,codi1 and   
the three ,cotignoli1 who though        
belonging to lower ,romagna1 having     
flourished abroad1 have been included in
 the school of ,bologna1 or in its      
adjacent places4 ,a few others1 known   
only by their names1 such as ,alessandro
 ,carpi1 or ,cesare ,testa1 may be      
sought for in the work of ,cittadella4  
,,school ,,of ,,ferrara4                
,,epoch ,,ii4       ,artists of         
,ferrara1 from the time of ,alfonso ,i4 
till      ,alfonso ,,ii41 last of the   
,este family in ,ferrara1 who emulate   
the best ,italian styles4   ,the most   
flourishing epoch of the ,ferrarese     
,school dates its commencement from the 
first decades of the sixteenth century4 
,it traces its source to two brothers   
named ,dossi1 and to ,benvenuto da      
,garofolo1 or1 more correctly perhaps1  
to ,duke ,alfonso d',este1 who employed 
them in his service1 so as to retain    
them in their native place1 where they  
might form pupils worthy of themselves4 

,this prince1 whose memory has been     
embalmed by so many distinguished poets1
 was peculiarly attached to the fine    
arts4 ,in his court ,titian painted1 and
 ,ariosto conferred with him upon the   
subjects of his pencil1 as we learn from
 ,ridolfi in the life of ,titian        
himself4 ,this was subsequent to the    
year #aead1 when ,gian ,bellini1 already
 old1 left in an unfinished state his   
noble work of the ,bacchanals1 which has
 long decorated the ,aldobrandini       
gallery at ,rome2 and when ,titian was  
called upon to complete it4 ,he likewise
 conducted various paintings in fresco1 
which still remain in a small chamber1  
in the palace of ,ferrara2 besides      
others in oil1 such as portraits of the 
duke and duchess1 and his celebrated    
,cristo della ,moneta1 which we have    
extolled for one of his most studied    
productions4 ,pellegrino da ,s4         
,danielle1 another pupil of ,gian       
,bellini1 but not to compare with       
,titian1 though not inferior to many of 

the same school1 was retained and       
honoured by the same court1 where he    
left a few works1#eh of which there     
remains no account1 or confounded1      
perhaps1 with those of ,dosso1 an artist
 of much celebrity1 and of various      
styles1 at the same court1 as we now    
proceed to shew4       ,footnote #eh3   
,see ,renaldis1 p4 #bj4  ,assisted by   
such models1 the talents of ,dosso      
,dossi1 and of his brother1 ,gio4       
,batista1 born at ,dosso1 a place near  
,ferrara1 may have been considerably    
improved4 ,they were1 first1 pupils to  
,costa1 and afterwards1 says            
,baruffaldi1 resided six years at ,rome1
 and five in ,venice1 devoting          
themselves to the study of the best     
masters1 and drawing portraits from     
life4 ,by such means they formed their  
peculiar character1 but of different    
kinds4 ,dosso succeeded admirably in    
figures1 while ,gio4 ,batista was       
perhaps below mediocrity4 ,still he     
aimed at them2 sometimes even in spite  

of his brother's remonstrances1 with    
whom he lived at continual variance1    
though unable to separate from him by   
command of the prince who gave him as   
his brother's assistant4 ,he was thus   
like a slave at the oar1 ever drudging  
against his will2 and when obliged to   
consult respecting their common labours1
 he wrote what suggested itself1        
refusing to communicate by word of      
mouth4 ,envious and spiteful in his     
mind1 he was equally deformed in person1
 expressing as it were the picture of   
his internal malignity4 ,his real talent
 lay in ornamenting1 and still more in  
landscape1 a branch in which1 according 
to ,lomazzo1 he was inferior neither to 
,lotto1 to ,gaudenzio1 to ,giorgione1   
nor to ,titian4 ,there remain some      
specimens of his friezes in the palace  
of the ,legation1 and in still better   
preservation some works noticed by      
,baruffaldi at the villa of             
,belriguardo4  ,the two brothers        
obtained constant employment at         

,alfonso's court1 and subsequently from 
,ercole ,,ii4 ,they1 likewise1 composed 
the cartoons for the tapestries at the  
cathedral of ,ferrara1 and for those    
which are in ,modena1 part at ,s4       
,francesco and part at the ducal palace1
 representing various exploits of the   
,esti4 ,how far ,vasari may be entitled 
to credit in his account of ,ercole's   
invitation of ,pordenone to compose     
cartoons for his tapestries1 there being
 no good figurists at ,ferrara for      
themes of war1 it is difficult to       
decide4 ,he adds1 that ,pordenone died  
there1 shortly after his arrival1 in    
#aedj1 as was reported1 by poison4 ,this
 assertion1 by no means flattering to   
the ,dossi who then flourished1 has not 
been noticed1 ,i believe1 by any        
,ferrarese writers1 who else would1     
doubtless1 have defended their          
reputation by citing the exploits of    
arms figured in a variety of tapestries4
 ,on other points1 indeed1 this has been
 done1 particularly in regard to their  

paintings1 which decorated a chamber of 
the ,imperiale1 a villa belonging to the
 dukes of ,urbino4 ,it is observed by   
,vasari1 that the work was conducted in 
an absurd style1 and they departed from 
the ,duke ,francesco ,maria's court in  
disgrace1 who was compelled to destroy  
all they had executed1 and cause the    
whole to be repainted from designs by   
,genga4 ,the answer made to this is1    
that the destruction of that work was   
owing to the jealousy of their          
competitors1 and still more to the      
policy of that prince1 who did not wish 
his artists of ,urbino surpassed by     
those of ,ferrara4 ,these are the words 
of ,valesio1 from ,malvasia1 7vol4 ii4  
p4 #aej7 though ,i believe that too much
 deference was paid to ,valesio in      
adopting such an excuse2 as it seems    
inconsistent with the judgment and taste
 of the prince to suppose him capable of
 this species of barbarism1 and from the
 motive which is adduced4 ,i rather     
apprehend that the work must have failed

 by the fault of ,gio4 ,batista1 who1   
dissatisfied with his allotted          
grotesques and landscapes1 insisted on  
shining as a figurist4 ,there is a      
similar example in a court-yard of      
,ferrara1 where he inserted some figures
 against ,dosso's wishes1 and acquitted 
himself ill4 ,for the rest1 a much      
better defence of their talents was made
 by ,ariosto4 ,for he not merely availed
 himself of ,dosso's talents to draw his
 own portrait1 and the arguments to the 
cantos of his ,furioso1 but has         
immortalized both his and his brother's 
name1 along with the most eminent       
,italian painters when he wrote1        
,leonardo1 ,andrea ,mantegna1 e ,gian   
,bellino1 ,duo ,dossi2 names which are  
followed by those of ,michelangiolo1    
,raffaello1 ,tiziano1 and ,sebastiano   
del ,piombo4 ,such commendation was not 
a mere tribute to friendship1 but to    
,dosso's merit1 always highly extolled  
likewise by foreigners4 ,his most       
distinguished works are now perhaps at  

,dresden1 which boasts seven of them1   
and in particular the altar-piece of the
 four ,doctors of the ,church1 one of   
his most celebrated pieces4 ,his ,st4   
,john in ,patmos is at the ,lateranensi 
in ,ferrara2 the head1 free from any    
retouching1 is a masterpiece of         
expression1 and acknowledged by ,cochin 
himself to be highly ,raffaellesque4    
,but his most admired production was at 
the ,domenicani of ,faenza1 where there 
is now a copy1 the original having been 
removed on account of its decay4 ,it    
exhibits ,christ disputing among the    
doctors2 the attitudes so naturally     
expressive of surprise1 and the features
 and draperies so well varied1 as to    
appear admirable even in the copy4      
,there is a little picture on the same  
subject in the ,campidoglio1 formerly   
belonging to ,card4 ,pio of ,ferrara1   
full of life1 polish1 and coloured with 
most tasteful and mellow tints4 ,by the 
same hand ,i have seen several          
,conversazioni in the ,casa ,sampieri at

 ,bologna1 and a few ,holy ,families in 
other collections1 one in possession of 
,sig4 ,cav4 ,acqua at ,osimo4 ,in       
pictoric works ,i sometimes find him    
compared with ,raffaello1 sometimes with
 ,titian or ,coreggio2 and certainly he 
has the gracefulness1 the tints1 and    
chiaroscuro of a great master4 ,he      
retains1 however1 more of the old style 
than these artists1 and boasts a design 
and drapery which attract the spectator 
by their novelty4 ,and in some of his   
more laboured pieces he adds to this    
novelty by a variety and warmth of      
colours which nevertheless does not seem
 to diminish their union and harmony4   
,dosso survived ,gio4 ,batista some     
years1 during which he continued to     
paint1 and to form pupils1 until        
infirmity and old age compelled him to  
desist4 ,the productions of this school 
are recognised in ,ferrara by their     
resemblance of style2 and from their    
great number it is conjectured that the 
,dossi directed the works1 while their  

assistants and disciples executed them4 
,few of these however are known1 and    
among them one ,evangelista ,dossi1 who 
has nothing to recommend him but his    
name1 and whose works ,scannelli did not
 care to point out to posterity4 ,jacopo
 ,pannicciati1 by birth a noble1 is     
mentioned by historians as a first rate 
imitator of the ,dossi1 though he       
painted little1 and died young1 about   
the year #aedj4 ,niccolo ,rosselli1 much
 employed at ,ferrara1 has been supposed
 to belong to this school1 from his     
resemblance in some pictures to ,dosso1 
particularly in that of ,christ with two
 angels1 on an altar of the ,battuti    
,bianchi4 ,but in his twelve            
altar-pieces at the ,certosa1 he        
imitated also ,benvenuto and            
,bagnacavallo1 with several other       
artists4 ,his school1 then1 must remain 
uncertain2 the more so as his           
composition1 so very laboured1 soft1 and
 minute1 with reddish tints like those  
of crayons1 leaves it even doubtful     

whether he studied at ,ferrara at all4  
,the same taste was displayed by        
,leonardo ,brescia1 more a merchant than
 a painter2 from which some have        
supposed him ,roselli's pupil4  ,better 
known than these is the name of         
,caligarino1 in other words the little  
shoe-maker1 a title derived from his    
first profession4 ,his real name was    
,gabriel ,cappellini2 and one of the    
,dossi having said1 in praise of a pair 
of shoes made by him1 that they seemed  
to be painted1 he took the hint and     
relinquished his awl to embrace his new 
profession4 ,the old ,guide of ,ferrara 
extols his bold design and the strength 
of his colours4 ,the best that now      
remains is his picture of the ,virgin   
between two ,saints ,john1 at ,s4       
,giovannino2 the ground of which has    
been retouched1 or rather spoiled4 ,an  
altar-piece1 in good preservation1 is   
also ascribed to him in ,s4 ,alessandro1
 at ,bergamo1 representing our ,lord's  
,supper4 ,the manner partakes in some   

degree of that of the fourteenth        
century1 though very exact and boasting 
good tints4 ,in time1 however1 he       
approached nearer to the moderns1 as we 
gather from another ,holy ,supper1 a    
small picture in possession of ,count   
,carrara4 ,this new style has led to the
 supposition that he was pupil to ,paul 
,veronese1 which it is difficult to     
believe respecting an artist who was    
already employed in his art as early as 
#aebj4  ,gio4 ,francesco ,surchi1 called
 ,dielai1 was pupil and assistant to the
 ,dossi1 when employed in painting at   
,belriguardo1 at ,belvedere1 at the     
,giovecca1 and at ,cepario1 in which    
palaces they gave the most distinguished
 proofs of their merit4 ,thus instructed
 by both brothers1 he became perhaps the
 most eminent figurist among his        
fellow-pupils1 and beyond question the  
best ornamental painter4 ,he left few   
specimens in the second branch1 but many
 in the first4 ,in rapidity1 vivacity1  
and grace in his figures1 he approaches 

,dosso1 and in a similar manner in his  
easy and natural mode of draping4 ,in   
the warmth of his colouring1 and in his 
strong lights1 he even aimed at         
surpassing him2 but1 like most young    
artists who carry to excess the maxims  
of their schools1 he became crude and   
inharmonious1 at least in some of his   
works4 ,two of his ,nativities at       
,ferrara are highly extolled1 one at the
 ,benedettini1 the other at ,s4         
,giovannino1 to which last is added the 
portrait of ,ippolito ,riminaldi1 a     
distinguished civilian of his age4      
,writers are divided in opinion         
respecting the comparative excellence of
 these two altar-pieces1 but they agree 
in awarding great merit to both4  ,we   
proceed to treat of ,benvenuto1 another 
great luminary of this school2 and we   
must first premise that there are some  
mistakes as to his name1 which has often
 betrayed our dilettanti into errors4   
,besides ,benvenuto ,tisio1 surnamed    
from his country ,garofolo1 there       

flourished at the same period ,gio4     
,batista ,benvenuti1 by some said to    
have been also a native of ,garofolo1   
and from his father's occupation        
denominated ,ortolano1 the gardener4    
,now1 by many1 he has been confounded   
with ,tisio1 both from resemblance of   
name and taste1 so far as to have had   
even his portrait mistaken for the      
former1 and as such inserted in         
,vasari's edition that appeared at      
,bologna4 ,there ,ortolano had pursued  
his studies about #aeab1 from the works 
of ,raffaello1 which were few1 and from 
those of ,bagnacavallo1 whose style he  
afterwards emulated in some pictures4   
,leaving that place sooner than he had  
intended1 owing to an act of homicide1  
he never attained to a complete         
imitation of ,raffaello4 ,but he        
excelled in his taste for design and    
perspective1 united to more robust      
colouring1 observes ,baruffaldi1 than   
what we see in ,raffaello himself1 and  
it is habitual in this school during    

nearly the whole of the sixteenth       
century4 ,several of his altar-pieces   
have been transferred into the ,roman   
galleries1 where in the present day they
 are attributed1 ,i believe1 to ,tisio1 
whose first manner1 being more careful  
than soft and tasteful1 may easily be   
mistaken for that of ,ortolano4 ,there  
are others at ,ferrara1 both in public  
and private1 and one in the usual old   
style of composition at ,s4 ,niccolo1   
with the date affixed of #aebj4 ,in the 
parochial church of ,bondeno there is   
another1 which is extolled by ,scannelli
 7p4 #cai71 in which are represented the
 ,saints ,sebastian and ,rocco1 and     
,demetrius1 who1 in military dress1 is  
seen leaning on the hilt of his sword1  
absorbed in thought2 the whole attitude 
so picturesque and real as at once to   
attract the eye of the beholder4  ,we   
cannot be surprised that his name should
 have been eclipsed by ,tisio1 an artist
 deservedly extolled as the most eminent
 among ,ferrarese painters4 ,of him we  

have treated rather at length in the    
,roman ,school1 both as occupying a high
 station in the list of ,raffaello's    
pupils1 and as the one most frequently  
met with in the ,roman collections4 ,we 
have a little before mentioned          
,benvenuto's first education under      
,panetti1 from whose school he went to  
,cremona1 under ,niccolo ,soriani1 his  
maternal uncle1 and next under          
,boccaccio ,boccacci4 ,on ,niccolo's    
death1 in #adii1 he fled from ,cremona1 
and first resided during fifteen months 
in ,rome1 with ,gian ,baldini1 a        
,florentine4 ,thence he travelled       
through various ,italian cities1        
remained two years with ,costa in       
,mantua1 and then returning for a short 
space to ,ferrara1 finally proceeded    
back to ,rome4 ,these circumstances ,i  
here give1 on account of a number of    
,benvenuto's works being met with in    
,ferrara and elsewhere1 which partake   
little or nothing of the ,roman style1  
though not excluded as apocryphal1 as   

they are attributed to his earlier age4 
,after remaining a few years with       
,raffaello1 his domestic affairs        
recalled him to ,ferrara2 having        
arranged these1 he prepared to return to
 ,rome1 where his great master anxiously
 awaited him1 according to ,vasari1 in  
order to accomplish him in the art of   
design4 ,but the solicitations of       
,panetti1 and still more1 the           
commissions of ,duke ,alfonso1 retained 
him in his native place1 engaged with   
the ,dossi in immense undertakings at   
,belriguardo and other places4 ,it is   
observed by ,baruffaldi1 that the degree
 of ,raffaellesque taste to be traced in
 the two brothers' works1 is to be      
attributed to ,tisio4 ,he conducted a   
great number of other paintings1 both in
 fresco and in oil4  ,his most happy    
period dates from #aeai1 when he painted
 in ,s4 ,francesco the ,slaughter of the
 ,innocents2 availing himself of earthen
 models1 and copying draperies1         
landscape1 and in short every thing from

 the life4 ,in the same church is his   
,resurrection of ,lazarus1 and his      
celebrated ,taking of ,christ1 commenced
 in #aebj1 and finished in #aebd4 ,no   
better works appeared from his hand1 nor
 better composed1 more animated1        
conducted with more care and softness of
 colouring4 ,there only remains some    
trace of the fourteenth century1 in     
point of design2 and some little        
affectation of grace1 if the opinion of 
,vasari be correct4 ,the district       
formerly abounded with similar specimens
 of his in fresco2 and they are also met
 with in private1 as that frieze in a   
chamber of the ,seminary1 which in point
 of grace and ,raffaellesque taste is   
well deserving of being engraved4 ,many 
of his works1 also1 in oil remain1      
exhibited here and there throughout the 
churches and collections of ,ferrara2 at
 once so many and so beautiful as alone 
to suffice for the decoration of a city4
 ,his ,st4 ,peter ,martyr was more      
particularly admired by ,vasari2 a      

picture ornamenting the ,dominicans1    
remarkable for its force1 which some    
professors have supposed to have been   
painted in competition with ,st4 ,peter 
,martyr1 by ,titian2 and in case of its 
loss to have been able to supply its    
place4 ,his ,helen1 too1 a picture of a 
more elegant character1 at the same     
place1 is greatly admired2 this         
gracefulness forming one of ,benvenuto's
 most peculiar gifts4 ,and1 indeed1 not 
a few of his ,madonnas1 his ,virgins1   
and his boys1 which he painted in his   
softer manner1 have occasionally been   
mistaken for ,raffaello's4 ,his picture 
of the ,princes ,corsini deceived good  
judges1 as we are informed by ,bottari2 
and the same might have happened with   
the portrait of the ,duke of ,modena1   
and others scattered through the ,roman 
galleries1 where are many of his pieces 
on a large scale1 particularly in the   
,chigi palace4 ,all these must be kept  
in view1 in forming an estimate of      
,garofolo4 ,his little pictures1        

consisting of scriptural histories1 are 
very abundant in different cabinets1    
7,prince ,borghesi himself being in     
possession of about forty7 and although 
they bear his mark1 a gilly-flower or   
violet1 they were1 ,i suspect1 merely   
the production of his leisure hours4    
,those without such impress are         
frequently works of ,panelli1 who was   
employed along with him2 often copies or
 repetitions by his pupils1 who must    
have been numerous during so long a     
period4 ,baruffaldi gives him ,gio4     
,francesco ,dianti1 of whom he mentions 
an altar-piece at the ,madonnina1 in the
 style of ,garofolo1 and his tomb1 also 
at the same place1 with the date of his 
decease in #aegf4 ,batista ,griffi and  
,bernardin ,flori1 known only by some   
ancient legal instrument belonging to   
the period of #aebj1 do not seem to have
 surpassed mediocrity2 which is also    
remarked by ,vasari of all the others   
who sprung from the same school4 ,we may
 except a third1 mentioned in the same  

legal act1 and this was ,carpi1 of whom 
,i shall now proceed to treat4  ,it is  
uncertain whether the proper title of   
,girolamo be da ,carpi1 as stated by    
,vasari1 or de' ,carpi1 as is supposed  
by ,superbi2 questions wholly frivolous1
 inasmuch as his friend ,vasari did not 
call him a native of ,carpi1 but of     
,ferrara2 and ,giraldi1 in the edition  
of his ,orbecche and of his ,egle1      
premised that the painter of the scene  
was ,mes4 ,girolamo ,carpi1 from        
,ferrara4 ,and in this city he was      
instructed by ,garofolo1 whose young    
attendant1 in the parchment before      
cited1 he is said to have been in #aebj4
 ,he afterwards went to ,bologna1 where 
he was a good deal employed in portrait 
painting2 until happening to meet with a
 small picture by ,coreggio1 he became  
attached to that style1 copying every   
piece he could meet with1 both at       
,modena and ,parma1 by the same hand4   
,from ,vasari's account we are to       
conclude that he was never acquainted   

with ,coreggio1 ,raffaello1 and         
,parmigianino1 whatever other writers   
may have said4 ,it is true he imitated  
them2 and from the latter1 more         
particularly1 he derived those very     
gracefully clasped and fringed garments2
 and those airs of heads1 which1        
however1 appear rather more solid and   
less attractive4 ,on removing to        
,bologna1 in addition to what he        
conducted in company with ,pupini1 he   
singly executed a ,madonna with ,s4     
,rocco and other saints1 for ,s4        
,salvatore2 and an ,epiphany1 with      
smaller figures1 full of grace1 and     
partaking of the best ,roman and        
,lombard manner1 for the church of ,s4  
,martino4 ,returning at length to       
,ferrara1 he conducted1 along with his  
master1 several pictures in fresco1     
particularly in the ducal ,palazzina1   
and in the church of the ,olivetani1    
where ,baruffaldi clearly recognised his
 style1 invariably more loaded with     
shadow than that of ,benvenuto4 ,in     

#aecd he himself represented1 in a      
loggia of the ducal palace of ,copario1 
the sixteen princes of ,este2 twelve of 
whom with the title of marquis1 the rest
 as dukes1 had swayed the sceptre of    
,ferrara4 ,the last was ,ercole ,,ii41  
who committed that work to ,girolamo1   
honourable to him for the animation and 
propriety of the portraits1 for the     
decoration of the termini1 of the       
landscape1 and of the perspective1 with 
which he adorned that loggia4 ,titian   
himself had raised ,carpi in that       
prince's consideration2 not at the time 
when he came to ,ferrara to continue the
 work of ,bellini1 since ,girolamo was  
then only a child1 but when he returned 
at another period2 and this ,i mention  
in order to correct one of ,vasari's    
mistaken dates4  ,his altar-pieces in   
oil are extremely rare2 the ,pentecost  
at ,s4 ,francesco di ,rovigo1 and the   
,s4 ,antonio at ,s4 ,maria in ,vado di  
,ferrara1 are the most copious1 and     
perhaps the most celebrated which he    

produced4 ,he was employed also for     
collections1 mostly on tender and       
graceful subjects2 but there too he is  
rarely to be met with4 ,his diligence1  
the commissions of his sovereigns1 the  
study of architecture1 a profession in  
which he served ,pope ,julius ,,iii4 and
 ,duke ,ercole ,,ii41 his brief career1 
all prevented him from leaving many     
productions for the ornament of         
cabinets4 ,in his style of figures he   
had no successors3 in the art of        
decorating with feigned bassi-relievi1  
colonnades1 cornices1 niches1 and       
similar architectural labours1 he was   
rivalled by ,bartolommeo ,faccini1 who  
in that manner embellished the grand    
court-yard of the palace4 ,he afterwards
 painted there1 as ,carpi had done      
elsewhere1 the ,princes of ,este1 or    
more correctly1 placed in the niches a  
bronze statue of each of them2 in       
constructing which work he fell from the
 scaffolding1 and died in #aegg4 ,he was
 assisted in the same labour by his     

brother ,girolamo1 by ,ippolito ,casoli1
 and ,girolamo ,grassaleoni1 all of whom
 continued to serve their native place  
in quality of ornamental painters4      
,whilst ,benvenuto and ,girolamo were   
thus bent on displaying all the         
attractions of the art1 there was rising
 into notice1 from the school of        
,michelangiolo at ,rome1 one who aspired
 only to the bold and terrible2 a       
character not much known to the artists 
of ,ferrara up to that period4 ,his name
 was ,bastiano ,filippi1 familiarly     
called ,bastianino1 and surnamed        
,gratella1#ei from his custom of        
covering large pictures with crossed    
lines1 in order to reduce them with     
exactness to a small scale2 which he    
acquired from ,michelangiolo1 and was   
the first to introduce into ,ferrara4   
,he was son to ,camillo1 an artist of   
uncertain school1 but who1 in the       
opinion of ,bononi1 painted with        
neatness and clearness1 as in his       
,annunziata at ,s4 ,maria in ,vado2 in  

the ground of which is a half-figure of 
,st4 ,paul1 which leads to the          
conjecture1 that ,camillo aspired to the
 style of ,michelangiolo4 ,it would     
seem1 therefore1 that ,bastiano imbibed 
from his father his ardent attachment to
 that style1 on account of which he     
secretly withdrew from his father's     
house1 and went to ,rome1 where he      
became one of the most indefatigable    
copyists and a favourite disciple of    
,bonarruoti4 ,how greatly he improved   
may be seen in his picture of the ,last 
,judgment at ,ferrara1 completed in     
three years1 in the choir of the        
,metropolitana2 a work so nearly        
approaching ,michelangiolo that the     
whole ,florentine ,school can boast     
nothing of the kind4 ,it displays grand 
design1 great variety of figures1 fine  
grouping1 and very pleasing repose4 ,it 
seems incredible that1 in a theme       
already treated by ,michelangiolo1      
,filippi should have succeeded in       
producing such novel and grand effect4  

,like all true imitators1 he evidently  
aimed at copying the genius and spirit1 
not the figures of his model4 ,he abused
 the occasion here afforded him1 like   
,dante and ,michelangiolo1 to gratify   
his friends by placing them among the   
elect1 and to revenge himself on those  
who had offended him1 by giving their   
portraits in the group of the damned4   
,on this unhappy list1 too1 he placed a 
young lady who had broken her vows to   
him2 elevating among the blessed1 in her
 stead1 a more faithful young woman whom
 he married1 and representing the latter
 in the act of gazing on her rival with 
looks of scorn4 ,baruffaldi and other   
,ferrarese prefer this painting before  
that of the ,sistine chapel1 in point of
 grace and colouring2 concerning which1 
the piece having been retouched1 we can 
form no certain opinion4 ,there is1     
moreover1 the testimony of ,barotti1 the
 describer of the ,ferrarese paintings1 
who1 at page #dj1 complains1 that while 
formerly those figures appeared like    

living flesh1 they now seem of wood4    
,but other proofs of ,filippi's         
colouring are not wanting at ,ferrara2  
where1 in many of his untouched         
pictures1 he appears to much advantage2 
except that in his fleshes he was       
greatly addicted to a sun-burnt colour2 
and often1 for the union of his colours1
 he overshadowed in a peculiar taste the
 whole of his painting4       ,footnote 
#ei3 ,gratella1 literally a gridiron1 or
 lattice-work4  ,besides this1 his      
masterpiece1 ,filippi produced a great  
number of other pictures at ,ferrara1 in
 whose ,guide he is more frequently     
mentioned than any artist1 except       
,scarsellino4 ,where he represented     
naked figures1 as in his grand ,s4      
,cristofano at the ,certosa1 he adhered 
to ,michelangiolo2 in his draped figures
 he followed other models2 which is     
perceptible in that ,circumcision in an 
altar of the cathedral1 which might     
rather be attributed to his father than 
to him4 ,being impatient1 both in regard

 to invention and to painting1 he often 
repeated the same things2 as he did in  
one of his ,annunciations1 reproduced at
 least seven times1 almost invariably   
with the same ideas4 ,what is worse1 if 
we except the foregoing ,judgment1 his  
large altar-piece of ,st4 ,catharine1 in
 that church1 with a few other public   
works1 he conducted no pieces without   
losing himself either in one part or    
other2 satisfied with stamping upon each
 some commanding trait1 as if to exhibit
 himself as a fine but careless painter 
to the eyes of posterity4 ,there are few
 of his specimens in collections1 but   
these are more exactly finished4 ,of    
these1 without counting those of        
,ferrara1 ,i have seen a ,baptism of    
,christ in ,casa ,acqua at ,osimo1 and  
several copies from ,michelangiolo at   
,rome4 ,early in life he painted        
grotesques1 but subsequently employed in
 such labours1 ,cesare1 his younger     
brother1 a very excellent ornamental    
painter1 though feeble in great figures 

and in histories4  ,contemporary with1  
and rival of ,filippi1 was ,sigismondo  
,scarsella1 popularly called by the     
,ferrarese ,mondino1 a name he has ever 
since retained4 ,instructed during three
 years in the school of ,paul ,veronese1
 and afterwards remaining for thirteen  
at ,venice1 engaged in studying its best
 models along with the rules of         
architecture1 he at length returned to  
,ferrara1 well practised in the         
,paolesque style1 but at considerable   
distance as a disciple4 ,if we except   
his ,visitation at ,s4 ,croce1 fine     
figures and full of action1 we meet with
 nothing more by him in the last        
published ,guide of ,ferrara4 ,the city 
possesses other of his works1 some in   
private1 some retouched in such a manner
 that they are no more the same1 while  
several are doubtful1 and most commonly 
attributed to his son4 ,this is the     
celebrated ,ippolito1 called1 in        
distinction from his father1 ,lo        
,scarsellino1 by whom singly there are  

more pictures interspersed throughout   
those churches1 than by many combined   
artists4 ,after acquiring the first     
rudiments from ,sigismondo1 he resided  
almost six years at ,venice1 studying   
the best masters1 and in particular     
,paul ,veronese4 ,his fellow-citizens   
call him the ,paul of their school1 ,i  
suppose on account of his ,nativity of  
the ,virgin at ,cento1 his ,s4 ,bruno1  
in the ,ferrarese ,certosa1 and other   
paintings more peculiarly ,paolesque2   
but his character is different4 ,he     
seems the reformer of the paternal      
taste2 his conceptions more beautiful1  
his tints more attractive2 while some   
believe that he influenced the manner of
 ,sigismondo1 and directed him in his   
career4 ,on comparison with ,paul it is 
clear that his style is derived from    
that source1 but that his own was       
different1 being composed of the        
,venetian and the ,lombard1 of native   
and foreign1 the offspring of an        
intellect well founded in the theory of 

the art1 of a gay and animated fancy1 of
 a hand if not always equal to itself1  
always prompt1 spirited1 and rapid4     
,hence we see a great number of his     
productions in different cities of      
,lombardy and ,romagna1 to say nothing  
of his native place4  ,there1 his       
pictures of the ,assumption and the     
,nuptials of ,cana1 at the ,benedettini2
 the ,pieta1 and the ,s4 ,john          
,beheaded1 in that church2 with the     
,noli me tangere1 at ,s4 ,niccolo1 are  
among the most celebrated2 also at the  
,oratorio della ,scala1 his ,pentecost1 
his ,annunciation1 and his ,epiphany1   
conducted in competition with the       
,presentation of ,annibal ,caracci2 of  
all which there are seen1 on a small    
scale1 a number of repetitions or copies
 in private houses4 ,they are to be met 
with too at ,rome1 where ,scarsellino's 
paintings are not rare4 ,some are at the
 ,campidoglio1 and at the palaces of the
 ,albani1 ,borghesi1 ,corsini1 and in   
greater number at the ,lancellotti4 ,i  

have sometimes examined them in company 
with professors who never ceased to     
extol them4 ,they recognised various    
imitations of ,paul ,veronese in the    
inventions1 and the copiousness2 of     
,parmigianino in the lightness and grace
 of the figures3 of ,titian in the      
fleshes1 and particularly in a          
,bacchanal in ,casa ,albani2 of ,dossi  
and ,carpi in his strength of colour1 in
 those fiery yellows1 in those deep     
rose-colours1 in that bright tinge given
 also to the clouds and to the air4     
,what sufficiently distinguishes him    
too1 are a few extremely graceful       
countenances1 which he drew from two of 
his daughters2 a light shading which    
envelopes the whole of his objects      
without obscuring them1 and that        
slightness of design which borders      
almost on the dry1 in opposition1       
perhaps1 to that of ,bastiano ,filippi1 
sometimes reproached with exhibiting    
coarse and heavy features4  ,ippolito's 
school1 according to ,baruffaldi1       

produced no other pupil of merit except 
,camillo ,ricci1 a young artist who1    
,scarsellino declared1 would have       
surpassed himself1 and whom1 had he     
appeared a little later1 he would have  
selected for his own master4 ,from a    
pupil1 however1 he became ,scarsellino's
 assistant1 who instructed him so well  
in his manner1 that the most skilful had
 difficulty to distinguish him from     
,ippolito4 ,his style is almost as      
tender and attractive as his master's1  
the union of his colours is even more   
equal1 and has more repose1 and he is   
principally distinguished by less       
freedom of hand1 and by his folding1    
which is less natural and more minute4  
,his fertile invention appears to most  
advantage in the church of ,s4 ,niccolo1
 whose entablature is divided into      
eighty-four compartments1 the whole     
painted by ,camillo with different      
histories of the holy bishop4 ,his      
picture of ,margherita1 also at the     
cathedral1 is extremely beautiful1 and  

might be referred to ,scarsellino       
himself4 ,his smaller paintings chiefly 
adorn the noble house of ,trotti1 which 
abounds with them2 and there too is his 
own portrait1 as large as life1         
representing ,genius naked1 seated      
before his pallet with his pencil in    
hand1 surrounded by musical books1 and  
implements of sculpture and             
architecture1 arts to which he was      
wholly devoted4 ,among the pupils of    
,ippolito1 ,barotti enumerates also     
,lana1 a native of ,codigoro1 in the    
,ferrarese1 though ,i leave him to the  
state of ,modena1 where he flourished4  
,cittadella also mentions ,ercole       
,sarti1 called the mute of ,ficarolo1 a 
place in the ,ferrarese4 ,instructed by 
signs he produced for his native place1 
and at the ,quadrella sul ,mantovano1   
some pictures nearly resembling the     
style of ,scarsellino1 except that the  
outline is more marked1 and the         
countenances less beautiful4 ,he was    
also a good portrait painter1 and was   

employed by the nobility at ,ferrara as 
well as for the churches4 ,there is     
mentioned1 in the ,guide1 an altar-piece
 in the sacristy of ,s4 ,silvestro1 and 
the author is extolled as a successful  
imitator both of ,scarsellino and of    
,bononi4  ,contemporary with the        
,filippi and the ,scarsellini is        
,giuseppe ,mazzuoli1 more commonly      
called ,bastaruolo1 or1 as it means in  
,ferrara1 the vender of corn1 an        
occupation of his father's1 not his own4
 ,he is at once a learned1 graceful1 and
 correct artist1 probably a pupil of    
,surchi1 whom he succeeded in painting  
for the entablature of the ,gesu some   
histories left unfinished by the death  
of his predecessor4 ,mazzuoli was not so
 well skilled in perspective as in other
 branches4 ,he injured his rising       
reputation by designing some figures in 
too large proportion1 owing to which1   
added to his slowness1 he became        
proverbial among his rivals1 and        
considered by many as an artist of      

mediocrity4 ,yet his merit was          
sufficiently marked1 particularly after 
the formation of his second manner1 more
 elevated in design1 as well as more    
studied in its colouring4 ,the          
foundation of his taste is drawn from   
the ,dossi2 in force of chiaroscuro1 and
 in his heads he would seem to have owed
 his education to ,parma2 in the natural
 colour of his fleshes1 more            
particularly at the extremities1 he     
approaches ,titian2 and from the        
,venetians too seem to have been derived
 those varying tints and golden hues1   
introduced into his draperies4 ,the     
church of ,gesu contains1 besides two   
medallions of histories1 admirably      
composed1 an ,annunciation and a        
,crucifixion1 both very beautiful       
altar-pieces4 ,the ,ascension at the    
,cappuccini1 conducted for a princess of
 the ,estense family1 is a magnificent  
piece1 while an altar-piece of the      
titular saint1 with half figures of     
virgins that seem to breathe1 at the    

,zitelle of ,s4 ,barbara1 is extremely  
beautiful4 ,several other pieces1 both  
in public and private1 are met with at  
,ferrara4 ,mazzuoli was drowned1 while  
bathing for his health1 at that place2  
an artist every way worthy of a better  
fate1 and of being more generally known 
beyond the limits of his own country4   
,domenico ,mona 7a name thus read by    
,baruffaldi from his tomb1 though by    
others called ,monio1 ,moni1 and        
,monna17 attached himself to the art    
after trying many other professions1    
ecclesiastical1 medical1 and legal4 ,he 
possessed great fervour and richness of 
imagination1 learning1 and rapidity of  
hand4 ,instructed by ,bastaruolo1 he    
soon became a painter1 and exhibited his
 pieces in public4 ,but not yet founded 
in technical rules1 monotonous in his   
heads1 hard in his folding1 and         
unfinished in his figures1 he was ill   
adapted to please a city already        
accustomed to behold the most finished  
productions at every step1 so as no     

longer to relish any thing like         
mediocrity or inferiority of hand4 ,mona
 then applied with fresh diligence to   
the art1 and corrected1 at least1 some  
of his more glaring faults4 ,from that  
time he was more readily employed by his
 fellow citizens1 though his works were 
by no means equally approved4 ,some1    
however1 were good1 such as the two     
,nativities at ,s4 ,maria in ,vado1 one 
of which represented the ,virgin1 the   
other the ,divine ,child2 both          
displaying a taste of colouring nearly  
resembling the ,florentine of that      
period1 here and there mingled with a   
,venetian tone4 ,the best of all1       
however1 is his ,deposition from the    
,cross1 placed in the ,sagrestia        
,capitolare of the cathedral4 ,a number 
of others only approach mediocrity1     
though still pleasing by their spirit1  
and a general effect which proclaims    
superior genius4 ,even his colouring1   
when he studied it1 is calculated to    
attract by its warmth and vividness1    

though not very natural4 ,a few of his  
works are in such bad taste as to have  
induced his pupil1 ,jacopo ,bambini1 out
 of compassion1 to retouch them2 and    
,baruffaldi also notices this singular  
inequality4 ,for1 after greatly         
extolling his ,deposition from the      
,cross1 he adds3 ,it must surprise the  
spectator to contrast this with his     
other pieces1 nor can he reconcile how  
he should possess such capacity1 and yet
 show such indifference for his own     
fame4 ,all1 however1 is explained when  
we know that he was naturally subject to
 insanity1 of which he finally became   
the victim1 and having slain a courtier 
of the ,card4 ,aldobrandino1 he ended   
his days in banishment from his native  
place4 ,by some1 however1 the deed was  
attributed1 not to insanity1 but to     
hatred of the new government2 and in    
fact1 so far from acting like a madman1 
he concealed himself1 first in the      
state1 and next at the court of ,modena4
 ,finally1 he sought refuge in that of  

,parma1 where he is declared to have    
produced pieces1 during a short period1 
in his best taste4 ,orlandi calls him   
,domenico ,mora1 and has extolled his   
two large pictures of the ,conversion   
and the ,martyrdom of ,st4 ,paul1 which 
adorn the presbytery of that church at  
,ferrara4 ,he moreover adds1 that he    
flourished in #aegj1 for which date ,i  
am inclined to substitute that of #aehj1
 as it is known that he commenced the   
practice of the art late in life1 and   
died1 aged fifty-two years1 in #afjb4   
,from his school is supposed to have    
sprung ,gaspero ,venturini1 who         
completed his education under ,bernardo 
,castelli1 in ,genoa4 ,this1 however1 is
 mere conjecture1 founded on the style  
of ,gaspero1 which1 in point of         
colouring1 partakes of that ideal taste 
so pleasing to ,castelli1 to ,vasari1   
,fontana1 ,galizia1 and others of the   
same period2 nor was ,mona himself free 
from it4 ,jacopo ,bambini1 whom we have 
before commended1 and ,giulio ,cromer1  

commonly called ,croma1 were assuredly  
from the school of ,mona1 though they   
acquired little from it4 ,subsequently  
they became more correct designers by   
studying from the naked model in the    
academy1 which they were the first to   
open at ,ferrara1 and from the best     
antiques which they possessed in their  
native place--an art in which they      
attained singular excellence4 ,nor were 
they destitute of invention2 and to     
,cromer was allotted the honour of      
painting the ,presentation and the      
,death of the ,virgin1 at the ,scala2 a 
fraternity1 which1 previous to its      
suppression1 was regarded as a          
celebrated gallery1 decorated by        
superior artists4 ,bambini had studied  
also in ,parma1 whence he brought back  
with him a careful and solid style2 and1
 if he sometimes displayed the colouring
 of ,mona1 he corrected its hardness1   
and excluded its capriciousness4 ,this  
artist was assiduously employed at the  
,gesu1 in ,ferrara1 and in that at      

,mantua4 ,croma was a painter of high   
reputation1 and much inclined to the    
study of architecture1 which he         
introduces in rather an ostentatious    
manner in nearly all his pictures4 ,in  
other respects he more resembles        
,bambini than ,mona1 invariably studied1
 ruddy in his complexions1 somewhat     
loaded in all his tints1 and the whole  
composition sufficiently characteristic 
to be easily distinguished4 ,he may be  
well appreciated in his large histories 
of the saint at ,st4 ,andrea1 near the  
chief altar1 and in several pictures    
belonging to the minor altars4 ,superbi1
 in his ,apparato1 describes one ,gio4  
,andrea ,ghirardoni as an able artist4  
,he left some respectable works1 but    
coloured in a languid1 feeble style1    
with more of the effect of chiaroscuro  
than of painting4 ,the names of         
,bagnacavallo1 ,rossetti1 ,provenzali da
 ,cento1 and others belonging to the    
,ferrarese state1 who properly appertain
 to this epoch1 have been already       

described under other schools4          
,,school ,,of ,,ferrara4                
,,epoch ,,iii4       ,the ,artists of   
,ferrara borrow different styles from   
the      ,bolognese ,school4--,decline  
of the ,art1 and an ,academy            
instituted in its support4   ,such1 as  
just described1 was the degree of       
excellence to which the pictoric art    
arrived under the ,esti1 whose dominion 
over ,ferrara terminated in the person  
of ,alfonso ,,ii41 who died in #aeig4   
,these princes beheld nearly all the    
classic styles of ,italy transferred    
into their own capital by classic       
imitators1 which no other potentates    
could boast4 ,they had their ,raffaello1
 their ,bonarruoti1 their ,coreggio1    
their ,titian1 and their ,paul          
,veronese4 ,their memory yet affords an 
example to the world2 because1 like true
 citizens of their country1 they        
fostered its genius1 the love of        
letters1 and all the arts of design4    
,the change of government occurred in   

the pontificate of ,clement ,,viii4 for 
whose solemn entry into the place the   
artists ,scarsellino and ,mona were     
employed about the public festivals2    
being selected as the ablest hands1     
equal to achieve much in a short space  
of time4 ,various other painters were   
subsequently employed1 in particular    
,bambini and ,croma1 who were to copy   
different select altar-pieces of the    
city1 which the court of ,rome was      
desirous of transferring into the       
capital2 leaving the copies only at     
,ferrara1 to the general regret of the  
,ferrarese historians4 ,subsequently the
 ,card4 ,aldobrandini1 nephew to the    
,pope1 was there established as legate2 
a foreigner indeed1 but much attached to
 the fine arts4 ,like other foreigners1 
he was more bent upon purchasing the    
works of old masters1 than upon         
cultivating a genius for painting among 
the citizens4 ,the same feeling may1 for
 the most part1 be supposed to have     
influenced his successors2 since1 about 

#afej1 ,cattanio1 as we read in his     
life1 ascribed the decline of the art to
 its want of patrons1 and induced ,card4
 ,pio1 a ,ferrarese1 to allot pensions  
to young artists1 to enable them to     
study at ,bologna and at ,rome4 ,but    
such temporary aids afforded no lasting 
support to the school1 so that if the   
others of ,italy were greatly           
deteriorated during this last century1  
that of ,ferrara became almost extinct4 
,it may1 therefore1 boast greater credit
 for having retrieved itself under less 
favourable circumstances1 and for having
 continued so long to emulate the most  
distinguished originals4  ,about the    
beginning of the seventeenth century1   
when the new civil government commenced 
at ,ferrara1 a new epoch also occurred  
in its pictoric school1 which ,i call   
that of the ,caracci4 ,i can furnish no 
account respecting that ,pietro da      
,ferrara1 mentioned by ,malvasia1 along 
with ,schedone1 among the pupils of     
,lodovico ,caracci4 ,i have no where met

 with his name in any other work4       
,dismissing him1 therefore1 ,i may award
 the chief station in this epoch to two 
able artists1 who acquired the taste1   
without entering into the academy of the
 ,caracci4 ,these were ,bonone of the   
city of ,ferrara1 and ,guercino         
belonging to the state2 of whom1 as     
residing so long with his school at     
,bologna1 ,i have there written what    
need not here be repeated4 ,they were   
succeeded by other painters in the      
,legation1 nearly the whole of them     
pupils of ,caracci's followers1 or again
 of their disciples2 insomuch1 that what
 now remains of the ,ferrarese ,school1 
is almost a continuation of that of     
,bologna4 ,it is the crowning glory of  
the ,ferrarese to have boasted superior 
emulators of the final school of ,italy1
 as they had of all the preceding4 ,but 
it is now time to proceed to the        
particulars4  ,carlo ,bonone1 called by 
the admirable ,cochin invariably        
,bourini1 was pupil to ,bastaruolo4 ,on 

being deprived of his master1 he        
continued to exercise his acquired      
manner2 but he subsequently inclined to 
the strong1 to contrast of light and    
shadow1 and to the difficult parts of   
composition1 more than any other        
contemporary ,ferrarese4 ,i suspect     
that1 despairing of competing in grace  
with ,scarsellino1 he intended to oppose
 him by a more robust and enlarged      
manner4 ,nor had he far to seek for it1 
while the ,caracci flourished in        
,bologna4 ,he left his native place2 and
 perhaps passing through that city1 he  
conceived the first idea of his new     
style4 ,arrived at ,rome1 he there      
continued above two years designing the 
beautiful from nature in the academy1   
and out of it from the works of art2 and
 then returned to ,bologna4 ,here he    
remained a year1 until he had mastered  
the character and colouring of the      
,caracci1 and devoted himself           
exclusively to the principles and       
practice thus adopted1 entirely         

renouncing all other manners4 ,thus     
states ,baruffaldi2 and adds1 that he   
resided also at ,venice1 whence he      
departed more confounded than           
instructed1 with the fixed intention of 
never in the least departing from the   
,caraccesque manner4 ,he went also to   
,parma1 and saw the works of ,coreggio1 
according to some1 though without       
departing from his maxim4 ,what progress
 he made in the path thus selected1 may 
be easily gathered from the opinions of 
experienced ,bolognese1 contained in    
different histories1 who1 on examining  
one of his works1 ascribed it1 without  
hesitation1 to ,lodovico ,caracci2 and  
it is also to be inferred from the      
public voice1 which extols him as the   
,caracci of ,ferrara4  ,this mistake is 
apt to be made in those compositions    
with few figures1 rather than in his    
large histories4 ,in the former his     
dignity of design is calculated to      
deceive us2 as well as the conception   
and attitudes of his heads of men1 the  

form and fulness1 the fall and folding  
of the drapery1 the choice and          
distribution of the colours1 and the    
general tone which in some works1 more  
correctly conducted1 greatly resemble   
the ,bolognese style4 ,but in his       
compositions on a grand scale1 he does  
not closely imitate the ,caracci1 always
 sparing in their figures1 and anxious  
to make them conspicuous by a certain   
disposition peculiarly their own2 but   
rather follows the ,venetians1 and      
adopts methods to multiply the          
personages on the scene4 ,the grand     
,suppers which he painted 7of a few of  
which we have engravings by ,bolzoni7   
might be almost pronounced from the     
genius of ,paul ,veronese1 so greatly do
 they abound with perspective1 stages1  
and staircases2 so thronged is every    
situation with actors and spectators4   
,his ,herod's ,feast1 at ,s4 ,benedetto1
 is much celebrated1 as well as the     
,marriage of ,cana1 at the ,certosini1  
at ,s4 ,maria in ,vado1 and other places

 in ,ferrara1 but1 in particular1 his   
,supper of ,ahasuerus1 in the refectory 
of the ,canonici ,regolari of ,s4       
,giovanni1 at ,ravenna4 ,the canvass is 
large1 as well as the vestibule which   
fills it1 while the multitudes which    
there appear1 thronged together1 is     
excessive2 guests1 spectators1          
domestics1 musical choirs and companies 
in the balconies1 and in a recess1      
through which is seen the garden1 appear
 other tables surrounded by guests1 with
 so beautiful an illusion of aerial     
perspective1 as at once to relieve and  
to gratify the eye with infinite        
variety4 ,there is as much diversity    
also in the attitudes1 novelty of       
drapery1 richness of plate1 c41 of which
 it seems impossible to finish the      
inspection4 ,a few figures too are more 
studied1 such as that of ,ahasuerus1 of 
the master of the feast1 and of a       
kneeling page1 in the act of presenting 
the royal crown to the king4 ,to these  
add several of the singers1 which rivet 

the eye by their respective dignity1    
vivacity1 or grace4 ,in no other work   
did ,bonone succeed equally well in     
captivating others and in pleasing his  
own taste4  ,yet the church of ,s4      
,maria in ,vado boasts so great a number
 of his paintings on the walls1 so many 
in the vault and in the ceiling1        
conducted too with so perfect a         
knowledge of foreshortening1 that1 in   
order to estimate the vastness of his   
talents1 we ought to see that           
magnificent temple itself4 ,when        
,guercino left ,cento for ,ferrara1 he  
used there to spend hours devoted only  
to the contemplation of ,bonone4 ,i find
 mention that1 for such productions1 he 
was elevated even to a competition with 
,coreggio and the ,caracci1 and he      
assuredly adhered much to that method1  
designing accurately1 modelling his     
figures in wax1 arranging the foldings1 
and exhibiting them to a nocturnal light
 to examine their best effect1 which he 
aimed at even more than the ,caracci4   

,still ,i have too great deference for  
public opinion1 which acknowledges no   
rivals to these noble masters1 though   
they had imitators2 and ,i have heard   
judges express a wish for more constant 
accuracy of design1 choice in his heads1
 stronger union of colours1 and a better
 method of laying on his grounds1 than  
they find in ,bonone4 ,notwithstanding  
similar exceptions1 however1 this artist
 stands as one of the very first1 after 
the ,caracci4 ,though inferior in age1  
he could not be called inferior in      
merit1 to ,scarsellino2 and the city1   
divided into parties1 could not agree to
 award the palm either to the elder or  
to the younger4 ,they pursued different 
manners2 each was eminent in his own1   
and when they came into competition each
 exerted his utmost industry not to be  
outshone1 which left the victory still  
doubtful4 ,there were a few years ago at
 the ,scala1 and are yet at other       
places1 a number of these rival         
productions1 and it is wonderful to see 

how ,bonone1 accustomed so much to fill 
his canvass on a large scale1 can adapt 
his genius1 equal to any1 to study and  
refinement1 even painting his figures of
 small proportion almost in the style of
 miniature1 in order that ,scarsellino1 
in these ornaments of the cabinet1      
should not excite greater admiration    
than himself4 ,different collections1   
and particularly that of the noble      
,bevilacqua1 possess fine specimens of  
him2 in public is his ,martyrdom of ,st4
 ,catherine1 in that church1 a real     
treasure1 much sought for by foreigners1
 who have frequently offered for it     
large sums without success4  ,no        
disciple of ,bonone's school acquired   
much celebrity1 and1 least of any1      
,lionello1 nephew to ,carlo1 and his    
heir4 ,he was indebted to his uncle for 
his knowledge of the art1 but could     
never be induced to practise it with    
diligence4 ,what he has left was either 
executed with ,carlo's assistance1 and  
from his designs1 or is of very middling

 merit4 ,others1 who had successfully   
attained the manner of this master1 died
 young1 as ,gio4 ,batista della ,torre1 
born at ,rovigo1 and ,camillo           
,berlinghieri1 both artists of genius   
and highly estimated in collections4    
,some early pieces of great promise     
adorn the church of ,s4 ,niccolo1 where 
the former painted the vaulted ceiling1 
but on some defect in the work being    
pointed out by the master1 he refused to
 complete it1 and setting out in anger  
for ,venice he there took up his        
residence1 and shortly came to an       
untimely end4 ,by the second was painted
 the picture of the ,manna1 at ,s4      
,niccolo1 besides several others        
throughout the city1 and a few also at  
,venice1 where he obtained the name of  
the ,ferraresino1 and where he died     
before completing his fortieth year4    
,the highest reputation was obtained by 
,alfonso ,rivarola1 likewise called1    
from some property left to him1 ,il     
,chenda4 ,on his master's death he was  

proposed1 as the most familiar with his 
style1 by ,guido ,reni1 to complete an  
unfinished work of ,bonone4 ,at ,s4     
,maria in ,vado is the ,marriage of the 
,virgin1 sketched by ,bonone1 and which 
,chenda painted1 ,lionello having       
declined to venture upon such a task4   
,this picture has a powerful rival in   
one of ,bonone's1 placed opposite to it1
 though it still displays a hand not    
unworthy of following that of ,bonone4  
,his fellow citizens entertained the    
same opinion of his other early efforts1
 such as the ,baptism of the ,saint1    
exhibited in a temple of noble          
architecture at ,s4 ,agostino1 in a     
style of foreshortening that displays a 
master4 ,his ,fables1 too1 from ,guarini
 and ,tasso1 conducted in the ,villa    
,trotti1 as well as the pictures yet    
belonging to the same nobles1 and to    
different houses in the city1 are held  
in esteem4 ,but he executed little for  
churches and collections1 aiming more at
 popular admiration1 which he obtained  

by exercising at once the office of     
architect and of painter at public      
festivals1 and in particular at         
tournaments1 then so very prevalent in  
,italy4 ,one of these1 which he         
conducted at ,bologna1 laid the         
foundation of his early decease4 ,either
 he met with little applause1 and took  
it to heart1 or1 according to others1   
had such success as to lead to his being
 carried off by poison4 ,thus1 in few   
years1 ,carlo ,bonone's school          
approached its close1 not without       
leaving1 however1 numerous works which1 
owing to their uniform style1 are now   
attributed generally to the school1 not 
in particular to any artist4  ,i        
reserved for the series of the ,caracci 
the name of ,francesco ,naselli1 a      
,ferrarese noble1 though stated by some 
to have been initiated in the art by    
,bastaruolo4 ,this1 however1 is         
uncertain2 it is only known that he     
designed from the naked model with      
assiduity in an academy opened in       

conjunction with his efforts1 at        
,ferrara2 and that going thence to      
,bologna1 he took copies of various     
works by the ,caracci and by their      
disciples4 ,in the churches of his      
native place1 and in private cabinets1  
numerous proofs of these studies are met
 with1 the most laborious of which are  
two miracles of ,st4 ,benedict1 copied  
in the cloister of ,s4 ,michele in      
,bosco1 and now placed at ,s4 ,giorgio  
of the ,olivetani in ,ferrara4 ,of      
these1 one is borrowed from ,lodovico1  
the other from ,guido2 but preferred to 
both is his ,communion of ,s4 ,girolamo1
 which decorates the ,certosa1 a copy   
from the original by ,agostino4         
,guercino also was one of his           
favourites2 of his he copied every thing
 he could meet with1 having selected    
him1 after the ,caracci1 for his first  
guide4 ,by such practice ,francesco     
succeeded in designing and painting with
 good success in his own manner1 on a   
large scale1 animated1 soft1 with rapid 

execution and strong union of colours1  
inclining in those of his fleshes to a  
sun-burnt hue4 ,of his own design is the
 ,s4 ,francesca ,romana at the          
,olivetani1 the ,assumption at ,s4      
,francesco1 several ,suppers1 abounding 
in figures1 belonging to private        
institutions1 five of which are in the  
,cistercian monastery4 ,he likewise     
painted at the ,scala in competition    
with one of the ,caracci1 with ,bonone1 
and with ,scarsellino4 ,nor was he      
judged unworthy of them2 and at the sale
 of those valuable paintings for the    
relief of the ,hospital1 in #aggb1      
considerable prices were offered for his
 productions4 ,although noble1 and in   
easy circumstances1 he never ceased to  
persevere1 and it would appear that he  
was desirous of promoting the success of
 one of his domestics in the same art4  
,crespi declares that he had read a     
statement1 showing ,alessandro ,naselli 
to be the son of ,francesco1 but1       
according to historians1 he was an      

artist of mediocrity1 the omission of   
whose works will scarcely be any loss to
 my readers4  ,it is here necessary to  
interrupt for a moment our series of the
 ,caracci's disciples1 to make mention  
of two geniuses1 who also became        
painters1 like ,naselli1 but in the     
,venetian taste4 ,gio4 ,paolo ,grazzini1
 one of ,bonone's best friends1         
professed the goldsmith's art1 and it   
was owing only to his bias for painting1
 imbibed from ,bonone and other         
contemporaries1 that he acquired its    
principles in familiar conversation4    
,eager to put them to the test1 he      
commenced his altar-piece of ,s4        
,eligio1 for the ,goldsmith's ,school4  
,it occupied him eight years in its     
completion1 but it was executed in such 
a masterly style as alone to decide his 
excellence1 approaching quite as nearly 
as any to the manner of ,pordenone4     
,being then about fifty years of age1 it
 excited the utmost surprise throughout 
,ferrara1 yet he still persevered1 and  

conducted some minor pieces1 which      
decorate private buildings1 in the same 
taste4 ,so rare an example1 or rather   
one so wholly novel1 appeared to me well
 worth historical mention4 ,somewhat at 
a later period ,giuseppe ,caletti1      
called il ,cremonese1 came into notice4 
,he acquired the art rather from the    
models of the ,dossi1 and of ,titian1   
than from masters1 imitating not only   
their manner of design1 but their       
colouring1 which is so difficult4 ,he   
contrived also to imitate that antique  
tone which time gives to paintings1 and 
thus adds to their harmony4 ,he painted 
a good deal for collections1 such as    
half-length figures1 bacchanals1 and    
small histories4 ,baruffaldi recognized 
several in some noble galleries at      
,bologna1 and has been compelled to     
argue the point with judges1 who        
maintained that they were ,titian's4 ,he
 farther relates1 that an excellent     
pupil of ,pietro da ,cortona purchased a
 great number1 at a high price1 at      

,ferrara1 being confident of reselling  
them at ,rome for ,titian's1 or at least
 for works of his school4 ,in ,ferrara1 
which is filled with his pictures1 it is
 difficult to succeed in these          
impostures4 ,he is there distinguished  
by fleshes of a sun-burnt hue1 by       
certain bold lights1 strengthened by    
contrast with somewhat loaded shadows1  
by the fleeciness of his clouds1 and by 
other careless and ill-conducted        
accessories4 ,often too the extravagance
 of the composition betrays the real    
author1 when1 for instance1 in a        
bacchanal1 much resembling ,titian1     
there is inserted a chase1 or some      
modern sport1 which is like representing
 wild boars in the sea1 or dolphins in  
the woods4 ,in a similar manner are his 
other fine qualities impaired for want  
of judgment1 without which no artist is 
well calculated for the decoration of   
churches4 ,in that of ,s4 ,benedict1    
however1 his four ,holy ,doctors1 on an 
altar1 are seen to advantage2 and upon  

another his admirable ,st4 ,mark1 a     
grand and correct figure1 full of       
expression1 and very picturesquely      
surrounded by abundance of volumes1 in  
whose drawing he is so true and natural1
 as to have been called the painter of  
books4 ,having completed this work1 il  
,cremonese disappeared out of the city1 
nor were farther tidings heard of him1  
although some writers conjecture that he
 died about #affj4  ,returning to the   
disciples of the ,bolognese1 the first  
deserving of mention here is ,costanzo  
,cattanio1 a pupil of ,guido4 ,his      
portrait1 both on canvass and in prints1
 ,i have seen1 and it has always a      
threatening kind of expression4 ,that   
martial1 or bravo character1 affected by
 so many artists about the times of     
,caravaggio1 also misled this excellent 
genius from the right career4 ,at times 
,costanzo was an exile1 now at open     
defiance1 and now wholly occupied in    
shielding his protectors1 who never     
ventured out unarmed1 from dread of     

their rivals1 and to whom he pledged    
himself that they should not be         
assassinated in his presence4 ,when he  
applied himself to his art his peculiar 
disposition appeared stamped on the     
expression of his figures4 ,the         
characters whom he was most fond of     
introducing into his histories were     
soldiers and bullies1 whose fierce      
aspects seemed but ill adapted to the   
soft style of his master4 ,these1 and   
many other ideas1 he borrowed from the  
prints of ,durer1 and ,luca of ,holland1
 which he reduced to his own diligent   
and studied manner1 particularly in his 
heads and his steel armours4 ,although  
attached to strong expression1 and      
borrowing something from the other      
schools of ,italy which he saw1 he      
nevertheless at times betrays sure      
traces of ,guido's school4 ,thus1 in his
 ,s4 ,antonio1 painted for the parish   
church of ,corlo1 and in our ,lord's    
,supper1 which he placed in the         
refectory of ,s4 ,silvestro1 and in     

every other instance when he aimed at   
the ,guidesque1 he succeeded to         
admiration4  ,another ,ferrarese1       
,antonio ,buonfanti1 called il          
,torricella1 is said to have sprung from
 the school of ,guido1 though           
,baruffaldi is silent on this point4    
,two large scripture histories by him   
are at ,s4 ,francesco2 but there are few
 other paintings or accounts of him at  
,ferrara2 and he seems to have taken up 
his residence elsewhere4 ,it is certain 
that the young artists who succeed this 
period are all ascribed to the school of
 ,cattanio4 ,such are ,francesco        
,fantozzi1 called ,parma1 ,carlo        
,borsati1 ,alessandro ,naselli1 ,camillo
 ,setti1 artists who scarcely awaken the
 curiosity of their countrymen4         
,giuseppe ,avanzi is more known by his  
very numerous works1 for the most part  
confused1 and painted almost at a       
sitting4 ,he is described more like an  
artisan bent on earning good wages by   
his day's labour4 ,his picture of ,st4  

,john beheaded1 however1 at the         
,certosa1 is extremely ,guercinesque2   
and some others on canvass and on       
copper1 which he retouched and studied a
 good deal1 do him great credit4  ,but  
,cattanio's chief praise consists in his
 education of ,gio4 ,bonatti1 and in his
 recommendation of him to ,card4 ,pio1  
who greatly assisted him1 by placing him
 first at ,bologna under ,guercino1     
afterwards under ,mola at ,rome4 ,he    
long supported him also at ,venice1     
studying the heads of that school2      
besides defraying his pictoric tours    
through ,lombardy1 and giving him the   
custody of his paintings at court4 ,in  
fact1 he bestowed upon him such favours 
that the public1 considering him as the 
dependant of that prince1 always termed 
him ,giovannino del ,pio4 ,at ,rome he  
was esteemed among the best of his age2 
select1 diligent1 learned in the        
different styles of ,italian schools2   
the view of which1 during his           
picturesque tour1 he declared was highly

 advantageous to him4 ,and true it is   
that the painter1 like the writer1 is   
formed by the study of great models2 but
 the one may behold them all collected  
in the same library1 while the other has
 to seek them in different cities1 and  
in every city to study them at different
 places4 ,at ,rome his only public works
 are a picture at the church            
dell',anima1 a history of ,s4 ,carlo at 
the ,vallicella1 and an altar-piece of  
,s4 ,bernardo1 at the ,cisterciensi1    
highly commended in the ,guide of ,rome4
 ,the rest of his works1 and they are   
but few1 belong to private persons2 his 
health declining at the age of          
thirty-five1 he lingered eleven years   
afterwards1 and died at ,rome4          
,lanfranco likewise supplied a pupil to 
this school1 called by ,passeri1        
,antonio ,richieri1 a ,ferrarese4 ,he   
followed his master to ,naples and      
,rome1 where he painted at the ,teatini 
after the designs of ,lanfranco3--the   
sole information ,i have been enabled to

 collect respecting his paintings4 ,i am
 well aware that he devoted himself to  
engraving1 as we learn also from        
,passeri1 and that at ,naples he        
engraved an altar-piece by his master1  
which was rejected by the person who    
gave the commission for it4 ,there is   
more known of ,clemente ,maiola1 whom   
the ,ferrarese assert to be their       
fellow-citizen and pupil to ,cortona4   
,he conducted many works at ,ferrara2   
one of ,s4 ,nicola supported by an      
angel1 in the church of ,s4 ,giuseppe4  
,he is moreover mentioned as a fine     
pupil of ,pietro1 in the ,notizie of ,m4
 ,alboddo1 for works there extant4 ,titi
 gives account of others left in ,rome  
at the ,rotonda and in other temples2   
but he differs respecting his master1   
declaring that he was instructed by     
,romanelli4  ,meanwhile ,cignani's      
academy rose into notice1 owing to its  
master's reputation1 and among those who
 repaired thither from ,ferrara were    
,maurelio ,scannavini and ,giacomo      

,parolini4 ,maurelio must be included   
among the few whose object was to       
emulate their master in that scrupulous 
exactness1 which we noticed in its      
place4 ,he was naturally slow1 nor could
 he prevail on himself to despatch his  
work from the studio until he beheld it 
already complete in all its points4     
,though impelled by domestic penury to  
greater haste1 he varied not his method2
 and1 free from envy1 beheld the        
rapidity of ,avanzi1 who abounded with  
commissions and money1 whilst he and his
 family were destitute4 ,the noble house
 of ,bevilacqua assisted him much2 and  
it redounds to its honour1 that on      
remunerating him for some figures in an 
apartment where ,aldrovandini had       
conducted the architecture1 a very large
 sum was added to the price agreed upon4
 ,he produced few other pieces in       
fresco2 a process that requires artists 
of more rapid hand4 ,he painted more in 
oil2 among the most esteemed of which is
 his ,s4 ,tommaso di ,villanova1 at the 

,agostiniani ,scalzi2 and at the church 
of the ,mortara his ,st4 ,bridget in a  
swoon1 supported by angels4 ,the        
families of ,bevilacqua1 ,calcagnini1   
,rondinelli1 and ,trotti1 possess some  
of his pictures for private ornament2   
among which are portraits that display  
,maurelio's singular talent in this     
branch2 and histories of half-length    
figures in the manner of ,cignani4 ,they
 exhibit gracefulness1 union of         
colouring1 and strength of tints1 which 
leave him nothing to envy in the artists
 by whom he is surrounded1 except their 
fortune4  ,giacomo ,parolini1 pupil to  
the ,cav4 ,peruzzini in ,turin1         
afterwards to ,cignani at ,bologna1 was 
present at ,maurelio's decease1 and     
completed a few works left imperfect1   
out of regard to his friend1 and for the
 relief of his orphan family4 ,he did   
not possess that true finish peculiar to
 the followers of ,cignani2 though he   
still maintained the reputation of his  
second school1 by the elegance of his   

design1 the propriety and copiousness of
 his composition1 and his very          
attractive colouring1 particularly in   
the fleshes4 ,aware of his own power in 
this difficult part of painting1 he is  
fond of introducing into his pieces the 
naked figure1 more especially of boys1  
from the proportions of which judges are
 enabled to recognize their author4 ,his
 bacchanals1 his ,albanesque            
country-dances1 his capricci1 are all of
 such frequent occurrence at ,ferrara1  
as to render it more easy to enumerate  
the collections in want of them1 than   
those where they are4 ,foreigners also  
possess specimens2 and there are        
engravings in acqua forte by the        
designer's own hand4 ,his picture of the
 ,cintura1 representing the ,virgin     
among various saints1 nearly all of the 
order of ,st4 ,augustine1 a piece       
engraved by ,andrea ,bolzoni1 is held in
 much esteem4 ,nor are the three        
altar-pieces in the cathedral unworthy  
of notice2 and in particular the        

entablature of ,s4 ,sebastiano at       
,verona1 which greatly raised his       
reputation1 representing the saint in   
the act of mounting into glory1 amidst  
groups of angels2 a beautiful and well  
executed work4 ,parolini is the last    
among the figurists whose life was      
written at length by ,baruffaldi2 the   
last1 also1 on whose tomb was inscribed 
the eulogy of a good painter4 ,with him 
was buried for a season the reputation  
of ,ferrarese painting in ,italy4  ,the 
author of the ,catalogue1 in the fourth 
volume has collected the names and drawn
 up the lives of certain other painters1
 interspersing several episodes4        
,concerning these figurists1 little else
 is related than mere failures and      
misfortunes4 ,for instance1 ,gio4       
,francesco ,braccioli1 pupil to ,crespi1
 though promising well in some of his   
works for galleries1 subsequently fell  
into infirmity of mind2 one lost his    
taste for the profession2 another       
cultivated the art with remissness1 or  

only as a dilettante2 a third produced  
some tolerable efforts1 but was mostly  
extravagant2 one had genius and died    
early2 another long life without a spark
 of talent4 ,meanwhile1 this dearth of  
native artists was for some years       
supplied by ,gio4 ,batista ,cozza1 from 
the ,milanese2 a painter of a copious1  
easy1 and regulated style4 ,not that he 
was invariably correct1 though very     
popular1 and when he pleased satisfying 
even judges of the art2 as in that      
picture representing different ,,ss4    
,serviti1 in the church called di ,ca   
,bianca4  ,after him appeared the modern
 artists1 who now enjoy deserved        
reputation in the academy of ,ferrara1  
which1 owing to the particular patronage
 of his eminence ,card4 ,riminaldi1 has 
recently risen into distinguished       
notice4 ,with the name of this noble    
citizen and of the professors whom he   
himself selected and promoted1 future   
writers will doubtless commence a fourth
 epoch of painting4 ,by him the academy 

was supplied with laws1 and took its    
established form4 ,to his care and      
munificence several young artists were  
indebted for their residence at ,rome1  
and all the rest for the benefit of a   
well regulated institution at ,ferrara4 
,he also did much for the cause of      
letters in the university4 ,but this is 
not the place to give an account of it2 
and his merits1 commended as they are to
 posterity in numerous books and        
monuments1 and impressed on the hearts  
of his grateful fellow citizens1 are not
 likely soon to fall into oblivion4  ,it
 remains to speak of other kinds of     
painting1 and it will be best to        
commence with perspective4 ,after this  
art had assumed a new aspect at         
,bologna1 and spread through ,italy1 as 
already stated1 it was introduced by    
,francesco ,ferrari1 born near ,rovigo1 
into ,ferrara4 ,he had been instructed  
in figure painting by a ,frenchman1 and 
afterwards became professor of          
architectural and ornamental painting   

under ,gabriel ,rossi1 the ,bolognese1  
of whose name1 to say nothing of his    
style1 ,i find no traces left at        
,bologna4 ,to those who had the means of
 comparing the manners of these two     
artists1 it appeared that ,francesco did
 not equal him in the dignity of his    
architecture1 but surpassed him in      
strength and durability of colouring1   
and in that relief so attractive in     
these performances4 ,moreover1 he had a 
considerable advantage over his master1 
in his knowledge of appropriately       
painting histories4 ,the ,dispute of ,s4
 ,cirillo is still to be seen1 and the  
,rain granted to the ,prayer of ,elias1 
in the church of ,s4 ,paolo3 pictures1  
observes ,baruffaldi1 which rivet the   
eye4 ,other proofs of his genius for    
history pieces are met with at the      
,carmine and at ,s4 ,giorgio1 but still 
they yield to his architectural labours1
 which may be said to have formed his   
trade4 ,he worked also for theatres1 and
 in different ,italian cities1 and in   

the service of ,leopold ,i4 at ,vienna4 
,being constrained to leave ,germany on 
account of his health1 he returned to   
,ferrara1 and there opened school4      
,among his pupils were ,mornassi1       
,grassaleoni1 ,paggi1 ,raffanelli1      
,giacomo ,filippi1 and one who surpassed
 all the rest1 ,antonfelice ,ferrari1   
his son4 ,this artist did not attempt   
figures1 but confined himself to        
architecture1 in which he added to the  
somewhat minute style of his father1 a  
magnificence well adapted to attract the
 public eye4 ,he was employed with      
success in the ,calcagnini palace1 in   
that of the ,sacrati1 ,fieschi1 and in  
other private and public places in      
,ferrara1 as well as at ,venice1        
,ravenna1 and elsewhere4 ,suffering much
 however in health by painting in       
fresco1 and on this account being       
reduced to live with less comfort1 he   
conceived such aversion for the art1    
that on making his will he enjoined that
 his son was to forfeit his inheritance 

if he ever became a fresco painter4     
,some of his pupils therefore succeeded 
him1 among whom ,giuseppe ,facchinetti  
most distinguished himself4 ,he painted 
at ,s4 ,caterina da ,siena and other    
places1 at once in a delicate and sound 
style1 and is almost reputed the        
,mitelli of his school4 ,maurelio ,goti 
of ,ferrara nearly approached his style1
 not without marks of plagiarism4 ,from 
the same country and school was         
,girolamo ,mengozzi ,colonna1 who became
 a long resident at ,venice4 ,he        
accompanied the figures of ,zompini with
 ornamental work at the church of the   
,tolentini1 and those of ,tiepolo at the
 ,scalzi2 and conducted the architecture
 in the ducal palace and elsewhere4     
,zanetti1 in his ,guide1 mentions his   
name as above2 but1 in his ,pittura     
,veneziana1 7thirty-eight years         
afterwards7 he calls him ,colonna       
,mengozzi1 and a native of ,tivoli4     
,guarienti extols him as the first      
architectural and ornamental painter of 

his time4  ,the art of landscape        
painting1 which1 after the age of the   
,dossi1 had almost fallen into disuse at
 ,ferrara1 was revived there by some    
foreigners4 ,giulio ,avellino1 called1  
from his native place1 the ,messinese1  
resided some time in this city1 and died
 there at the beginning of the century4 
,he had been pupil to ,salvator ,rosa1  
whose style he somewhat softened1 and   
richly ornamented with views of ruins   
and architecture1 as well as with some  
small and well composed figures4 ,the   
,signori ,cremona and ,donati possess   
select specimens2 and there is scarcely 
a collection in ,ferrara or ,romagna    
which does not value itself on          
possessing them4 ,after him appeared    
,giuseppe ,zola1 born1 according to     
,crespi1 at ,brescia1 a landscape       
painter1 of a taste devoted to no single
 master1 but formed upon many4 ,he was  
exceedingly rich in conception and in   
expedients2 his buildings are of a      
rustic kind2 his ruins partake of the   

modern1 and are picturesquely covered   
with creeping plants and ivy2 the       
backgrounds of an azure hue1 and great  
variety of objects and figures1 in which
 he was less happy than in his          
landscape4 ,his earlier works are held  
in most esteem2 when he obtained greater
 commissions1 he performed them with a  
more mechanical hand1 and1 with the     
exception of his colouring1 which he    
always studied1 he bestowed little care 
on the rest4 ,those pictures are in     
general most complete1 in which he      
introduced the smallest figures2 and    
such may be seen even out of private    
houses1 in the ,monte della ,pieta1 and 
in the sacristy of ,s4 ,leonardo4 ,he   
formed several pupils1 the best of whom 
was ,girolamo ,gregori4 ,instructed as a
 figurist by ,parolini1 and afterwards  
by ,gioseffo dal ,sole1 he failed for   
want of perseverance1 except very       
rarely1 in greater works4 ,yet he       
produced many1 and his landscapes have  
been highly extolled4 ,the same may be  

observed of ,avanzi1 mentioned by us    
shortly before2 who1 in addition to his 
very pleasing landscapes on canvass and 
on copper1 surpassed all his fellow     
citizens in the drawing of flowers and  
fruits4  ,an invention1 finally         
deserving of mention1 and extremely     
useful to painting1 was made known      
during this last epoch by a ,ferrarese1 
and afterwards brought to perfection by 
others4 ,antonio ,contri1 son of a      
,ferrarese lawyer1 who1 for domestic    
reasons1 had long settled at ,rome1 and 
next at ,paris1 feeling a natural bias  
for design1 practised it in both those  
cities2 but first displayed greater     
excellence in embroidery than painting4 
,returning into ,italy1 and establishing
 himself at ,cremona1 he was instructed 
in landscape by ,bassi1 in which he was 
accustomed also to introduce flowers1   
the branch of painting in which he most 
distinguished himself4 ,he also         
succeeded well in perspectives and in   
animals4 ,his pictures1 and those of his

 son ,francesco1 who pursued his style1 
remain at ,cremona1 ,ferrara1 and their 
vicinity2 but it was his new discovery1 
just alluded to1 which obtained a more  
wide circulation and repute4 ,this is   
the method of removing from walls to    
canvass any picture without the least   
injury to its design or colouring4      
,various trials of it1 during the space 
of a year1 instructed him how to compose
 a sort of glue1 or bitumen1 which he   
spread over a canvass of equal size with
 the picture he wished to transfer to   
it4 ,having applied this to the         
painting1 and beaten it firm with a     
mallet1 he cut the plaister round it1   
and applied to the canvass a wooden     
frame well propped1 in order that the   
work might take hold1 and come off equal
 throughout4 ,in a few days he          
cautiously removed the canvass from the 
wall1 which brought with it the         
painting2 and1 having extended it on a  
smooth table1 he applied to the back of 
it another canvass1 varnished with a    

composition more adhesive than the      
former4 ,he then placed over the work a 
quantity of sand1 which should equally  
compress it in all its parts2 and1 after
 a week's space1 he examined the two    
pieces of canvass1 detached the first by
 means of warm water1 and there then    
remained on the second the whole        
painting taken from the wall4 ,he       
applied this method in different houses 
of ,cremona1 for ,baruffaldi in         
,ferrara1 and in ,mantua for ,prince    
d',harmstadt1 governor of the city2 so  
as to enable him to send some heads1 or 
other works of ,giulio ,romano1 thus    
removed from the ducal palace1 to the   
emperor4 ,the secret composition of his 
glue ,contri always concealed1 but      
similar attempts were made about the    
same period in foreign countries4 ,in   
the journal of ,trevoux it is stated    
that ,louis ,,xv4 caused the celebrated 
painting of ,st4 ,michael1 by           
,raffaello1 to be removed from its      
original canvass to a new one1 a process

 which succeeded admirably1 for on this 
last the chinks and creases disappeared 
which had greatly injured the former4#fj
 ,from this account ,i have been led to 
doubt whether ,contri were really the   
inventor of this art1 as asserted by    
,ferrarese writers4 ,i say only doubted1
 since ,i am unable to judge the        
question with precision1 for want of    
ascertaining the exact year in which he 
first applied the method with success4  
,what is indisputable however is1 that  
he was the first who was induced to make
 such trial of it upon painted walls1   
and that the plan which he adopted was  
only of his own invention4 ,but whether 
he discovered the art1 or only the      
method of applying it1 at this period   
his secret1 or something equivalent to  
it1 is pretty well known in ,italy4 ,on 
passing through ,imola1 ,i saw1 in a    
private house1 two histories of the     
,life of the ,virgin1 which had been    
painted by ,cesi in the cathedral of    
that city1 removed thence1 and replaced 

on large new canvass4 ,had this         
invention been elicited a few years     
previously1 several of those ancient    
works might have been preserved1 mention
 of which is now only to be met with in 
books1 to the regret of every lover of  
the fine arts4       ,footnote #fj3 ,see
 ,il ,sig4 ,ab4 ,requeno1 in his ,essays
 for the      ,re-establishment of the  
ancient ,art of the ,greek and ,roman   
,painters4 ,ed4 ,ven4 p4 #ajh4  ,here   
too we must give some account of an     
exceedingly interesting art1 as regards 
that of painting2 an art which1 after   
the lapse of centuries1 in some degree  
re-appeared in ,italy1 owing chiefly to 
the exertions of an ingenious ,spaniard4
 ,he resided many years at ,ferrara1 and
 was assisted by the artists there in   
his experiments and undertakings4 ,some 
years before1 attempts had been made at 
,paris to recover the method of painting
 in caustic1 or that which the ,greeks  
and ,romans succeeded in by the medium  
of fire4#fa ,a few words in ,vitruvius  

and ,pliny1 and these very obscure in   
our days1 and to which various meanings 
are given by critics1 formed the only   
chart and compass to direct the         
inquirer4 ,it was known that wax was    
employed in ancient painting1 much the  
same as oil in the modern2 but how to   
prepare it1 to combine it with the      
colours1 to use it in a liquid state1   
and how to apply fire to the process    
until the completion of the work--was   
the secret to be discovered4 ,count     
,caylus1 who pursued antiquarian        
researches less for the sake of history 
than of the arts1 was perhaps the       
principal promoter of so useful an      
inquiry4 ,the royal ,academy of         
,inscriptions joined him1 and offered a 
public premium for the discovery of a   
method of painting in caustic1 such as  
should be found worthy of its           
approbation4 ,many experiments were at  
this period made2 and philology1        
chemistry1 painting1 all united in      
throwing light upon the subject4 ,among 

various methods proposed by three       
academicians1 ,caylus1 ,cochin1 and     
,bachiliere1 two of them received       
premiums1 though in some measure the    
same1 and both proposed by the last of  
the three mentioned names4 ,the whole   
account may be read in the              
,encyclopedia1 under the head of        
,encaustique4 ,thenceforward native     
artists did not fail to make new trials1
 and practise themselves in pictures    
all'encausto4 ,one of these1 who arrived
 at ,florence in #aghj1 exhibited to me 
a head1 and some portion of the figure1 
thus painted by himself4 ,i likewise saw
 him so employed4 ,he had near him a    
brazier1 on which were placed small pans
 filled with colours1 all of a different
 body1 and mixed with wax1 but with what
 third ingredient ,i know not2 whether  
salt of tartar1 as recommended in the   
dissertation remunerated at ,paris1 or  
some other composition4 ,a second       
brazier was fixed behind the cartoon or 
panel on which he painted1 in order to  

preserve it always warm4 ,the work being
 finished1 he went over the whole with a
 small hair brush1 and gave it a clear  
and vivid glow4       ,footnote #fa3    
,see the ,encyclopedia1 at the ,art4    
,encaustique4  ,some there were at that 
time in ,italy who much admired this    
art4 ,the numerous reliques of ancient  
painting1 preserved free from the       
effects of time at ,naples and at ,rome1
 may be said to exhibit a manifest      
triumph over modern productions1 which  
so much sooner become aged and fade     
away4 ,this it was that induced the ,ab4
 ,vincenzo ,requeno to publish the book 
shortly before cited1 at ,venice1 first 
in #aghd4 ,in him were united all the   
requisite qualities for promoting the   
new discovery--the learning of a man of 
letters1 experience of an artist1       
philosophical reasoning1 and persevering
 experiment4 ,his work is in every one's
 hands1 so as to enable them to form an 
opinion1 for this is not the place to   
enter into a discussion of its various  

merits4 ,it has been done by the ,cav4  
de ,rossi in three extracts from that   
work1 published in the first volume of  
the ,memorie delle ,belle ,arti1 one of 
the most brief and at the same time     
admired journals in ,italy4 ,my sole    
object is to do justice to his singular 
penetration and industry4 ,he gave a    
solution of the difficulty mentioned in 
the ,encyclopedia1 and discovered a new 
process4 ,he shewed that salt of tartar 
was not made use of by the ,greeks to   
dissolve wax1 and adapt it to the brush1
 because they were unacquainted with    
such a substance2 while his own         
experience convinced him it was useless 
for the purpose4 ,he knew that the      
application of fire to the back of the  
painting was not the method adopted by  
the ,greeks1 inasmuch as it was         
inapplicable to their paintings upon    
large walls4 ,he tried many experiments1
 and he at length found that the        
resinous gum1 called mastic1 would      
produce the effect which he had vainly  

sought from salt of tartar4 ,with the   
gum and wax he made crayons1 and found  
various ways of combining the colours1  
so as best to adapt them for the use of 
painting4 ,when the work was finished1  
he was accustomed sometimes to give it a
 slight covering of wax1 in place of    
varnish1 and sometimes to leave it      
without2 but in every process which he  
observed1 he perfected the work by the  
application of fire1 or as he himself   
observes1 by burning it4 ,this he       
effected by holding a brazier near the  
front of the picture1 and lastly going  
over the work with a small linen cloth1 
which clears and enlivens the tints4  ,i
 have seen the first trials1 as made by 
the ,ab4 ,requeno himself1 or by artists
 directed by him1 in possession of his  
,excellency ,pignatelli at ,bologna1 who
 added to the discovery no small share  
of information and patronage4 ,but it   
was not to be expected that a new kind  
of painting could be perfected by means 
of a single studio4 ,aware of this1 the 

author of the work thus expresses       
himself3 ,at the moment when a resinous 
gum shall be found better1 that is1 more
 white and hard1 and equally soluble    
with wax and water as those employed by 
me1 the pictures and caustics will      
become more beautiful1 consistent1 and  
durable4 ,i am not a painter by         
profession1 nor do ,i merit any         
particular commendation among           
dilettanti4 ,my pictures have been      
conducted solely for the purpose of     
shewing a method of painting with ease  
and consistency in wax1 without oil1    
without glue1 and by means of gums only1
 with wax and water4 ,on this account he
 thenceforward invited professors to    
join in promoting his discovery1 and    
lived to witness its effects4  ,omitting
 to speak of the chemists who aided in  
throwing light upon the progress of this
 art1#fb the pictoric school at ,rome   
undertook in a manner to promote and    
bring it to its last degree of          
perfection4 ,at that period lived       

counsellor ,renfesthein1 the friend of  
,mengs and of ,winckelmann1 a man of    
exquisite taste in the arts of design1  
and ever surrounded by numbers of       
artists1 who either received from him   
the benefit of his advice1 or           
commissions from foreigners1 private    
persons1 and sovereigns4 ,to these he   
proposed sometimes one1 sometimes       
another method of the caustic art2 and  
in a short time he beheld his cabinet   
filled with pictures on canvass1 on     
wood1 and on different kinds of stones1 
which he had already submitted to every 
proof1 by putting them under ground1 in 
water1 and exposing them to every       
variety of weather without injury4 ,from
 this time the new discovery spread to  
different studii1 and was communicated  
successively to the ,italian cities1 and
 to foreign nations4 ,entire chambers   
have thus been painted by caustic1 a    
specimen of which is seen in that which 
the ,archduke ,ferdinand1 governor of   
,milan1 caused to be thus decorated in  

his villa of ,monza4 ,and in ornamental 
paintings and landscape this art may    
hitherto boast still more attractions   
than in figures4 ,all however must be   
aware that it has not yet attained that 
degree of softness and finish possessed 
by the ancients in their paintings in   
wax1 and in oil and varnish by the      
moderns4 ,but where many unite to       
perfect it1 it may be hoped that some   
,van ,eyck may rise up1 who will succeed
 in discovering1 or more properly in    
perfecting that which all artists had   
long looked for and ardently desired4#fc
       ,footnote #fb3 ,see the ,discorso
 della ,cera ,punica1 by the      ,cav4 
,lorgna1 ,verona1 #aghe4 ,also          
,osservazioni intorno alla      ,cera   
,punica1 by ,count ,luigi ,torri1       
,verona1 #aghe4 ,in the      work of    
,federici is an account of another      
little production      by ,gio4 ,maria  
,astorri of ,treviso1 edited in ,venice1
 #aghf2 in      which ,spanish honey is 
much praised for the purpose of         

preparing and whitening the wax2 and    
being a painter he      relates several 
experiments he made with this and other 
methods1 which succeeded well4 ,gio4    
,fabroni1 keeper of the      royal      
cabinet at ,florence1 likewise wrote    
concerning it4 ,see      the ,roman     
,anthology for the year #agig4          
,footnote #fc3 ,vasari4                 
,,book ,v4                   ,,genoese  
,,school4                               
,,epoch ,i4                   ,the      
,ancients4   ,last among the ancient    
schools of ,italy is to be enumerated   
the ,genoese1 in regard to the period in
 which it flourished1 not to its merit1 
which ,i consider as being equal to that
 of many others4 ,in ,liguria the first 
revival of painting appeared tardy2 not 
so its progress1 which was rapid and    
distinguished4 ,in ,genoa and ,savona1  
as well as in other cities situated on  
the sea-shore1 there remain some ancient
 paintings by unknown hands1 one of     
which1 over the gate of ,savona1 is     

distinguished by the date of #aaja4 ,the
 first artist known by any extant       
production1 is one ,franciscus de       
,oberto1 as he signs himself on the edge
 of a painting of the ,virgin between   
two angels1 which is in the church of   
,s4 ,domenico1 at ,genoa1 displaying    
nothing of the ,giottesque1 and executed
 in #acfh4 ,it cannot be ascertained    
that he was altogether a native artist1 
as may be confidently asserted of the   
,monk of ,ieres1 and of ,niccolo da     
,voltri1 names known to history though  
not by any surviving works4 ,the ,monk  
of the ,isole d',oro1 or of ,ieres1 or  
,stecadi1 where he long resided1 was not
 pointed out to us by name by any       
ancient writer4 ,his surname was ,cybo1 
and historians place him in the         
genealogical tree of ,innocent ,,viii4  
,besides being a good ,provencal poet1  
and historian1 it is said that he became
 an excellent miniaturist1 and on this  
account1 a favourite with the ,king and 
,queen of ,aragon1 to whom he presented 

several of his illuminated books4 ,he   
also delighted in representing in his   
paintings birds1 fish1 quadrupeds1 trees
 with fruits1 ships of various forms1   
perspectives of cities and edifices1    
objects1 in short1 which he beheld in   
the islands around him4 ,it is          
conjectured by ,baldinucci that         
,giotto's models1 in an age thronged    
with miniaturists1 and not wanting in   
painters1 had influenced the efforts of 
this isolated artist4 ,how this         
assertion can be confirmed ,i know not1 
the more so as history describes him as 
having devoted himself late in life to  
design1 and in the island of ,lerino1   
where it is not known there were any    
followers of ,giotto4 ,voltri was also a
 figure painter2 some of his            
altar-pieces survived to the time of    
,soprani1 who extols them1 without1     
however1 pointing out with precision the
 peculiarities of his taste or school4  
,during the fifteenth century1 and part 
of the following1 the capital city1 and 

those depending on it1 were supplied1   
for the most part1 with foreign         
painters1 almost all unknown to their   
native schools on account of their      
having1 as it appears1 resided in       
,liguria4 ,some account remains of a    
,german called ,giusto di ,alemagna1 in 
a cloister of ,s4 ,maria di ,castello1  
at ,genoa4 ,he there painted in fresco  
an ,annunciation in #adea1 a precious   
picture of its sort1 finished in the    
manner of miniaturists1 and which seems 
to promise for ,germany the style of an 
,albert ,durer4 ,at the same period     
,jacopo ,marone1 of ,alessandria1       
painted an altar-piece at ,s4 ,jacopo in
 ,savona1 in distemper1 consisting of   
various compartments1 and in the midst  
of it a ,nativity with a landscape1 a   
work conducted with exquisite care in   
every part4 ,at ,s4 ,brigida1 in ,genoa1
 too1 are seen1 by the same hand1 two   
altar-pieces1 one with the date of      
#adha1 the other of #adhd4 ,the author  
was one ,galeotto ,nebea1 of            

,castellaccio1 a place not far from     
,alexandria4 ,the three principal       
,archangels in the first1 and ,s4       
,pantaleone with other martyrs in the   
second1 are represented on a gold       
ground1 very tolerably executed1 both in
 forms and draperies1 which are         
extremely rich1 with stiff and regular  
foldings1 not borrowed from any other   
school4 ,it exhibits also the grado or  
step1 with minute histories1 a work     
somewhat crude1 but displaying          
diligence4  ,turning from the head city 
to ,savona1 a third native of           
,alexandria1 called ,gio4 ,massone1     
painted about the year #adij1 in the    
church erected by ,sixtus ,,iv4 for the 
sepulture of his family4 ,although not  
mentioned in history1 he must have been 
distinguished in his time1 to have been 
selected for such a work1 and           
remunerated with one hundred and        
ninety-two ducats for his labour4 ,it is
 comprised in a small altar-piece1      
where1 seen at the feet of the ,virgin1 

are the portraits of the pope1 and the  
cardinal ,giuliano1 his nephew1         
afterwards ,julius ,,ii4 ,the same city1
 preserving so many ancient memorials1  
has also snatched from oblivion the     
names of one ,tuccio di ,andria1 an     
artist employed at ,s4 ,jacopo in #adhg1
 and of two natives of ,pavia1 who      
somewhat later perhaps painted on       
canvass1 and signed themselves1 the one 
,laurentius ,papiensis1 the other       
,donatus ,comes ,bardus ,papiensis4     
,another foreigner1 by birth a          
,brescian1 and a ,carmelite by          
profession1 presents us with a          
signature1 to be found at ,s4 ,giovanni1
 below an altar-piece of the ,nativity  
of our ,saviour4 ,it has written on it1 
,opus ,f4 ,hieronymi de ,brixia         
,carmelitae1 #aeai4 ,by the same hand1  
in the cloister of the ,carmelitani at  
,florence1 is a ,pieta with this        
inscription1 ,f4 ,hieronymus de ,brixia4
 ,this artist is well deserving of      
notice1 if only on account of his       

knowledge in perspective1 an art so much
 cultivated after ,foppa in ,brescia1   
and throughout ,lombardy4 ,doubtless he 
was a pupil of that monastery1 in which 
the art of painting was then cultivated2
 as it is stated by ,averoldi1 who      
extols one ,f4 ,gio4 ,maria da ,brescia1
 and the cloister of the ,carmine1      
decorated by him with a number of       
histories of ,elias and of ,eliseas4    
,this ,girolamo ,i believe to have been 
his companion or disciple1 a name that  
has in some way escaped ,orlandi1 who   
belonged to the same order4  ,no one of 
the foreign painters is known to have   
opened school in ,liguria1 except a     
native of ,nizza1 who1 through his      
succession1 is almost regarded as the   
progenitor of the ancient ,genoese      
,school4 ,he is called ,lodovico ,brea1 
and his works are by no means rare at   
,genoa and throughout the state1 with   
notices of him between the years #adhe  
and #aeac4 ,in point of taste he is not 
equal to the best among his             

contemporaries in other schools1        
employing gilding1 and more strongly    
adhering to the old dryness of design4  
,his style1 nevertheless1 yields to that
 of few in the beauty of its heads1 and 
in the vividness of its colouring1 which
 still remains almost unimpaired4 ,his  
folding is also good1 his composition   
tolerable1 he selects difficult         
perspectives1 and his attitudes are     
bold4 ,from his whole painting he might 
be rather pronounced the head of a new1 
than the follower of any other school4  
,he never attempted grand proportions2  
in smaller1 as we see in the ,slaughter 
of the ,innocents1 at ,s4 ,agostino1 he 
is excellent4 ,his ,s4 ,giovanni1 in the
 chapel of the ,madonna di ,savona1     
executed by commission for the ,card4   
della ,rovere1 in competition with other
 artists1 is highly praised4  ,thus1    
until the year #aeac1 painting in ,genoa
 was in the hands of strangers1 and if  
the natives at all practised it they    
were few only1 as we shall shortly show1

 while both one and the other were far  
behind the best methods of their age4   
,ottaviano ,fregoso1 elected doge in the
 above year1 at length shed new lustre  
on the arts4 ,he invited to ,genoa ,gio4
 ,giacomo ,lombardo1 a sculptor1 and    
,carlo del ,mantegna1 a painter1 who    
succeeded1 as we have stated1 both to   
the works and reputation of his master4 
,carlo not only painted in ,genoa but   
taught1 and with a success that would   
seem quite incredible1 were it not that 
the works of his imitators are still in 
existence4 ,thus the ,genoese ,school   
first took its rise from ,brea1 and was 
promoted by ,carlo1 as we find it       
described by two painters in two        
volumes2 a school of a long1            
uninterrupted1 and illustrious          
succession4 ,the first volume is by     
,raffael ,soprani1 a patrician of the   
city1 who wrote lives of the ,genoese   
professors of design up to #affg2 and   
added also notices of foreign ones who  
had been employed in that splendid      

capital4 ,the second is by the ,cav4    
,carlo ,ratti1 secretary to the         
,ligustic academy1 who1 after having    
republished the ,lives of ,soprani1     
accompanied by useful notes1 continued  
the same work in another volume and on  
the same plan1 down to the present day4 
,he has moreover published1 in two small
 volumes1 a ,guide1 intended to give an 
account of the best specimens of art1   
both in private and public1 which ,genoa
 and every district of the state can    
boast2 an extremely useful undertaking1 
and1 if ,i mistake not1 without example 
either in or beyond ,italy4 ,thus1 owing
 to the exertions of this deserving     
citizen1 the pictoric history of        
,liguria has become one of the most     
complete among those of all ,italy as   
respects the number of its artists1 and 
the most certain in enabling us to form 
a correct opinion of their merits4      
,directed by these1 and by other        
additional information received on the  
spot from ,sig4 ,ratti himself1 as well 

as from others1 ,i proceed to resume the
 thread of my narrative4  ,about the    
period that ,carlo arrived at ,genoa1   
the same city was also so fortunate as  
to become the residence of ,pier        
,francesco ,sacchi1 commended by        
,lomazzo1 who calls him ,pierfrancesco  
,pavese1 an artist well skilled in the  
style then prevailing at ,milan4 ,he was
 a good perspective painter1 delightful 
in landscape1 and a diligent1 correct   
designer4 ,the public is still in       
possession of his altar-piece of the    
,four ,holy ,doctors in the oratory of  
,s4 ,ugo4 ,the style of ,sacchi nearly  
resembles that of ,carlo del ,mantegna1 
from what we gather from his works in   
,mantua1 there remaining no vestiges of 
them in ,genoa4 ,two youths of very fine
 genius for the art were at this period 
educating in the school of ,lodovico    
,brea4 ,one was named ,antonio ,semini1 
the other ,teramo ,piaggia1 or ,teramo  
di ,zoagli1 the place of his birth4     
,there is no account of their being     

indebted either to the advice or        
examples of the new masters1 when they  
began to be employed for the public1 but
 their altar-pieces display the fact4   
,they painted conjointly1 and affixed   
both their names to their productions4  
,in that of the ,martyrdom of ,st4      
,andrew1 which they conducted for the   
church of that name1 they likewise added
 their own portraits4 ,none can have    
witnessed this very beautiful           
altar-piece1 without seeing traces of   
,brea's style already enlarged and      
changed into one more modern4 ,the      
figures are not of those dimensions     
which we subsequently see in a better   
age1 nor is the design sufficiently soft
 and full1 but there is a clearness in  
the countenances that rivets attention1 
an union of colouring that attracts2 the
 folding is easy1 the composition       
somewhat thronged1 though not by any    
means despicable4 ,few originators of   
the style which is now termed modern    
antique1 can be fairly preferred before 

these two artists and friends4 ,teramo  
in his individual specimens at ,chiavari
 and at ,genoa itself1 retains somewhat 
more of the antique1 particularly as    
regards composition1 but is always      
animated in his countenances1 studied   
and graceful4 ,antonio appears to me    
almost like the ,pietro ,perugino of his
 school4 ,in his ,deposition from the   
,cross he approaches nearer the better  
age1 a painting in possession of the    
,dominicans at ,genoa1 as well as in    
some other pieces highly commended for  
the figures1 and the accessories of     
perspective and landscape1 though his   
great merit does not appear most        
conspicuous here4 ,for this we should   
consult his ,nativity1 painted for ,s4  
,domenico in ,savona1 and we shall be   
convinced that he also emulated ,perino 
and ,raffaello himself4  ,before        
proceeding to an improved epoch1 we     
ought here to insert the names of a few 
other native artists to whom we already 
alluded4 ,it is doubtful whether        

,aurelio ,robertelli ranks in this list1
 by whom1 at ,savona1 is a figure of the
 ,virgin painted on a column of the old 
cathedral1 dated #adii1 and transferred 
to the new one1 where it excites the    
particular veneration of the people4 ,a 
little subsequent appeared a painting by
 ,niccolo ,corso1 at ,genoa1 bearing the
 date of #aejc4 ,it represents a history
 of ,s4 ,benedict1 painted in fresco for
 the villa of ,quarto belonging to the  
,padri ,olivetani1 in whose refectory1  
cloister1 and church near the ,corso1 he
 was much employed4 ,soprani enumerates 
other histories1 of which he extols the 
richness of invention1 the passionate   
expression1 and especially the vividness
 and durability of the colouring4 ,he   
adds1 that were he less hard1 he might  
rank among the very first of his        
profession4 ,the same writer commends   
,andrea ,morinello for an altar-piece   
formerly seen at ,s4 ,martino di        
,albaro1 dated #aeaf2 an artist very    
graceful in his countenances1 excellent 

in portrait1 soft and clear in his      
outlines1 and one of the first in those 
parts who opened the way for the modern 
manner4 ,he likewise praises ,f4        
,lorenzo ,moreno1 a ,carmelite1 skilled 
in fresco1 who painted the ,annunciation
 in a cloister of the ,carmine1 now cut 
out of the exterior wall of the building
 in order to preserve it4 ,finally he   
extols an ecclesiastic of the           
,franciscan order1 by name ,f4 ,simon da
 ,carnuli1 who1 in his church at        
,voltri1 painted two histories in one   
large altar-piece in #aeai4 ,one of     
these represents the ,institution of the
 ,eucharist1 the other the preaching of 
,st4 ,antony4 ,still it is not free from
 the hardness peculiar to the age as    
regards the figures2 but in the         
architecture of the edifices1 and in the
 gradual receding of the perspective1 it
 is so perfect that the celebrated      
,andrea ,doria was eager at any price to
 purchase it1 in order to present it as 
a gift to the ,escurial4 ,but the people

 of ,voltri refused every offer1 and    
still keep possession of it4 ,a few     
others1 who enjoyed a degree of         
reputation from their sons1 will be     
mentioned along with them in the epoch  
of which we shall next proceed to treat4
                      ,,genoese         
,,school4                       ,,epoch 
,,ii4             ,perino and his       
,followers4   ,whilst the art was       
advancing in ,genoa and her territories1
 there occurred the celebrated siege of 
,rome1 and the calamities which         
accompanied and followed it1 in         
consequence of which the scholars of    
,raffaello were dispersed1 and          
established themselves some in one city 
and some in another4 ,we have seen in   
the course of this work ,polidoro and   
,salerno in ,naples1 ,giulio in ,mantua1
 ,pellegrino in ,modena1 and ,gaudenzio 
in ,milan1 distinguish themselves as the
 masters of eminent schools2 and we find
 one school founded by ,perino del ,vaga
 in ,genoa1 which has maintained the    

splendour of its origin in a way        
inferior to none4 ,perino arrived in    
,genoa in a state of distress in #aebh1 
after the sacking of ,rome4 ,he was     
there liberally welcomed by ,prince     
,doria1 who employed him for several    
years in the decoration of his          
magnificent palace without the gate of  
,s4 ,tommaso4 ,he superintended as well 
the external decorations of the         
sculptures1 as the internal ornaments of
 the stuccos1 the gilding1 the          
arabesques1 the paintings in fresco and 
in oil4 ,this place1 in consequence1    
breathes all the taste of the halls and 
loggie of the ,vatican2 the celebrated  
works of which1 at that time1 attracted 
universal admiration1 and in the        
execution of part of which ,perino had a
 considerable share4 ,this artist has   
indeed no where displayed his talents to
 such advantage as in the ,doria palace2
 and it is doubtful whether ,perino in  
,genoa1 or ,giulio in ,mantua1 have best
 sustained the style of ,raffaello4 ,we 

find in the palace some small histories 
of celebrated ,romans1 of ,cocles1 for  
example1 and ,scaevola1 which might pass
 for compositions of ,raffaello2 a group
 of ,boys at ,play1 likewise1 has all   
the air of that master2 and on a        
ceiling1 in the ,war of the ,giants     
against the ,gods1 we seem to behold in 
conflict the same persons whom          
,raffaello had represented as banqueting
 in the ,casa ,chigi4 ,if the expression
 be not so noble1 the grace so rare1 it 
is because that grand specimen of art   
may be emulated by many1 but equalled by
 none4 ,it may be added1 that ,perino's 
style is less finished than his         
master's1 and that1 in his drawing of   
the naked figure1 he1 like ,giulio1     
partakes of the style of ,michelangiolo4
 ,four chambers1 ,vasari informs us1    
were painted in the palace from the     
cartoons of ,vaga1 by ,luzio ,romano1   
and some ,lombards1 his assistants2 one 
of whom1 of the name of ,guglielmo      
,milanese1 followed him to ,rome1 and   

held in that court the office of ,frate 
del ,piombo4 ,the others have left no   
name behind them1 and must have been    
individuals of inferior talents and     
poorly paid1 as we occasionally find    
rude and heavy figures4 ,such defects   
are not uncommon in the works which     
,perino undertook1 for when he had made 
his cartoons or designs he gave them to 
his pupils to execute1 with material    
advantage to his pecuniary interests1   
but with detriment to his reputation4   
,this is observed by ,vasari1 nor do ,i 
know how he could have the courage to   
mention in connexion with this          
circumstance the works which were       
executed with the assistance of their   
scholars by ,raffaello and ,giulio      
,romano1 illustrious masters1           
irreproachable in the selection of their
 assistants1 indefatigable in their     
application1 and contemning that avidity
 of gain which drew down on ,perino     
merited reprehension4 ,there is still1  
in the palace ,doria1 a frieze of boys1 

commenced by him in one of the loggie1  
continued by ,pordenone1 and finished by
 ,beccafumo2 and the remains of what was
 there painted by ,girolamo da ,trevigi1
 who1 through jealous rivalry towards   
,perino1 forsook both the city and the  
state4 ,perino painted some pictures for
 the churches in ,genoa2 where too we   
find some by eminent foreign hands1     
amongst which is the ,st4 ,stephen1     
painted by ,giulio ,romano for the      
church of that saint2 an altar-piece    
perhaps the most copious in composition1
 and the most striking that issued from 
the studio of that master4 ,it was at   
this time too that many noble           
individuals applied themselves to       
collect foreign specimens of every      
school1 and they have since been        
emulated by their posterity1 who in this
 pursuit perhaps surpass all the private
 collectors in ,italy1 except those of  
,rome4  ,by these means the country     
became enriched with beautiful works1   
and began to turn itself to a more      

perfect style1 which it attained with a 
celerity unknown to any other school4   
,the transition from the style of ,brea1
 which was that of the thirteenth       
century1 to that of ,raffaello1 occupied
 but a few years2 and even the scholars 
of ,nizzardo1 as we have observed1 very 
soon became worthy imitators of the     
first of modern masters4 ,these         
principles were sure to make the most   
prosperous advances amongst a people    
rich in genius and industry2 and amidst 
a nobility that abounded in wealth1 and 
who in no way lavished it more freely   
than in raising splendid sanctuaries to 
religion1 and sumptuous habitations for 
themselves1 which in grandeur1          
decorations1 tapestries1 and in other   
kinds of luxuries1 scarcely yielded to  
royalty4 ,from munificence like this1   
the ,school of ,genoa derived aid and   
encouragement1 though not much known    
abroad1 as her artists were sufficiently
 occupied at home4 ,its characteristic  
excellence1 in the opinion of ,mengs1   

consisted in the number of its excellent
 fresco painters2 so that a church or   
palace of any antiquity is scarcely to  
be named which does not possess the most
 beautiful works1 or at least the memory
 of them4 ,and it is a remarkable fact1 
when we consider how exposed the city is
 to the sea air1 that so many works in  
fresco1 executed by early artists1      
should have remained in so perfect a    
state4 ,nor did the school of ,genoa    
want celebrity in oil paintings1        
particularly in the qualities of truth  
and force of colouring1 which           
excellences1 derived first from ,perino 
and afterwards from the ,flemish1 it    
always retained2 not yielding in this   
respect to any school of ,italy1 except 
the ,venetian4 ,it has produced also    
noble designers2 although some1 like    
other mannerists1 have debased the      
pencil by hasty and negligent           
performances4 ,not having in public many
 examples of ideal excellence1 it has   
supplied the deficiency by the study of 

the natural2 and in the figure it has   
rather adopted the healthy1 and the     
robust1 and the energetic1 than the     
delicate and the elegant4 ,the study of 
portraits1 in which this school had     
excellent masters and most lucrative    
practice1 had a great influence on the  
figures of its first epoch2 those of its
 last1 if they have more beauty1 have   
less spirit4 ,there existed a talent for
 extensive composition1 but in middle   
size rather than in great4 ,in these    
they had not epic masters1 like ,paolo  
and other ,venetians2 they did not1     
however1 so often violate decorum and   
costume4 ,this was1 perhaps1 the result 
of the attachment to literature         
entertained by many of the ,genoese     
painters1 amongst whom are enumerated a 
greater number of men of letters1 and   
especially gentlemen1 than in any other 
school4 ,this latter circumstance was1  
in a great measure1 owing to ,paggi1    
who1 in a treatise of considerable      
length1 defended the nobility of the    

art1#fd and obtained a public decree1#fe
 declaring the art honourable1 and      
worthy of cultivation by men of the     
noblest birth2 an event from which the  
art derived the greatest dignity4 ,we   
now return to particulars4              
,footnote #fd3 ,it is inserted in the   
#gth vol4 of the ,lettere               
,pittoriche1 p4 #adh4       ,footnote   
#fe3 ,the decree is given by the        
,cavalier ,ratti in      the notes to   
,soprani4 ,the names of the noble       
painters1      amateurs of the art1 may 
be found in those two authors4  ,the    
first who attached themselves to ,perino
 for instruction1 were ,lazzaro and     
,pantaleo ,calvi1 the sons and scholars 
of an ,agostino ,calvi1 a good painter  
in the old style1 and one of the first  
in ,genoa who forsook the gold ground   
for one of colour4 ,lazzaro was at that 
time twenty-five years of age1 his      
brother somewhat more2 nor did the      
latter rise in reputation1 except in    
lending to the works of ,lazzaro his aid

 and his name4 ,these works abounded in 
,genoa and her territories1 at ,monaco  
and at ,naples1 in every variety of     
composition1 arabesques1 and stuccos    
with which are decorated palaces and    
churches4 ,some of these are excellent1 
as the facades of the palace ,doria1    
7now ,spinola17 with prisoners in       
various attitudes1 considered as a      
school of design2 and several historical
 compositions in colours and            
chiaroscuro1 in the best taste4#ff ,in  
the palace ,pallavicini1 at ,zerbino1 is
 a composition of theirs commonly called
 the ,continence of ,scipio2 a remark   
which ,i owe to ,sig4 ,ratti1 who not   
having included it in his edition of    
#agfh1 obligingly communicated it to me 
for this work4 ,to this they also added 
naked figures1 with so happy an         
imitation of ,perino that1 in the       
opinion of ,mengs1 they might be        
adjudged to that master4 ,moreover1 we  
know that ,perino was liberal to them in
 designs and cartoons2 whence1 in these 

better works1 we may always presume on  
the aid of the master's hand4 ,however  
it might be1 ,lazzaro indulged in a     
self-conceit of his own powers1 and left
 behind some specimens of an            
extravagance which no painter has since 
followed1 except ,corenzio4 ,he was     
particularly jealous of any young       
artist1 who he thought might interfere  
with his fame or interests1 and to      
gratify his envy had recourse to the    
blackest arts4 ,one of these rivals1    
,giacomo ,bargone1 he took off by       
poison2 and to depress the others he    
drew around himself a crowd of adherents
 and hirelings1 who influenced the      
opinion of the vulgar1 by praising the  
works of ,lazzaro to the skies1 and     
depreciating those of his competitors4  
,these cabals were more strongly        
instanced in the chapel ,centurioni1    
where he painted the ,birth of ,st4     
,john1 in competition with ,andrea      
,semini and ,luca ,cambiaso1 who there  
also painted other pictures from the    

history of that saint4 ,this work was   
one of his happiest efforts1 and the    
most approaching to the style of his    
master2 but he could not crush the      
genius of ,cambiaso1 which after this   
occasion appeared more brilliant than   
his own2 whence the ,prince ,doria      
selected that artist to execute a very  
considerable work in fresco for the     
church of ,s4 ,matteo4 ,this so enraged 
,calvi1 that he gave himself up to a sea
 life1 and abandoned the pencil for     
twenty years4 ,he ultimately resumed it1
 and continued1 though with a hardness  
of style1 to paint till his eighty-fifth
 year4 ,one of his last works is to be  
seen on the walls and in the cupola of  
,s4 ,catherine2 but it is cold1 meagre1 
and bears all the marks of senility4    
,indeed after his return to the art1 and
 particularly after the death of        
,pantaleo1 who had assiduously assisted 
him in every work1 ,lazzaro was only    
memorable for the extreme protraction of
 his life1 which extended to #aje years4

       ,footnote #ff3 ,this work is     
extolled by ,lomazzo as one of the      
best of ,lazzaro2 it is classed with the
 ,triumphs of ,giulio      ,romano1     
,polidoro1 and other eminent artists1 in
 the      ,trattato della ,pittura1 p4  
#cih4  ,of the two ,semini1 ,andrea and 
,ottavio1 it is not ascertained that    
they had in ,genoa any other master than
 their father ,antonio2 but after the   
example of their father1 they deferred  
much to ,perino1 as did also ,luca their
 contemporary4 ,in confirmation of which
 it is said1 that ,perino having found  
them engaged with a print of ,titian1   
and hearing them remarking on some      
incorrectness in the drawing1 reproved  
them by observing1 that in the works of 
the great masters we ought to pass over 
their faults and extol their excellence4
 ,but the two brothers1 enchanted by the
 style of ,raffaello1 became ambitious  
of drinking at the fountain of the art1 
and1 repairing to ,rome1 applied        
themselves to the diligent study of the 

works of that master1 and the remains of
 antiquity1 particularly the ,trajan    
column4 ,they were afterwards employed  
both at ,genoa and in ,milan1 where they
 painted many works1 both in conjunction
 and separately1 all in the ,roman      
style1 particularly in their early      
career4 ,andrea discovered less talent  
than ,ottavio2 and was1 perhaps1 more   
tenacious than he in his imitation of   
,raffaello1 especially in the contours  
of his faces4 ,he sometimes wants       
delicacy1 as in a crucifixion lately    
come into the possession of the ,duke of
 ,tuscany2 and sometimes correctness1 as
 in the ,presepio1 in the church of ,st4
 ,francis in ,genoa1 which is in other  
respects very ,raffaellesque1 and may be
 reckoned among his best works4         
,ottavio1 an unprincipled man1 was an   
eminent artist1 and succeeded so well in
 the imitation of his master1 as is     
scarcely credible to those who have not 
seen his works4 ,he painted the facade  
of the palace ,doria1 now ,invrea1 and  

there displayed so fine a taste in the  
architecture1 and decorated it with     
busts and figures of such relief1 and   
particularly with a ,rape of the        
,sabines1 that ,giulio ,cesare          
,procaccini took it for a performance of
 ,raffaello1 and asked if that great    
master had left any other works in      
,genoa4 ,of equal merit1 or nearly so1  
were many of his frescos1 painted for   
the nobility1 until1 as is often the    
case with fresco painters1 he ended his 
career in a freer but less finished     
style4 ,of these latter he left many    
specimens at ,milan1 where he passed the
 latter years of his life4 ,in that city
 the entire decoration of the chapel of 
,s4 ,girolamo at ,s4 ,angelo is painted 
by him1 the chief composition of which  
is the funeral group which accompanies  
the saint to the sepulchre4 ,it         
possesses1 if not a noble design1 yet   
great fertility of invention1 great     
spirit1 and a strong and beautiful      
colour1 as he possessed that part of the

 art in an eminent degree in works of   
fresco2 for in oils he was either       
unwilling or unable to colour well4     
,luca ,cambiaso1 called also ,luchetto  
da ,genoa1 did not quit his native      
country to obtain instruction1 nor did  
he frequent any other school than that  
of his father2 obscure indeed1 but of a 
good method1 and sufficient to a mind of
 genius4 ,giovanni his father1 a        
tolerable quattrocentista1 and a great  
admirer of ,vaga and ,pordenone1 after  
having exercised him in copying the     
designs of ,mantegna1 a master of       
chasteness of contour1 and having       
instructed him in the art of modelling1 
so useful in relief and foreshortening1 
carried him to the palace ,doria1 and   
there pointed out to his attention those
 great prototypes of art1 with the      
addition of his own instruction4 ,the   
study of these performances1 by a youth 
who was born a painter1 awakened in him 
such emulation1 that he began in his    
fifteenth year to produce works of his  

own invention2 and gave promise of one  
day ranking1 as he did1 with the first  
painters of his age4 ,he displayed      
facility1 fire1 and grandeur of design1 
and was on that account adduced by      
,boschini as an example of fine         
contours1 and held in high esteem in the
 cabinets of the dilettanti4 ,he        
embodied his ideas with such despatch   
and success1 that ,armenini affirms that
 he had seen him paint with two pencils 
at a time1 and with a touch not less    
free1 and more correct than ,tintoretto4
 ,he was1 moreover1 fertile and novel in
 his designs1 skilful in introducing the
 most arduous foreshortenings1 and in   
surmounting the difficulties of the art4
 ,he was deficient at first in the true 
principles of perspective2 but he soon  
acquired the theory from ,castello1 his 
great friend and companion1 as we shall 
shortly see4 ,through him he improved   
both his colouring and his style of     
composition4 ,in conjunction with       
,castello he executed several works1 so 

much alike1 that one hand can scarcely  
be distinguished from the other4 ,these1
 however1 were not his best             
performances4 ,he must be seen where he 
painted alone2 and he shines no where   
more than in ,genoa1 nor beyond a period
 of twelve years1 within which space    
,soprani circumscribes his best time4   
,let it not appear strange to those who 
hear this opinion of that writer4 ,luca 
had not the good fortune to benefit from
 those great masters who1 with a word1  
put their scholars in the right path2 he
 went on1 however1 improving from his   
own resources1 a long and laborious     
course1 in which a thousand wishes are  
formed before the goal is reached4 ,but 
,cambiaso attained it1 and held it until
 an ungovernable passion1 as we shall   
see in the sequel1 threw him back again4
  ,confining ourselves to the works of  
the best twelve years of his practice1  
we see in him a man who possessed a high
 predilection for the ,roman ,school2   
deriving instruction from prints1 and   

impelled by his own genius to attempt ,i
 know not what of originality4 ,where   
this originality appears1 we should not 
wish ,cambiaso other than himself1 and  
where it does not appear1 we should not 
wish him any thing but an imitator4 ,of 
the first kind is the ,martyrdom of ,st4
 ,george in the church of that saint1   
which for the noble character of the    
sufferer1 the sympathy of the           
spectators1 the composition1 variety1   
and force of chiaroscuro1 is considered 
his chef d'oeuvre4 ,of the second kind  
there are1 perhaps1 more specimens to be
 found2 as the picture at the           
,rocchettini1 of ,s4 ,benedetto with    
,john the ,baptist and ,st4 ,luke1 very 
much in the style of ,perino and        
,raffaello2 and above all1 the ,rape of 
the ,sabines in ,terralba1 a suburb of  
,genoa1 in the palace of the ,imperiali4
 ,every thing combines to please in this
 work2 the magnificence of the          
buildings1 the beauty of the horses1 the
 alarm of the virgins1 the ardour of the

 invaders1 the several episodes which1  
in various compartments1 crown the      
principal subject1 and1 as it were1     
continue the story4 ,it is related that 
,mengs1 after having viewed this        
picture1 said1 that out of ,rome he had 
not seen any thing that more strongly   
brought to his recollection the loggie  
of the ,vatican1 than these works4 ,he  
also executed other works of singular   
merit1 particularly for private         
collections1 among which ,i have found  
more pictures of a free than of a devout
 description4 ,being left a widower1 he 
became enamoured of a female relative1  
whom he in vain endeavoured to obtain   
permission from the ,pope to marry4     
,this disappointment induced the neglect
 of his art4 ,he then repaired to the   
court of ,madrid1 with the view of      
facilitating his wishes1 and when he    
found himself deprived of all hope in   
this object1 he fell sick and died4 ,he 
left many works in the ,escurial1 and   
amongst these the subject of ,paradise1 

in the vault of the church1 a large     
composition1 and a work very much       
praised by ,lomazzo1 but not equally so 
by ,mengs1 who had seen and examined it 
for several successive years4  ,gio4    
,batista ,castello1 the companion of    
,cambiaso1 is commonly called in ,genoa 
,il ,bergamasco1 to distinguish him from
 ,gio4 ,batista ,castello1 a ,genoese1 a
 scholar of ,cambiaso1 and the most     
celebrated miniature painter of his age4
 ,our present subject1 born in ,bergamo1
 and brought1 when a youth1 to ,genoa1  
by ,aurelio ,buso1 7v4 vol4 iii4 page   
#ahd7 was1 on his sudden departure1 left
 by him in that city4 ,in this state of 
desertion he found a patron in one of   
the ,pallavicini family1 who gave him a 
friendly reception1 and assisted him    
with the means of prosecuting his       
studies2 sending him to ,rome1 from     
whence he returned to ,genoa an         
accomplished architect1 sculptor1 and   
painter1 not inferior to ,cambiaso4 ,his
 taste1 formed by studying at ,rome1 was

 similar to that of ,luca1 as ,i have   
already observed2 and in the church of  
,s4 ,matteo are works painted by them in
 concert4 ,we may observe in these the  
style of ,raffaello already verging on  
mannerism1 but not so much so as that   
which prevailed in ,rome in the time of 
,gregory and ,sixtus4 ,connoisseurs     
discover in ,cambiaso a greater genius  
and more elegance of design2 in the     
,bergamese more care1 a deeper          
knowledge1 and colour occasionally      
partaking more of the school of ,venice 
than of ,rome4 ,it is however very      
probable that when so friendly an       
intercourse subsisted they may have     
aided each other1 even in those places  
where they worked in competition1 where 
each claimed his own work1 and          
distinguished it by his name4 ,thus at  
the ,nunziata di ,portoria ,luca        
represented on the walls the final state
 of the blest and the rejected in the   
last judgment2 while ,gio4 ,batista1 in 
the vault1 painted the ,supreme ,judge  

in the midst of the angelic choir1      
calling the elect to bliss4 ,he appears 
in the attitude of uttering the words   
,venite benedicti1 appended in capital  
letters4 ,it is a highly finished       
performance1 and of so exalted a        
character that we should think that     
,luca1 when he painted the laterals to  
it1 was asleep1 so inferior are they in 
composition and expression4 ,on many    
other occasions he painted alone1 as the
 ,s4 ,jerome surrounded by monks        
terrified at a lion1 in ,s4 ,francesco  
in ,castelletto2 and the ,s4 ,sebastian 
in the church of that saint1 receiving  
the crown of martyrdom2 a picture rich  
in composition1 studied in execution1   
and far beyond any commendation of mine4
 ,he painted in ,genoa other pictures1  
and always discovered an air of life in 
the countenances1 a magnificence in the 
architecture1 a strength of colour and  
chiaroscuro1 which makes one regret that
 he was so little known in ,italy2 and  
possibly he was prevented from being    

known as an oil painter by the numerous 
works in fresco which he executed in    
,genoa2 the largest of which is in the  
,palazzo ,grillo4 ,we there see a       
portico painted in arabesque1 and a     
saloon1 in the ceiling of which is      
represented the banquet given by ,dido  
to ,a,eneas2 a beautiful work1          
particularly the arabesques1 but not    
sufficiently studied4 ,this artist1 in  
his latter years1 was painter to the    
court at ,madrid1 whither1 on his death1
 ,luca ,cambiaso was called to finish   
the larger historical subjects2 but the 
grotesques1 and the ornamental parts    
interspersed with figures1 were         
continued by the two sons of ,gio4      
,batista1 whom he had carried with him  
to ,madrid as his assistants4 ,palomini 
makes honourable mention of them1 and   
the ,padre de' ,santi ,teresiani1 and   
the ,padre ,mazzolari ,girolamino1 in   
their description of the ,escurial1     
enumerate their works1 commending their 
variety1 singularity1 and beauty of     

colour4 ,one was called ,fabrizio1 the  
other ,granello2 and the latter1 as     
,ratti conjectures1 was the son of      
,nicolosio ,granello1 an able fresco    
painter of the school of ,semini1 whose 
widow was married to ,castelli1 and     
probably brought with her this son of   
her first marriage4  ,painters have in  
general been found to impart instruction
 more freely to native scholars than to 
strangers2 and yet the latter have      
always profited more than the former1 so
 that it rarely happened that on the    
death of the chief of a school the      
reputation of that school has been      
continued by a son or a nephew4 ,such   
was the case with the ,genoese1 where   
,calvi1 the ,semini1 and ,cambiaso1 had 
each a numerous progeny1 and a progeny  
too attached to the art2 and yet amongst
 so many there was not one who passed   
the bounds of mediocrity1 except perhaps
 ,orazio1 the son of ,luca ,cambiaso1 of
 whom ,soprani merely says that he      
followed in a praiseworthy manner his   

father's style1 and initiated some      
pupils in the art4 ,it was therefore to 
his better scholars that ,cambiaso was  
indebted for assistance in his          
profession2 one of whom1 ,lazzaro       
,tavarone1 followed him even into       
,spain1 and remained there for some     
years after his master's death4 ,he     
afterwards returned to ,genoa1 stored   
with the designs of ,luca1 and loaded   
with riches and honours4 ,luca seemed to
 live again in his scholar1 so fully did
 he possess his style4 ,he moreover     
distinguished himself by a method of    
colouring in fresco1 which1 if ,i       
mistake not1 raised him above all his   
predecessors in this school1 and above  
all who succeeded him1 except ,carloni4 
,this peculiarity consisted in a        
richness1 brightness1 and variety of    
colour1 which brings distant objects    
vividly to the sight1 the whole         
composition appearing brilliantly       
illuminated1 and the tints splendidly   
and harmoniously blended4 ,one may      

perhaps occasionally wish in them more  
softness1 but in general they have all  
the richness of oil paintings4 ,the     
tribune of the ,duomo1 where the patron 
saints of the city are represented1     
particularly ,s4 ,lorenzo1 from whose   
history some passages are selected1 is  
the chef d'oeuvre of his public works4  
,the facade of the palace of the doge is
 also a considerable performance1       
representing ,st4 ,george slaying the   
dragon2 around it and above are other   
numerous figures of citizens of         
eminence1 of the virtues1 of genii with 
nautical weapons and the spoils of the  
enemy1 some of which might pass for the 
work of ,pordenone4 ,this grand work is 
exposed to the sea1 the spray of which  
has affected1 but not destroyed it4 ,in 
many other churches and palaces also are
 to be found the works of ,tavarone2    
histories1 fables1 and imaginary        
compositions1 often so well preserved   
that the scaffolding and the steps by   
which the artists ascended and          

descended1 appear as if just removed4   
,fortunate1 had his works been fewer in 
number1 and finished with equal care4   
,some pictures in oil are mentioned by  
him1 but more rare and of less merit    
than his frescos4  ,cesare ,corte was of
 ,pavian extraction4 ,valerio1 his      
father1 who was born in ,venice1 was the
 son of a gentleman of ,pavia1 and      
became1 under the instruction of        
,titian1 an excellent portrait painter2 
and his talents insuring him a          
favourable reception in ,genoa1 he      
settled there4 ,he remained in that city
 for the rest of his life1 and died in  
poverty1 his means being all consumed in
 fruitless experiments in alchemy4 ,he  
was the intimate friend of ,cambiaso1   
whose life he wrote2 and to him he      
committed the instruction of his son    
,cesare4 ,this son did not indeed equal 
his father1 but he surpassed the greater
 number of his fellow scholars4 ,in the 
church of ,s4 ,piero he painted the     
tutelar saint at the foot of the        

,madonna1 surrounded by angels2 a       
picture of chaste design and of a true  
and harmonious colouring4 ,his          
historical pictures and his portraits   
are found in many collections3 one of   
the former1 in the ,casa ,pallavicino1  
on a subject from the ,inferno of       
,dante1 was celebrated by ,chiabrera in 
an elegant sonnet4 ,the fame of this    
artist was tarnished by his heretical   
opinions1 imbibed by the perusal of some
 pernicious work1 as often happens to   
the half informed1 who read every thing1
 understand little1 and finally believe 
nothing4 ,he however abjured his errors1
 though never released from his prison1 
where he died4 ,david1 his son1         
restricted himself to the limits of a   
copyist2 and in this so highly          
distinguished himself1 that his pictures
 are placed in some collections at the  
side of the originals as wonders of art4
  ,bernardo ,castello frequented the    
school of ,andrea ,semini more than that
 of ,cambiaso2 in his principles he     

inclined more to the latter1 and in     
practice he followed both indifferently4
 ,travelling afterwards through ,italy  
he saw other works1 and formed a style  
not devoid of grace1 nor of correctness1
 when he worked with care2 as in the    
,martyrdom of ,st4 ,clement and ,st4    
,agatagnolo1 in the church of ,s4       
,sebastian1 and the ,st4 ,anne at ,s4   
,matteo4 ,he had a fertile invention1 in
 which he was aided by the poets of the 
age1 whose friendship he assiduously    
cultivated4#fg ,he was eulogized by     
,lionardo ,spinola1 ,d4 ,angiolo        
,grillo1 ,ceva1 ,marino1 ,chiabrera1 and
 by ,tasso1 for whose ,jerusalem he made
 the designs which were in part engraved
 by ,agostino ,caracci4 ,his reputation 
raised him not only to the rank of one  
of the first masters of his school1 but 
of ,italy itself2 and he was thus       
selected to work in the ,vatican1 as has
 been mentioned4 ,he there painted ,st4 
,peter called to the apostleship1 a     
picture which was soon afterwards       

removed1 and one by ,lanfranco          
substituted in its place1 either because
 it was injured by damp1 or had not     
given satisfaction4 ,castello indeed did
 not possess that vigorous style which  
,rome at this time demanded1 refusing   
her applause to the ,vasaris and        
,zuccaris4 ,he had much of their style  
of colour1 nor was he exempt from their 
despatch2 and1 like them1 he opened the 
way in his school to facility instead of
 correctness4 ,genoa is filled1 or      
rather glutted1 with his works1 yet they
 still maintain their reputation1 as    
they are all sustained by a certain     
vigour and grace of style4 ,he sometimes
 appears in foreign collections1 and in 
that of the ,colonna in ,rome ,i saw a  
,parnassus by him with ,poussin figures 
and a beautiful landscape1 which may be 
ranked amongst his most finished works4 
,soprani informs us that he was again   
invited to ,rome1 to paint a picture of 
,st4 ,peter1 and that he died whilst he 
was preparing himself for this journey1 

aged seventy-two4 ,but at so advanced a 
period of life one may doubt the truth  
of this report4 ,he had three sons1     
painters1 of whom ,valerio alone is     
deserving of commemoration1 and we shall
 notice him in his place4               
,footnote #fg3 ,a strict intimacy       
existed1 especially between      him and
 the ,cav4 ,marino1 among whose letters 
we may      enumerate twenty-eight more 
to ,castello than to any other          
person4 ,it is pleasing to observe the  
dexterity of the poet1      who often   
praises the miraculous pencil and the   
divine      hand of the painter1 an     
homage bestowed still more              
liberally in the ,galleria2 and the     
gratitude of the artist      who        
designed and coloured for his friend    
gratis1 and who      exerts himself to  
requite every letter of the poet by some
      acceptable work of art1 7p4 #age74
  ,among his foreign scholars ,simon    
,barabbino deserves remembrance1 whose  
rare genius created so strong a jealousy

 in ,castello as to induce him to expel 
him from his school4 ,he retired from   
it1 and afterwards painted at the       
,nunziata del ,guastato the ,s4 ,diego1 
which ,soprani almost prefers to the    
best work of ,castello4 ,but he did not 
obtain any great celebrity among his    
countrymen4 ,milan rendered him that    
honour which his own native place       
denied2 in consequence of which he      
settled there1 and worked in the palaces
 and churches4 ,there is by him1 at ,s4 
,girolamo1 a ,madonna with a dead       
,christ1 accompanied by ,s4 ,michael and
 ,s4 ,andrew4 ,the colour is true1 the  
heads are correctly drawn1 the naked    
figure well understood1 the contours    
sufficiently accurate and well relieved4
 ,he would have attained still greater  
perfection1 but he turned to            
merchandize1 where instead of wealth he 
found only his ruin1 and died in gaol4  
,gio4 ,batista ,paggi1 a patrician by   
birth1 was led to the profession of a   
painter by his predilection for the art1

 which1 in spite of the opposition of   
his father1 he indulged in from his     
earliest years4 ,he was highly          
accomplished in letters1 and his various
 attainments in poetry1 philosophy1 and 
history1 all served to assist him in the
 composition of his pictures4 ,he was   
perhaps not so much extolled by the     
poets as ,castello1 but he attained a   
greater celebrity among his brother     
artists4 ,he was directed by ,cambiaso  
in his first studies1 which was the     
drawing in chiaroscuro from the casts of
 antique bassi-relievi1 for the purpose 
of attaining a true idea of the         
beautiful1 and preparing himself for the
 study of nature4 ,being well skilled in
 the practice of the crayon1 with little
 labour1 and almost alone1 he learnt the
 art of colouring2 and without the      
instructions of a master1 taught himself
 architecture and perspective4 ,whilst  
he was rising into notice1 he was       
compelled to flee his country for       
homicide2 and1 for about the space of   

twenty years1 he resided in ,florence1  
protected by that court1 and always     
profitably employed4 ,florence1 at that 
time1 abounded with men of first rate   
genius2 and it was then that ,cigoli1   
and all the young painters1 abandoned   
their own languid style for the rich and
 vigorous ,lombard4 ,paggi had not so   
much occasion as the others to          
invigorate his manner1 as appears from  
the works he executed in ,florence not  
long after his arrival there4 ,there    
remains by him a ,holy ,family1 and     
another picture in the church degli     
,angioli1 and in the cloister of ,s4    
,maria ,novella a history piece of ,s4  
,catherine of ,siena4 ,it represents the
 saint liberating a condemned person1   
and is a large composition1 ornamented  
with beautiful buildings1 and so        
pleasingly executed that ,i have heard  
it preferred to all in that convent4    
,nevertheless the great merit of ,paggi 
was not at that time vigour1 but a      
certain nobleness of air1 which always  

continued to be his characteristic1 and 
a delicacy and grace which have led some
 to compare him to ,baroccio1 and even  
to ,coreggio4 ,it seems to me that he   
became more vigorous as he advanced1 and
 a proof of it is to be seen in the     
stupendous ,transfiguration1 painted in 
,s4 ,mark1 which seems almost beyond his
 powers4 ,in the same style he painted  
for the ,certosa at ,pavia three        
pictures from the ,passion of our       
,saviour1 which appear to me among his  
best works4 ,he was ultimately recalled 
by the republic about the year #afjj for
 his excellence in his art1 and the     
courts both of ,pavia and ,madrid       
invited1 and were desirous of employing 
him4 ,his patriotism however precluded  
him from accepting these honourable     
appointments4 ,he illustrated his native
 city with beautiful works in the       
churches and in collections4 ,they have 
not all equal merit1 as this artist also
 was not exempt from the disadvantages  
of bad priming1 domestic anxieties1 and 

the infirmities of age4 ,his best works1
 according to some1 are the two pictures
 at the church of ,s4 ,bartolommeo1 and 
the ,slaughter of the ,innocents1 in the
 possession of his ,excellence the ,sig4
 ,giuseppe ,doria1 painted in           
competition with ,vandyke and ,rubens in
 #afjf4 ,he formed also some excellent  
scholars1 the account of whom we shall  
reserve to the succeeding epoch4 ,we    
shall there again recur to him1 as he is
 placed on the confines of the two      
periods of his school1 and may be       
regarded in the one as a scholar1 and in
 the other as a master4                 
,,genoese ,,school4                     
,,epoch ,,iii4       ,the ,art relapses 
for some time1 and is re-invigorated by 
the ,works of ,paggi and some           
,foreigners4   ,every school1 whatever  
may have been the celebrity of its      
founder1 betrays in the course of time  
symptoms of decay1 and stands in need of
 restoration4 ,the ,genoese1 in the     
hands of ,castello1 experienced a       

decline about the close of the sixteenth
 century1 but soon afterwards revived1  
by the return of ,paggi1 and the arrival
 of some foreigners1 who established    
themselves for a considerable period in 
that city4 ,to this amelioration        
,sofonisba ,angussola not a little      
contributed by the assemblies of        
scholars and professors of the art1     
which were held in his house1 much to   
their improvement1 as we have before    
observed4 ,among these were             
,gentileschi1 ,roncalli1 and the        
,procaccini1 who were employed in       
various public works4 ,aurelio ,lomi of 
,pisa settled in ,genoa1 taught there1  
and left some excellent works at ,san   
,francesco di ,castelletto1 at the      
,nunziata del ,guastato and elsewhere4  
,nor ought we to omit ,simon ,balli1 his
 scholar1 unknown in ,florence1 his     
native city1 but deserving of being     
remembered for his style1 which partook 
considerably of ,andrea del ,sarto's1   
and for some small cabinet pictures on  

copper4 ,antonio ,antoniano of ,urbino  
also resorted thither1 if we are to     
believe ,soprani4#fh ,he brought with   
him the beautiful picture painted for   
the ,duomo by ,baroccio1 who was his    
master2 and he himself1 in the church of
 ,s4 ,tommaso1 painted the picture of   
the saint and another picture2 and1 if  
,i mistake not1 some others for private 
individuals1 which are at the present   
day attributed to ,baroccio1 so         
successful was his imitation of that    
master4 ,there came to ,genoa from      
,siena ,salimbeni and ,sorri1 and with  
them ,agostino ,tassi4 ,the two latter  
remained there for a length of time1    
both working and teaching2 and besides  
these1 ,ghissoni1 who was also a        
,sienese of some merit1 a scholar of    
,alberti in ,rome1 and a fresco painter 
of a vigorous and engaging style4 ,simon
 ,vovet also repaired thither1 but did  
not remain long2 he however executed    
some works1 one particularly of the     
,crucifixion1 at ,st4 ,ambrose1 not     

unworthy1 as ,soprani informs us1 of his
 great name4 ,amongst the most          
considerable aid which ,genoa           
experienced from foreign talents we must
 enumerate ,rubens and ,vandyck2 the    
first of whom left there some noble     
public works1 and a number of private   
historical pieces1 and the second a very
 great number of his eloquent and       
animated portraits4 ,gio4 ,rosa of      
,flanders also established himself      
there1 mentioned by me in ,rome1 where  
he studied2 a happy imitator of nature  
in her most agreeable forms1 especially 
animals4 ,he died in ,genoa1 and left   
there ,giacomo ,legi1 his countryman and
 scholar2 of whom there remain some     
excellent pictures of animals1 flowers1 
and fruit1 though few in number1 as he  
died young4 ,godfrey ,waals1 a ,german1 
and ,gio4 ,batista ,primi1 a ,roman1    
scholars of ,tassi1 and landscape       
painters of much merit1 resided there   
for some time2 and ,cornelio ,wael1 with
 ,vincenzio ,malo1 two ,flemish         

painters1 clever in battles1 landscapes1
 and humorous pieces1 and the latter    
also in altar-pieces4 ,some other       
,flemish artists must have resided there
 a shorter time1 by whom ,i have seen in
 some palaces pictures of large size1   
and to all appearance painted on the    
spot2 and these ,i regard as additional 
aids to a school that benefited at that 
time more from example than from        
instruction4       ,footnote #fh3 ,in   
the ,dictionary of the ,artists of      
,urbino the      existence of this      
artist is rejected as fabulous2 and it  
is      attempted to substitute for him1
 in ,soprani's work1 ,antonio           
,viviani1 who was indeed in ,genoa4     
,considerable weight is      given to   
the conjecture1 from the family of      
,antoniano not      being mentioned in  
,urbino2 and ,i may add the circumstance
 of      not finding any other works of 
this ,antonio than those named      by  
,soprani and his copyists4 ,and how is  
it possible that one      who came to   

,genoa an accomplished master1 should   
not have      left1 either in ,urbino or
 the neighbouring territory1 even a     
vestige or memorial of his pencil8  ,the
 young artists of ,genoa1 thus enriched 
in the course of a few years by fresh   
examples1 entered on a new career1 and  
adopted a more vigorous and grander     
style than they had before practised4   
,and not a few of them1 after receiving 
the rudiments of instruction in their   
native place1 repaired to ,parma1 or    
,florence1 or ,rome1 to finish their    
studies2 and from these and other       
sources added celebrity to their        
country4 ,thus the seventeenth century  
did not possess in ,genoa so decided a  
character as the preceding1 nor so      
select or ideal3 it had however an      
abundance of excellent artists1 and     
particularly of the best portrait       
painters and colourists1 sufficient     
indeed to supply ,venice with at her    
least happy epoch4 ,it would also have  
attained a higher pitch of repute1 if   

the plague of #afeg had not swept off a 
vast number of promising artists2 the   
names of some of whom1 cut off at an    
early period of life1 may be found      
mentioned in ,soprani4 ,the primary     
cause of this revival of the art in     
,genoa may be ascribed to the riches and
 to the taste of her nobility1 who      
invited and supported these eminent     
foreign artists4 ,and in the next place 
much of this merit is due to ,paggi4    
,there was at one time great danger of  
these excellent colourists being        
negligent designers2 and it is indeed a 
common opinion1 adopted also by         
,algarotti1 that the best colourists are
 seldom correct in design4 ,paggi1 in   
this important point1 supported the     
credit of the school4 ,he had studied   
design among the ,florentines1 the best 
masters in ,italy2 and he composed for  
the instruction of youth a small        
treatise1 entitled ,diffinizione o sia  
,divisione della ,pittura1 which he     
published in #afjg4 ,soprani considers  

it a useful compendium1 and containing1 
in plain and unaffected language1 the   
principles of the art4 ,it is mentioned 
with particular commendation in a letter
 of the younger ,vasari1 which must make
 us regret the loss of it2 and it would 
be desirable to search the libraries    
where papers of this description are    
preserved1 to ascertain whether it may  
be still in existence4 ,all that we at  
present possess by ,paggi is the        
,treatise mentioned by us a few pages   
back4 ,in the mean time we shall        
commence a new epoch with him and his   
school4  ,domenico ,fiasella is called  
il ,sarzana1 from being born in the city
 of that name1 where he obtained the    
rudiments of his style4 ,he devoted     
himself to the study of the noble       
picture of ,andrea del ,sarto1 which was
 then in the church of the ,predicatori2
 and where there is at this day a       
beautiful copy of it4 ,after being      
instructed for some time by ,paggi he   
repaired to ,rome1 and studied          

,raffaello1 and imbibed also other      
favourite styles4 ,he there spent ten   
years1 and became an eminent master1    
much praised by ,guido ,reni1 and       
employed as an assistant by the ,cav4   
d',arpino and ,passignano4 ,he finally  
returned to ,genoa1 and in that city and
 in others of higher ,italy1 executed   
numerous works4 ,a very considerable    
part of them he left imperfect1 being in
 the habit of neglecting them1 or       
leaving them to be finished by his      
scholars1 as is the tradition of his    
native place4 ,independent of this      
impatience he was a great artist1 and   
possessed many eminent qualities1 a     
felicity in grand compositions1 a style 
of design often worthy of the ,roman    
,school1 great life in the heads2 an    
admirable colour in his oil pictures1   
and an easy imitation of various styles4
 ,he is very ,raffaellesque in a ,s4    
,bernardo1 which is to be seen at ,s4   
,vincenzio in ,piacenza2 ,caravaggesque 
in a ,s4 ,tommaso di ,villanova1 at ,s4 

,agostino in ,genoa2 in the ,duomo of   
,sarzana1 where he painted the          
,slaughter of the ,innocents1 and in the
 archiepiscopal gallery of ,milan1 in an
 infant ,christ1 he is a follower of    
,guido2 and in other places an imitator 
of ,annibal ,caracci and his school4 ,he
 can command our admiration when he     
pleases1 and has left a stupendous work 
in the church of the ,augustines in     
,genoa1 representing ,st4 ,paul1 the    
first hermit1 for whose body1 discovered
 in a lonely forest by ,st4 ,antony the 
,abbot1 a lion is in the act of scooping
 a grave4 ,many of his pictures are     
found in private collections4 ,i have   
met with specimens at ,sarzana1 in the  
house of his ,excellency the ,marquis   
,remedi1 a house celebrated for the     
cordial and generous hospitality of the 
owner2 and in others too there and in   
the state4 ,his ,madonnas have for the  
most part a similarity of features2 not 
so ideal as those of ,raffaello1 but    
still agreeable and prepossessing4  ,on 

the death of ,paggi1 ,fiasella became   
the principal instructor in ,genoa1 and 
,i shall mention his most conspicuous   
scholars4 ,we may commence with his     
relative1 ,gio4 ,batista ,casone1       
changed by ,orlandi into ,carlone1 who  
did not paint much in ,genoa4 ,if we may
 judge from the altar-piece delle       
,vigne1 representing the ,virgin        
surrounded by saints1 he retained the   
style of ,fiasella1 the colouring of    
which he endeavoured to invigorate4     
,gio4 ,paol ,oderico1 a noble ,genoese1 
painted always with great care1 was     
select in his forms1 and possessed a    
strong and rich colouring4 ,the ,,pp4   
,scolopi have a picture by him of the   
,s4 ,angiolo ,custode1 the work of a    
young hand1 but bearing promise of great
 talents4 ,his historical compositions  
are also to be found in galleries1 but  
they are rare1 according to ,soprani1   
and placed among the most precious      
possessions4 ,his portraits are not of  
such rare occurrence1 and in these he   

displayed great talents1 and had        
numerous commissions4 ,we find but few  
public works of ,francesco ,capuro1 in  
consequence of his being engaged by the 
court and individuals in ,modena1 where 
he passed a great part of his life1 at a
 distance from his own country4 ,he was 
among the stricter followers of         
,fiasella in regard to design and       
composition1 but in his colouring he    
partakes of ,spagnoletto1 under whom he 
studied in ,naples2 and in the style of 
that painter he executed some pictures  
of half-size1 which probably procured   
him his highest reputation4 ,we have    
still fewer public works by the young   
,luca ,saltarello2 but a ,s4 ,benedetto1
 in the church of ,s4 ,stefano1 in the  
act of restoring a dead person to life1 
a picture of sober colouring1           
beautifully harmonized1 and full of     
expression and knowledge1 sufficiently  
denotes his early maturity1 and his     
capacity1 if he had lived1 of forming an
 epoch in his school4 ,being desirous of

 adding to his other accomplishments the
 advantages to be derived from the      
ancient marbles1 he repaired to ,rome1  
and died there through excess of study4 
,gregorio de' ,ferrari of ,porto        
,maurizio received from ,sarzana        
instructions conformable to his         
principles1 but which did not correspond
 with the genius of the scholar1 which  
was naturally disposed to a style of    
greater freedom and grandeur4 ,he       
repaired to ,parma to study the works of
 ,coreggio1 and there made a most       
careful copy of the great cupola1 which 
was purchased many years after by       
,mengs2 and he returned home with a very
 different style to his first4 ,coreggio
 was his only prototype1 and he imitated
 him most happily in the air of the     
countenances1 and in many individual    
figures2 but not in the general style of
 composition1 in which he is not so     
ideal2 nor in the colouring1 as in his  
frescos he is somewhat languid4 ,he is  
in general negligent in his drawing2 so 

that1 with the exception of the two     
pictures at the ,theatines of ,s4 ,pier 
d',arena1 this censure attaches to all  
his works4 ,in his foreshortenings and  
in his draperies he sometimes falls into
 affectation4 ,he possesses however     
considerable attractions3 he is         
ingenious and novel1 and displays a     
vigorous1 rich1 and correct colouring1  
particularly in the fleshes4 ,by these  
qualities his ,s4 ,michele1 at the      
church of the ,madonna delle ,vigne1    
predominates amongst the pictures of    
that church3 and it may be justly ranked
 with those ,venetian productions in    
which the spirit and noble colourings   
atone for the inaccuracy of the drawing4
 ,he was much employed in ,turin and in 
,marseilles2 and still more so in the   
principal palaces in his own country1   
particularly in that of the ,balbi4     
,there however the great names of that  
celebrated collection1 both foreign and 
native1 wage against him1 as we may say1
 a continual war4  ,valerio ,castello is

 one of the greatest members of the     
,genoese ,school4 ,he no sooner made his
 appearance amongst his fellow scholars 
than he distanced the oldest of them1   
and soon afterwards even rivalled his   
masters4 ,the son of ,bernardo1 and the 
scholar of ,fiasella1 he followed       
neither the style of the one nor the    
other1 but selected other prototypes    
more consonant to his genius1 the       
,procaccini in ,milan1 and ,coreggio in 
,parma2 and from the study of these1 and
 a grace wholly his own1 he formed a    
style unique and peculiarly belonging to
 himself4 ,if it is not the most        
correct1 it seems to deserve pardon for 
its select composition1 for its         
beautiful colouring and chiaroscuro1 and
 for the spirit1 facility1 and          
expression1 which always distinguish his
 pencil4 ,he excelled in frescos1 so as 
to please even by the side of ,carloni2 
and is perhaps sometimes1 as in ,s4     
,marta1 even superior to him4 ,in his   
perspectives he occasionally employed   

,gio4 ,maria ,mariani d',ascoli1 who    
also lived in ,rome4 ,nor was he        
inferior in oil pictures4 ,he painted in
 the oratory of ,s4 ,jacopo the baptism 
of that saint1 in competition with the  
chief of his contemporaries1 and        
eclipsed them all1 with the exception   
perhaps of ,castiglione4 ,he worked also
 for collections2 and in the royal      
gallery of ,florence his ,rape of the   
,sabines is highly prized1 a subject    
which1 on a more extended scale1 but yet
 with some resemblance both of figures  
and architecture1 he repeated in the    
palace ,brignole4 ,he is not however    
frequently met with1 as he died early1  
and from the great celebrity he         
acquired1 his works were in much request
 in all the first collections1 and thus 
his productions were dispersed4 ,he     
taught ,gio4 ,batista ,merano1 and1     
after his own example1 sent him to study
 at ,parma1 in which city he met with   
sufficient employment both from the     
prince and private individuals4 ,the    

,slaughter of the ,innocents1 at the    
,gesu in ,genoa1 is pointed out to us as
 one of his best pictures1 and is a     
copious and careful composition1        
extremely well arranged4 ,we must not   
confound this artist with ,francesco    
,merano1 called1 from his first employ1 
,il ,paggio1 a scholar and a respectable
 follower of ,fiasella4  ,returning to  
the scholars of ,gio4 ,batista ,paggi1  
one of them1 who was himself the        
educator of a generous race to his      
country1 was ,gio4 ,domenico            
,cappellino4 ,he had an extraordinary   
talent for imitation1 whence1 in his    
first works1 he came very near his      
master4 ,there was not in him that air  
of nobility that in ,paggi and ,bordone 
seems to have been derived from their   
birth and education4 ,he possessed      
nevertheless other qualities of art     
which fail not to interest the          
spectator4 ,this is evident in the      
,death of ,s4 ,francesco1 placed in ,s4 
,niccolo2 and at ,s4 ,stefano in the ,s4

 ,francesca ,romana1 who to a dumb girl 
imparts the powers of speech4 ,they are 
works which possess in the whole a      
peculiar originality1 and in the        
separate figures a natural charm1 and an
 expression of the affections and a     
delicacy of colouring highly attractive4
 ,he afterwards changed his style1 as   
may be seen in two pictures of the      
,passion at ,s4 ,siro1 and in many      
others at ,genoa1 always vigorous1 but  
less spirited than at first1 rather     
obscure in tints1 and removed from the  
manner of ,paggi4 ,he aimed at          
originality1 and1 finding her1 pursued  
her without a rival4  ,he had the good  
fortune to be the instructor of a       
foreigner1 one of those men of genius   
who in themselves illustrate a whole    
school4 ,this artist was of the family  
of ,pioli1 which had already produced an
 excellent miniature painter called     
,gio4 ,gregorio1 who died in            
,marseilles1 and a ,pier ,francesco1 a  
scholar of ,sofonisba1 who died young1  

with the reputation of being one of the 
best imitators of ,cambiaso4 ,pellegro  
,piola1 of whom we have now to treat1   
enjoyed a still shorter period of life1 
being assassinated at the age of        
twenty-three1 by an unknown hand2 and1  
as it is believed1 through envy of his  
rare talents4 ,it is not easy to        
describe very precisely the style of    
this young man2 for1 as a student1 he   
studied all the best works and formed   
himself upon them1 and willingly        
inclined to the more beautiful4 ,he then
 tried a wider flight1 and pursued it   
always with exquisite diligence1 and a  
taste which charms us2 and whatever     
style he adopted he seemed to have grown
 grey in it4 ,a ,madonna by him1 which  
is now in the great collection of the   
,marchese ,brignole1 was considered by  
,franceschini an original of ,andrea del
 ,sarto4 ,his ,s4 ,eligio1 in the street
 of the goldsmiths1 was by ,mengs       
ascribed to ,lodovico ,caracci4 ,he     
however aspired at something far beyond 

mere imitation1 and said that he had a  
mental conception of the beautiful1     
which he did not despair to attain if   
his life should be spared4 ,but he was  
prematurely cut off1 as ,i have stated1 
and his works in consequence are very   
rarely met with4  ,the rarity of the    
productions of ,pellegro was compensated
 for by a brother1 who filled the city  
and the state with his works4 ,this was 
,domenico ,piola1 a scholar of ,pellegro
 and ,cappellini1 the associate of      
,valerio ,castelli in many works1 and   
for some time an imitator of that       
master1 afterwards of ,castiglione2 and1
 finally1 the founder of a style        
bordering on that of ,cortona4 ,there is
 not in it a sufficient contrast2 the   
forms are various1 ideal for the most   
part1 nor without beauty2 the           
chiaroscuro is generally little         
finished2 the design partakes of the    
,roman4 ,there is1 however1 a           
considerable resemblance to ,pietro in  
the distribution of the colours1 and in 

his facility and despatch4 ,he had a    
singular talent for the representation  
of children1 and he refined it by the   
imitation of ,fiammingo4 ,he enlivened  
every composition by their introduction1
 and in some palaces he interwove them  
in elegant friezes4 ,from this soft and 
easy manner1 examples of which are to be
 met with in every part of the ,genoese 
territories1 he could occasionally      
depart1 as in the picture of the        
,miracle of ,st4 ,peter at the          
,beautiful ,gate of the ,temple1 painted
 at ,carignano1 where the architecture1 
the fleshes1 the gestures1 are highly   
studied2 and there is a force of effect 
which seems to emulate the ,guercino1   
which is opposed to it4 ,he also departs
 from his ordinary style in the ,repose 
of the ,holy ,family at the ,gesu4 ,of  
three sons whom ,domenico instructed1   
,paolo will be mentioned among the most 
excellent artists of a future epoch2    
,antonio commendably followed his       
father's style in his youth1 but        

afterwards changed his profession4 ,gio4
 ,batista could copy or follow the      
designs of others1 but nothing beyond4  
,this latter had a son1 ,domenico1 who1 
whilst he was beginning to emulate the  
glory of his family1 was cut off by     
death1 and with him was extinguished a  
family which1 for the course of nearly  
two centuries1 had conferred honour on  
the profession4  ,giulio ,benso1 the    
scholar of ,paggi1 excelled all his     
school in architecture and perspective4 
,genoa1 perhaps1 does not possess any   
work in this department superior to that
 of ,benso in the ,nunziata del         
,guastato2 in the choir of which he     
represented one of those perspective    
pictures with balustrades and           
colonnades1 in which ,colonna and       
,mitelli so much excelled4 ,these two   
artists were great admirers of this work
 of ,giulio1 but to us it may perhaps   
appear too much loaded with ornament4   
,he there represented the ,glorification
 of the ,virgin1 and added some         

histories1 in which he rigorously       
observed the laws of the sotto in su2 an
 art then little practised in his       
school4 ,giovanni and ,batista ,carloni1
 who painted so much in this church1 are
 surpassed by him in this department2   
nor do they much exceed him in          
composition and colour4 ,benso left but 
few oil paintings in ,genoa2 that of ,s4
 ,domenico in the church of that saint  
is one of the best1 and partakes more of
 the ,school of ,bologna than that of   
,genoa4  ,castellino ,castello possessed
 a sober style of composition1 like that
 of ,paggi his master1 and1 as far as we
 may judge from various pictures1 was a 
correct and elegant artist4 ,he highly  
distinguished himself in the picture of 
the ,pentecost1 placed on the great     
altar of the church of the ,spirito     
,santo4 ,he1 however1 like many others  
of this period1 is indebted for his     
celebrity to his success in portrait    
painting2 in confirmation of which it is
 sufficient to state1 that ,vandyck was 

desirous of being commemorated by him1  
and painted him in return4 ,this fact   
exalts his reputation even more than the
 commendations he received from         
contemporary poets1 among whom were     
,chiabrera and ,marino1 whose features  
he also preserved for posterity4 ,he was
 appointed portrait painter to the court
 of ,savoy1 and in this department he   
had a rival in his own family1 in       
,niccolo his son1 who was in high       
reputation in ,genoa when ,soprani      
wrote4 ,some others of the school of    
,paggi1 distinguished in landscape or in
 other branches of painting1 are        
reserved for the conclusion of this     
epoch4  ,paggi had a rival in ,sorri of 
,siena4 ,his style is a mixture of      
,passignano and ,paol ,veronese2 and1 if
 ,i err not in my judgment1 of ,marco da
 ,siena also1 whose ,deposition from the
 ,cross in ,araceli was1 in a manner1   
repeated by ,sorri at ,s4 ,siro in      
,genoa4 ,he there instructed ,carlone   
and ,strozzi1 two luminaries of this    

school4 ,gio4 ,carlone repaired soon to 
,rome1 and afterwards to ,florence1     
where he was taught by ,passignano1 the 
father-in-law and master of ,sorri4     
,passignano was not so remarkable for   
his colouring as for his design and     
grandeur of composition2 but we have    
already observed1 that the style of     
colour is that portion of the art least 
influenced by precept1 and which is     
formed more than any other by the       
individual genius of the painter4       
,carlone possessed as great talents for 
composition as any of his               
contemporaries2 correct and graceful in 
design1 decided and intelligent in      
expression2 and above all1 he had an    
extraordinary brilliancy of colour in   
his frescos4 ,in this branch he was     
anxious to distinguish himself2 and     
although he saw eminent examples at     
,florence and in ,rome1 he did not      
adhere to them so much as1 if ,i am not 
wrong in my conjecture1 he attempted to 
follow1 or rather to surpass and to     

reduce to a more pleasing practice1 the 
style exhibited by ,tavarone1 in the    
histories of ,s4 ,lorenzo4 ,i have      
already described that style2 the       
vigour1 beauty1 and freshness with which
 it prepossesses the spectator1 and     
approximates the most distant objects4  
,if1 in respect of ,giovanni1 we wish to
 add any greater praise1 it is that he  
surpassed ,tavarone in these gifts2 and 
besides1 he is more correct in his      
contours1 and more varied and copious in
 composition4 ,but in all these         
qualities they were both excelled by    
,gio4 ,batista ,carlone1 a scholar also 
of ,passignano1 and a student in ,rome1 
afterwards the associate of ,giovanni1  
his elder brother1 in principle and     
practice1 whom he survived fifty years1 
as if to carry their style to the       
highest pitch of perfection4  ,the      
church of the ,nunziata del ,guastato1 a
 splendid monument of the piety and the 
riches of the noble family of           
,lomellini1 and an edifice which confers

 honour on the city1 which has enlarged 
and ornamented it as its cathedral1     
possesses no work more astonishing than 
the three naves1 almost nearly the whole
 of which are decorated by the two      
brothers4 ,in the middle one the elder  
brother represented the ,epiphany of our
 ,lord1 his ,entrance into ,jerusalem1  
the ,prayer at ,gethsemane1 the         
,resurrection1 the ,ascension1 the      
,descent of the ,holy ,ghost1 the       
,assumption of the ,virgin1 and other   
passages of the ,new ,testament4 ,in one
 of the smaller naves1 the younger      
brother painted ,st4 ,paul preaching to 
the ,multitude1 ,st4 ,james baptizing   
the ,neophytes1 ,st4 ,simon and ,st4    
,jude in the ,metropolis of ,persia2 and
 in the opposite nave three histories   
from the ,old ,testament1 ,moses        
striking the ,rock1 the ,israelites     
passing the ,jordan1 and ,joseph1 on a  
high seat1 giving ,audience to his      
,brethren4 ,all these stories seem to be
 adopted as giving scope to a fancy rich

 in invention1 and capable of peopling  
these immense compositions with figures 
almost innumerable4 ,it is not easy to  
mention a work on so vast a scale       
executed with so much zeal and care2    
compositions so copious and novel1 heads
 so varied and so animated1 contours so 
well expressed and so strongly relieved1
 colours so enchanting1 so lucid and    
fresh after such a lapse of years4 ,the 
reds 7which perhaps are too frequent7   
are as deep as purple1 the blues appear 
sapphires1 and the green1 above all1    
which is a wonder to artists1 is bright 
as an emerald4 ,in viewing the          
brilliancy of these colours we might    
almost mistake them for paintings on    
glass or enamel2 nor do ,i recollect to 
have seen in any other artists of ,italy
 so original1 beautiful1 and enchanting 
a style of colour4 ,some persons who    
have compared these colours with those  
of ,raffaello1 ,coreggio1 or ,andrea del
 ,sarto1 have thought them too near     
bordering on crudeness2 but in matters  

of taste1 where the sources of pleasing 
are so many1 and where there are so many
 gradations in the merits of artists1   
who can possibly gratify all8 ,the      
similitude of style would lead the      
unskilled to believe them the works of  
the same master2 but the more           
experienced are able to ascertain the   
composition of ,gio4 ,batista from a    
peculiar delicacy of tints and of       
chiaroscuro1 and from a grander style of
 design4 ,it has been attempted to      
ascertain more minutely his method of   
colouring2 and it has been discovered1  
that in decorating the ceilings and     
walls of rooms1 he previously laid on   
the dry wall a colour ground1 to protect
 his work from the action of the lime4  
,these paintings were executed with the 
most delicate gradations1 and the most  
surprising harmony2 hence his frescos   
have all the richness of oil colours4   
,these are the words of ,ratti1 and     
,mengs joins him in the encomium4  ,i   
have only enumerated the paintings which

 these artists exhibited in the         
,guastato1 but ,giovanni left numerous  
works in the same style and on similar  
subjects1 at the ,gesu and at ,s4       
,domenico in ,genoa1 and at ,s4 ,antonio
 ,abate in ,milan1 where he died2       
without mentioning the many fables and  
stories with which he adorned various   
palaces in his native city4 ,of the     
other brother it is not equally easy to 
recount all that he painted in private  
houses1 and in the before-mentioned     
churches1 and at ,s4 ,siro and          
elsewhere4 ,the histories of the chapel 
in the ,palazzo ,reale are amongst his  
most original and delightful works2     
,columbus discovering the ,indies2 the  
,martyrdom of the ,giustiniani at ,scio2
 the ,remains of the ,baptist brought to
 ,genoa1 and other ,ligurian subjects4  
,nor is it easy to enumerate his many   
altar-pieces and oil pictures to be     
found in the churches4 ,i shall limit   
myself here to the three histories of   
,s4 ,clemente ,ancirano at the          

,guastato2 pictures1 characterised by   
such congruity1 such truth1 and such a  
peculiar horror1 as to force us to      
withdraw our eyes from the inhumanity of
 the scene4 ,some persons may1 perhaps1 
be indisposed to give full credit to all
 that ,i have written of ,gio4 ,batista2
 as it seems incredible that an artist  
should be so little known1 who united in
 himself the most opposite qualities2 a 
wonderful skill both in oil and fresco2 
equal excellence in colour and design2  
facility and correctness2 an immense    
number of works1 and a diligence shewn  
by few fresco painters4 ,but they who   
have viewed the works ,i have mentioned1
 with unprejudiced eyes1 will not1 ,i   
feel confident1 differ far from me in   
opinion4 ,he lived to the age of        
eighty-five1 and lost neither his vigour
 of invention nor his genius for grand  
composition2 nor the freedom of hand1   
and incomparably fine pencil with which 
he treated them4 ,i shall allude1 in    
another epoch1 to his sons ,andrea and  

,niccolo2 but ,i must not neglect to    
observe1 that both ,pascoli and ,orlandi
 have written of this family with little
 accuracy4  ,the other great colourist  
and scholar of ,sorri was ,bernardo     
,strozzi1 better known under the name of
 the ,capuchin of ,genoa1 from his      
professing that order4 ,he is also      
called il ,prete ,genovese1 because he  
left the cloister1 when a priest1 to    
contribute to the support of an aged    
mother and a sister2 but the one dying  
and the other marrying1 he refused to   
return to his order2 and being          
afterwards forcibly recalled to it and  
sentenced to three years of             
imprisonment1 he contrived to make his  
escape1 fled to ,venice1 and there      
passed the remainder of his days as a   
secular priest4 ,the larger compositions
 of this artist are only to be seen in  
,genoa1 in the houses of the nobility1  
and in ,san ,domenico1 where he executed
 the great picture of the ,paradiso1    
which is one of the best conceived that 

,i have seen4 ,there too1 in ,novi and  
in ,voltri1 are various altar-pieces2   
and above all1 an admirable ,madonna in 
,genoa1 in a room of the ,palazzo       
,reale4 ,some of his works are also to  
be seen in ,venice1 where ,strozzi was  
preferred to every other artist1 to     
replace a ,tondo1 executed in the best  
age of ,venetian art1 in the library of 
,st4 ,mark1 and there painted a figure  
of ,sculpture4  ,he1 however1 left few  
public works4 ,whoever wishes to see    
admirable productions1 must observe his 
pictures in eminent collections2 as the 
,st4 ,thomas ,incredulous1 in the       
,palazzo ,brignole4 ,when placed in a   
room of excellent colourists he eclipses
 them all by the majesty1 copiousness1  
vigour1 nature1 and harmony of his      
style4 ,his design is not very correct1 
nor sufficiently select2 we there see a 
naturalist who follows neither ,sorri   
nor any other master2 but one who1 after
 the example of that ancient master1    
derives instruction from the multitude4 

,there is a deep expression of force and
 energy in the heads of his men1 and of 
piety in those of his saints4 ,in the   
countenances of his women and his youths
 he has less merit2 and ,i have seen    
some of his ,madonnas and angels vulgar 
and often repeated4 ,he was accustomed  
to paint portraits1 and in his          
compositions derived all his knowledge  
from the study of nature2 and often     
painted half figures in the style of    
,caravaggio4 ,the royal gallery at      
,florence has a ,christ by him1 called  
della ,moneta2 the figures half-size1   
and exhibiting great vivacity4 ,he is   
esteemed the most spirited artist of his
 own school2 and in strong impasto1 in  
richness and vigour of colour1 has few  
rivals in any other2 or rather1 in this 
style of colouring he is original and   
without example4 ,his remains were      
deposited at ,s4 ,fosca in ,venice1 with
 this inscription3 ,bernardus ,strozzius
 ,pictorum splendor1 ,liguriae decus2   
and it is his great praise to have      

merited this encomium in the seat and   
near the ashes of the greatest          
colourists4  ,gio4 ,andrea de' ,ferrari 
perfected himself under this master1    
having been previously the scholar of   
,castelli1 whose feeble style may be    
detected in the ,theodosius1 painted by 
,ferrari as an altar-piece in the ,gesu4
 ,in many works he is a respectable     
follower of ,strozzi2 as in the         
,nativity in the ,duomo of ,genoa1 and  
in the ,nativity of the ,virgin1 in a   
church of ,voltri1 full of figures which
 seem inspired with life4 ,although     
little known1 and perhaps too little    
commended by ,soprani1 he is one of the 
first ,genoese artists2 and1 to         
establish his reputation1 it is         
sufficient to state1 that he was the    
master of ,gio4 ,bernardo ,carbone1 the 
chief of this school of portrait        
painters4 ,even by the more experienced 
his portraits were often mistaken for   
those of ,vandyke1 or purchased at      
prices little inferior to those given   

for a true ,vandyke4 ,he also composed  
well1 as may be seen in his picture of  
the ,king ,s4 ,louis at the ,guastato4  
,but this picture did not please the    
person who gave the commission1 and a   
second was ordered in ,paris1 and       
afterwards a third1 which successively  
superseded each other on the altar4 ,but
 they did not prove satisfactory1 and   
that of ,carbone was restored to its    
place1 and the other two were added as  
laterals1 as if to attend on it4        
,another deserving scholar of ,strozzi  
resided a considerable time in ,tuscany1
 and there distinguished himself2       
,clemente ,bocciardo1 from his great    
size called ,clementone4 ,he first      
studied in ,rome1 afterwards in         
,florence1 and practising much with     
,castiglione1 he formed a style more    
correct and ideal than that of his      
master1 to whom1 however1 he is inferior
 in truth of colour4 ,pisa was his      
theatre of art1 where1 in the ,duomo and
 elsewhere1 he left some highly         

respectable works2 over all of which1 in
 his life1 the preference is given to   
,s4 ,sebastian1 placed in the church of 
the ,carthusians4 ,he painted his own   
portrait for the royal gallery of       
,florence1 which has had a better fate  
than those of many common artists1 and  
remains there to the present day4  ,a   
third pupil of this school resided a    
considerable time in ,venice1 afterwards
 in ,mirandola4 ,this was ,gio4         
,francesco ,cassana1 a soft and delicate
 colourist1 and master of ,langetti4 ,by
 the ,venetians he was but little       
esteemed1 and painted only for private  
collections4 ,he afterwards repaired to 
the court of ,mirandola1 and painted a  
,s4 ,jerome for the ,duomo of that city1
 and other pictures in various churches1
 which enhanced his reputation4 ,he was 
the founder of a family that conferred  
honour on the art4 ,niccolo1 his eldest 
son1 who became one of the most         
celebrated portrait painters of his age1
 passed the chief part of his life at   

,florence1 and died at the court of     
,london4 ,the ,grand ,duke possesses    
some of his historical compositions1 and
 some portraits full of expression1 in  
the royal gallery1 amongst which are two
 half figures of two court buffoons1    
admirably executed4 ,it is said that his
 style1 which nearly approaches to      
,strozzi1 cost him great trouble1 and   
that1 when painting1 he was so intent on
 his work as not to hear a person       
addressing him2 and sometimes1 in a     
rage1 he would throw himself on the     
ground1 exclaiming against his work as  
deficient both in colour and spirit1    
till snatching his pencil again he      
brought it to his wishes4 ,gio4         
,agostino1 called l',abate ,cassana1    
from the clerical dress which he always 
wore1 was a good portrait painter1 but  
distinguished himself more in the       
representation of animals4 ,there are   
many of his pictures in the collections 
of ,florence1 ,venice1 and ,genoa1 and  
,italy in general1 and they often indeed

 pass under the name of ,castiglione4   
,the third brother was ,gio4 ,batista1  
and excelled in flowers and fruits1     
which he painted with great effect4     
,they had also a sister1 of the name of 
,maria ,vittoria1 who painted sacred    
figures for private collections1 and who
 died in ,venice at the beginning of the
 last century4 ,in all ,i have said of  
the ,cassana family ,i have adhered to  
,ratti1 as to a native and correct      
author4 ,some who have written on the   
gallery of ,florence1 where the         
portraits of the three first are found1 
differ in some particulars1 ascribing to
 the one works belonging to the other4  
,niccolo was in fact the one that there 
enjoyed the highest favour of ,prince   
,ferdinand2 and he it is who is         
mentioned in the note to ,borghini 7p4  
#caf7 where it is said that the picture 
by ,raffaello1 transferred from ,pescia 
to the ,pitti palace1 was finished by   
,cassana4 ,but with respect to this     
notice1 and others regarding the        

,cassani1 we may consult the ,catalogo  
,vianelli1 p4 #ig1 where we find        
described a remarkable portrait of a    
young man studying1 painted by ,niccolo2
 and it is succeeded by a long memoir1  
which throws additional light on the    
history of this family4  ,i must now    
speak of another celebrated ,ligurian1  
but neither a scholar of ,paggi1 nor of 
,sorri1 nor indeed of any other         
considerable master1 and almost         
self-instructed2 for the elements of the
 art1 which he learned from ,orazio     
,cambiaso1 a painter of mediocrity1     
could not carry him far4 ,he was born in
 ,voltri1 his name ,gio4 ,andrea        
,ansaldo4 ,he is the only one of the    
school who contested precedency in      
perspective with ,giulio ,benso1 by     
whom1 in a quarrel1 prompted by jealous 
feelings of his talents1 he was wounded3
 an attempt which was repeated by an    
unknown hand1 after an interval of some 
years4 ,near the choir of the ,nunziata1
 painted by ,benso1 we behold the cupola

 of ,ansaldo1 injured by damp1 yet      
notwithstanding remarkable for a most   
beautiful division and grandeur of the  
architecture1 and for many figures which
 remain uninjured4 ,when we survey this 
fine work1 we cannot refuse to this     
artist a great talent for the decoration
 of cupolas1 which may be esteemed the  
summit of the art of painting1 as the   
colossal is of sculpture4 ,his other    
works in fresco1 in churches and in     
private houses1 are very numerous2 and  
he is particularly admired for his works
 in the palace ,spinola at ,s4 ,pier    
d',arena1 where he has represented the  
military exploits in ,flanders of the   
,marchese ,federico1 the boast of this  
family4 ,amongst his oil pictures a ,st4
 ,thomas baptizing three ,kings in a    
church1 is celebrated4 ,it is placed in 
the chapel of that saint1 and exhibits  
much vigour of design1 a brilliant      
decoration of scenery and persons1 and a
 display of graceful and delightful     
harmony4 ,such is his prevailing        

character1 which is in part his own1    
acquired by an unwearied application1   
and in part derived from the ,venetians1
 and especially ,paolo4 ,ansaldo is one 
of those masters who painted both much  
and well4  ,of his scholars1 the one who
 followed him the closest was ,orazio   
de' ,ferrari1 his countryman and        
kinsman4 ,he painted well in fresco1 but
 better in oil4 ,we need only inspect   
the ,last ,supper in the oratory of ,s4 
,siro1 to form a most favourable idea of
 this young artist4 ,giovacchino        
,assereto profited more from the design 
than the colour of ,ansaldo2 in general 
he attempted his chiaroscuro in the     
manner of ,borzone1 his first master1 as
 in the picture of ,s4 ,rosario at ,s4  
,brigida4 ,giuseppe ,badaracco was      
ambitious of introducing a new style    
into his native place1 and repaired to  
,florence1 where he remained many years 
copying and imitating ,andrea del       
,sarto4 ,he left many works there in    
private collections1 and ,i imagine they

 are there still2 but1 as always happens
 to copyists and imitators1 his name is 
never mentioned1 and his works pass as  
belonging to the school of ,andrea4 ,in 
,genoa itself his name is almost lost4  
,it is known that he in general painted 
for collections2 but not for what       
houses4 ,i found in the house of a      
gentleman of ,novi an ,achilles in      
,scyros1 with the name of ,badaracco1   
and with the date of #afed4 ,in this    
work the artist seems to have forgotten 
,andrea1 and to have followed the       
naturalists of his own country4 ,there  
is no public work by him except a ,s4   
,philip1 which is preserved in the      
sacristy of ,s4 ,niccolo in ,voltri4    
,to the foregoing masters we may add    
,gio4 ,batista ,baiardo1 of ,i know not 
what school1 but certainly commendable  
for the talents displayed in his        
pictures at the portico of ,s4 ,pietro1 
and in the convent of ,s4 ,agostino1    
painted with vigour1 freedom1 and grace4
 ,the inferior works in that convent are

 certainly by another hand4 ,baiardo1   
,badaracco1 ,oderico1 ,primi1 ,gregorio 
de' ,ferrari1 and others in this school1
 were carried off by the plague in      
#afeg4 ,but we have now spoken          
sufficiently of the higher class of     
works1 and shall here pass to those of  
another kind1 completing the notices    
which we have occasionally interspersed 
before4  ,we have often spoken of       
portrait painting1 a lucrative branch of
 the art in every capital1 and more     
cultivated in ,genoa than in most       
cities4 ,besides the noble models of art
 left1 as we have before mentioned1 by  
the best ,flemish artists1 those of ,del
 ,corte1 a scholar of ,titian1 and of   
his son ,cesare1 were of great service4 
,from the school of this master arose a 
succession of noble portrait painters1  
instructed by ,luciano ,borzone1 who in 
the time of ,cerano and ,procaccini also
 studied in the ,milanese ,school1 and  
derived benefit from it2 an artist      
highly esteemed by ,guido ,reni4 ,he is 

entitled to a place in the higher walks 
of art for his numerous paintings for   
the churches and for collections2 where 
however his greatest merit is the       
expression1 which as a good portrait    
painter1 or rather naturalist1 he gives 
to his heads1 which partake more of     
natural truth than of select beauty4    
,the folds of his drapery are true and  
simple1 and his style on the whole is   
not so strong as that of ,guercino1 but 
sufficiently so to please the eye4 ,the 
,presentation at ,s4 ,domenico1 and the 
,b4 ,chiara at ,s4 ,sebastiano1 are of  
this character4 ,but his best works are 
at ,s4 ,spirito1 where he painted six   
pictures1 and amongst them the ,baptism 
of ,christ1 which is much extolled4 ,he 
initiated in his own profession two     
sons1 ,gio4 ,batista and ,carlo1 who on 
his death finished some of his pictures 
in a manner not to be distinguished from
 his own hand4 ,carlo surpassed his     
brother in small portraits2 and with him
 ,gio4 ,batista ,mainero1 ,gio4 ,batista

 ,monti1 ,silvestro ,chiesa1 all        
scholars of ,borzone1 all worthy of     
commemoration1 and all of whom shared   
the same fate1 being carried off by the 
pestilence of the year #afeg4  ,the     
first who distinguished himself in the  
lower branch of the art in the ,genoese 
,school was ,sinibaldo ,scorza1 born in 
,voltaggio1 who1 guided by a natural    
genius1 and directed by ,paggi1 proved  
an excellent painter of landscapes      
enlivened by figures of men and animals 
in the style of ,berghem4 ,it would be  
difficult to name an artist in ,italy   
who so successfully engrafted the       
,flemish style on his own4 ,i have seen 
a picture of cattle passing a stream1 in
 the collection of the illustrious      
,carlo ,cambiaso1 where the animals     
rival those of ,berghem1 and the human  
figures appear painted by a superior    
artist4 ,other collections possess      
specimens of him in sacred subjects and 
classical fables2 in which he rises far 
above the ,flemish artists4 ,he also    

painted in miniature1 if indeed his oil 
paintings1 from the care bestowed on    
them1 ought not themselves to be called 
miniatures4 ,his works were celebrated  
by the poets of the age1 particularly by
 ,marini1 who introduced him to the     
court of ,savoy4 ,he was engaged1 and   
employed there until hostilities took   
place between the governments of        
,piedmont and ,genoa1 which obliged him 
to return home4 ,he was then denounced  
to the government by some malicious     
rivals as a partizan of ,savoy1 and     
passed two years in exile between ,massa
 and ,rome4 ,from thence he returned    
much improved1 whence his latter        
pictures far exceed the first in        
invention and copious composition4      
,antonio ,travi1 more commonly called   
,il ,sestri1 or ,il ,sordo di ,sestri1  
from being a grinder of colours in the  
studio of ,strozzi1 and a friend of the 
,flemish artist ,waals1 soon emulated   
both the one and the other4 ,he learned 
from the latter the art of painting     

landscape1 with buildings in            
perspective1 and ruins2 and he          
afterwards copied from nature the       
beautiful country of the ,riviera1 with 
avenues of trees and rich orchards4 ,but
 as ,waals was a feeble painter of      
figures1 ,travi availed himself of the  
instructions of ,strozzi to enliven his 
landscapes with beautiful and spirited  
figures1 not so much painted as sketched
 with a few strokes by a master's hand1 
to gratify the eye when viewed at a     
distance4 ,thus1 although his landscapes
 are not highly finished1 they please us
 by their agreeable disposition1 by     
their azure skies1 the verdure of the   
trees1 and their freedom of touch4 ,the 
state abounds with his pictures2 but a  
great proportion of those that bear his 
name are by his sons1 who succeeded him 
in his profession1 but not with their   
father's talents4  ,ambrogio ,samengo   
and ,francesco ,borzone deserve also to 
be enumerated among the landscape       
painters4 ,ambrogio was the scholar of  

,gio4 ,andrea ,ferrari1 a painter of    
flowers and fruit2 and his works are    
rare in consequence of his early death4 
,francesco1 after a miraculous escape   
from the plague1 applied himself to the 
composition of marine subjects and      
landscapes in the style of ,claude and  
,dughet2 and his pictures1 from their   
clearness1 sweetness1 and fine effect1  
attracted the notice of ,louis ,,xiv41  
who invited him to his court1 where he  
remained many years2 and this is the    
reason of the scarcity of his works in  
,italy4 ,we might here mention ,raffaele
 ,soprani1 the biographer of the        
,genoese artists1 and many noble        
,genoese with him2 but in a work where  
the names of many painters themselves   
are omitted1 it will not be expected    
that we should record all the amateurs  
of the art4  ,i may place in this class 
of artists ,gio4 ,benedetto             
,castiglione2 not that he wanted talents
 for larger works1 as many altar-pieces 
in ,genoa1 and particularly the very    

beautiful ,nativity in ,st4 ,luke1 one  
of the most celebrated pictures in the  
city1 sufficiently prove1 but because   
the great reputation which he has       
acquired in ,europe has been derived    
from his cabinet pictures1 where he has 
represented in a wonderful manner       
animals1 either alone or as accessories 
to the subject4 ,in this department of  
the art he is1 after ,bassano1 the first
 in ,italy2 and between these two the   
same difference exists as between       
,theocritus and ,virgil2 the first of   
whom is more true to nature and more    
simple1 the second more learned and more
 finished4 ,castiglione1 the scholar of 
those accomplished artists ,paggi and   
,vandyke1 ennobles the fields and woods 
by the fertility and novelty of his     
invention1 by his classical allusions1  
and his correct and natural expression  
of the passions4 ,he displays a freedom 
of design1 a facility1 grace1 and       
generally a fulness of colour2 but in   
some pictures a greater richness is     

desired by ,maratta4 ,the general tone  
is cheerful1 and often reddish4 ,we find
 by him in collections large pictures of
 animals with figures1 as in that       
belonging to his ,excellency the ,doge  
,agostino ,lomellino2 at other times    
sacred subjects1 among which the most   
celebrated are those from ,genesis1 the 
creation of animals1 and their entry    
into the ark2 and the return of ,jacob  
with a numerous body of servants and    
cattle1 a stupendous performance in the 
,palazzo ,brignole ,sale4 ,sometimes we 
find fabulous compositions1 as the      
,transformations of ,circe1 in the      
collection of the ,grand ,duke of       
,tuscany2 at other times hunting pieces1
 as that of the ,bull in the collection 
of the ,marchesi ,riccardi at ,florence2
 often markets and shews of cattle in   
the ,flemish manner1 and always more    
finished and more gay when painted on a 
smaller scale4 ,such is a ,tobias in the
 act of recovering his sight1 a most    
elegant picture1 which ,i saw in        

possession of the ,gregori family at    
,foligno4 ,it would require a volume1 as
 ,soprani observes1 to describe all his 
pictures in ,genoa2 but there is an     
abundance of them1 not to mention those 
abroad1 in every part of ,italy1 as he  
studied both at ,rome and ,venice1 and a
 longer time at ,mantua1 where he died  
in the service of the court4 ,he there1 
for the correctness and beauty of his   
colouring1 obtained the name of         
,grechetto2 and1 for his peculiar style 
of etching1 he was also called a second 
,rembrandt4 ,in that city are to be     
found some pictures in his manner by his
 son ,francesco and his brother         
,salvatore1 in which they often make    
near approaches to him4 ,francesco      
repaired afterwards to ,genoa1 where he 
employed himself in painting animals1   
which less experienced connoisseurs     
sometimes ascribe to ,gio4 ,benedetto4  
,no ,genoese1 except ,francesco1        
rivalled him in this branch2 for ,gio4  
,lorenzo ,bertolotti1 who studied under 

him for some time1 dedicated himself to 
the painting of altar-pieces2 and in    
that of the church of the ,visitation he
 highly distinguished himself4 ,anton   
,maria ,vassallo was a reputable painter
 of landscape1 flowers1 fruits1 and     
animals4 ,his chief merit is in his     
colouring1 which he learned from ,malo1 
the scholar of ,rubens4 ,he excelled    
also in figures2 but his short life did 
not allow him to obtain a more extended 
celebrity4                              
,,genoese ,,school4                     
,,epoch ,,iv4       ,the ,roman and     
,parmesan succeed to the ,native ,style4
      ,establishment of an ,academy4    
,many masters of this school being cut  
off by the plague in the year #afeg1    
others deceased in the course of nature1
 not a few incapacitated from age1 and  
some also turned to mannerism1 the      
,genoese ,school fell into such a state 
of decline1 that most of the young      
artists had recourse to other cities for
 instruction1 and in most instances     

repaired to ,rome4 ,in consequence1 from
 the beginning of this century to our   
own days1 the ,roman style has          
predominated among these painters1      
varying1 according to the schools from  
which it descended1 and according to the
 scholars that practised it4 ,few of    
them have preserved the style unmixed2  
and some have formed from the ,roman and
 the ,genoese a third manner1 deserving 
of commendation4 ,on this account my    
readers should be cautioned not to judge
 of these artists from works which some 
of them left when studying in ,rome1 as 
,i have known to be sometimes the case4 
,artists ought to be estimated by their 
mature works1 which1 in this art1 are   
like the corrected editions of a work in
 letters1 by which every author wishes  
to be judged4  ,i noticed1 in a former  
volume1 ,gio4 ,batista ,gaulli4 ,this   
artist1 after many years practice under 
,luciano ,borzone1 unwilling to remain  
in a city depopulated by the plague1    
went to ,rome2 and there1 by studying   

the best masters and by the direction of
 ,bernino1 made himself master of a new 
style1 grand1 vigorous1 full of fire1   
his children gracefully drawn1 and      
altogether enchanting4 ,he contributed  
some pupils to the ,roman ,school1 and  
two of them he educated for their native
 school2 ,gio4 ,maria delle ,piane1     
called1 from his father's profession1   
,,ii ,molinaretto1 and ,gio4 ,enrico    
,vaymer4 ,their pictures were composed  
in a good style1 and there are some of  
their works in the churches of ,genoa2  
particularly of the first1 by whom there
 is at ,sestri di ,ponente a            
,decollation of ,st4 ,john the ,baptist1
 highly celebrated4 ,but they owed both 
their fame and their fortune to portrait
 painting4 ,the accomplishments of their
 master in that respect1 above all other
 artists1 insured them a reputation1    
whence they abounded in commissions1    
both in ,genoa1 which on that account is
 full of portraits painted by them1 and 
also in foreign countries4 ,vaymer was  

three times called to ,turin to paint   
the king and royal family2 and was      
invited by very considerable offers to  
remain there1 which he1 however1 always 
rejected4 ,molinaretto1 after several   
visits to ,parma and ,piacenza1 where he
 furnished the court with portraits1 and
 left some pictures in the churches1 was
 invited by ,king ,charles of ,bourbon  
to ,naples1 where he died1 in a good old
 age1 painter to the court4  ,pietro da 
,cortona also contributed some good     
scholars to ,genoa4 ,a doubtful         
celebrity remains to ,francesco ,bruno  
of ,porto ,maurizio1 who left in his    
native country some altar-pieces in the 
style of ,pietro1 and a copy of one of  
the pictures of that master4 ,he is an  
unequal painter1 if1 indeed1 we may not 
conclude1 with ,sig4 ,ratti1 that some  
inferior works are improperly ascribed  
to him by common report4 ,with still    
less foundation ,francesco ,rosa of     
,genoa is conjectured to have sprung    
from this school1 who studied about the 

same time in ,rome4 ,the frescos and oil
 pictures which he left in that city1 at
 ,s4 ,carlo al ,corso1 and particularly 
at the churches of ,s4 ,vincenzio and   
,anastasio1 evince him a follower of a  
different style4 ,he there approaches   
,tommaso ,luini and the dark mannerists 
of that period4 ,he painted in a much   
better style1 at ,frari in ,venice1 a   
,miracle wrought by ,s4 ,antonio2 a     
large composition1 in which besides a   
most beautiful architecture he displays 
much knowledge of the naked figure1 good
 effect of chiaroscuro1 great vivacity  
in the heads2 in the latter1 however1   
little select1 and in the general effect
 partaking more of ,caracci than        
,cortona4  ,there is no doubt that ,gio4
 ,maria ,bottalla was instructed by     
,cortona4 ,the ,cardinal ,sacchetti1 his
 patron1 from his happy imitation of    
,raffaello surnamed him ,raffaellino2 an
 appellation which ,i am not sure was   
confirmed to him in ,rome1 and it       
certainly was refused to him in ,genoa4 

,in both those cities he left very      
considerable works1 in which he did not 
go so far in his imitation of ,pietro1  
as to neglect the style of ,annibal     
,caracci4 ,a large composition of       
,jacob1 by his hand1 is to be seen in   
the collection of the ,campidoglio1     
formerly in the ,sacchetti2 and there   
exists in the ,casa ,negroni in ,genoa1 
a picture in fresco by him4 ,both are   
very considerable works for a painter   
who had not passed his thirty-first     
year4 ,another undoubted scholar of     
,pietro was ,gio4 ,batista ,langetti1   
although in his colouring he adhered    
more to the elder ,cassana1 his second  
master4 ,langetti is one of the foreign 
painters who1 after #afej1 flourished in
 ,venice1 and excited the poetic genius 
of ,boschini4 ,he extols him as an      
artist eminent in design and            
execution2#fi and this commendation is  
confirmed by ,zanetti2 with an          
understanding1 however1 that this       
extends only to his more studied        

pictures2 as1 for instance1 his         
,crucifixion in the church delle        
,terese4 ,as to the rest he generally   
painted for profit2 painting heads of   
old men1 philosophers1 and anchorets1   
for which he is very remarkable in      
,venetian and ,lombard collections4 ,it 
is said that he was accustomed to paint 
one a day2 his portraits were always    
drawn with truth1 without adding that   
ideal grandeur which we so much admire  
in the ,greek sculptures in similar     
subjects4 ,he animated these            
countenances1 however1 with a strength  
of colour and with a vigour of pencil   
that caused them to be highly sought    
after2 often receiving for them not less
 than fifty ducats a-piece4 ,his name is
 not found in the ,abbeccedario1 which  
is not to be wondered at1 for in so vast
 a work it is impossible to notice every
 individual artist4       ,footnote #fi3
        ,l'opera con bon arte1 e colpi  
franchi1        ,l'osserva el natural   
con bon giudizio1        ,in l'atizar   

l'atende al bon ofizio1        ,che i   
movimenti sia vivi e no stanchi4        
,carta del ,navegar ,pittoresco1 p4     
#ech4  ,but the greater number of       
scholars that ,genoa sent to ,rome      
attached themselves to ,maratta4 ,gio4  
,stefano ,robatto of ,savona repaired   
twice to his school1 and remained in it 
several years4 ,he matured his genius1  
by visiting other schools of ,italy1 and
 went also into ,germany1 and at a      
mature age settled in his own country4  
,he there executed some works that      
confer honour on her2 as the ,st4       
,francis receiving the ,stigmata1       
painted in fresco in the cloister of the
 ,cappuchins4 ,others of these1 his     
first works1 have obtained unqualified  
praise1 especially for their colouring1 
which excited even the admiration of the
 professors of ,genoa1 accustomed to    
study the first works of art4 ,but he   
afterwards gave himself up to gaming1   
and1 losing all desire of distinction1  
he degraded both his pencil and his     

name1 producing1 like a mechanic1 works 
of mediocrity at a trifling price4      
,hence it may be said1 that ,savona had 
not a better nor a worse painter than   
,robatto4  ,gio4 ,raffaello ,badaracco1 
the son of ,giuseppe1 who is mentioned  
in a former epoch1 passed from the      
school of his father to that of         
,maratta2 and afterwards1 aspiring to a 
freer style1 he became in a great       
measure ,cortonesque1 very soft in      
execution1 of a good impasto1 with an   
abundance of the finest ultramarine1    
which has conferred on his pictures both
 durability and celebrity4 ,his         
historical subjects are very numerous in
 collections2 the ,certosa of ,polcevera
 possesses two of the largest1 from the 
history of the patron saint4 ,a ,rolando
 ,marchelli was a fine scholar of       
,maratta2 but1 attaching himself to     
merchandise1 he left few works4  ,the   
most remarkable in this band are the    
sons of three celebrated masters2       
,andrea ,carlone1 ,paolgirolamo ,piola1 

and ,domenico ,parodi4 ,the first was   
son of ,giambatista1 from whose style   
and that of ,rome1 and afterwards from  
that of ,venice1 he formed a mixed      
manner1 which1 if ,i mistake not1 is    
more pleasing in oil than in fresco4 ,he
 painted much in ,perugia and the       
neighbouring cities2 far from the finish
 and grace of his father1 and less happy
 in composition2 but displaying a       
,venetian style of freedom1 vigour1 and 
spirit2 particularly in some histories  
of ,s4 ,feliciano1 painted at ,foligno1 
in the church of that saint4 ,returning 
to ,rome1 he improved his manner2 and   
his works after that period are much his
 best4 ,such are some passages from the 
life of ,s4 ,xavier1 at the ,gesu in    
,rome2 and many poetical subjects at    
,genoa1 in the palaces ,brignole1       
,saluzzo1 and ,durazzo4 ,this painter   
affords an excellent admonition to      
writers on art1 not to form their       
judgment too hastily on the merit of    
artists1 without having first seen their

 best productions4 ,whoever judged of   
,carlone from the picture he painted at 
the ,gesu in ,perugia1 would not        
persuade himself that he could1 in      
,genoa1 have left so many fine works as 
to be ranked1 according to ,ratti1 among
 the painters of ,genoa most worthy of  
commemoration4 ,niccolo1 his brother1   
may be also added as his scholar4 ,he is
 the least celebrated of the family2 not
 that he wanted talent1 but it was not  
of a transcendant kind4  ,piola1 the son
 of ,domenico1 as ,i have noticed in a  
former place1 is one of the most        
cultivated and finished painters of this
 school2 a true disciple of ,maratta1 as
 regards his method of carefully        
studying and deliberately executing his 
works1 but otherwise not his close      
imitator4 ,in this respect it should    
seem he attached himself more to the    
,caracci1 whom he very much copied in   
,rome2 and traces of this style may be  
seen in his beautiful picture of ,s4    
,domenico and ,ignazio1 in the church of

 ,carignano1 and in every place where he
 painted4 ,it is known that he was      
rebuked by his father for slowness2 but 
by this he was not moved2 intent on a   
more exalted walk than his father1 and  
exhibiting more selection1 grandeur1    
tenderness1 and truth4 ,he had singular 
merit in works in fresco2 and being a   
man of letters1 he designed extremely   
well fables and historical subjects1 in 
decorating many noblemen's houses4 ,his 
,parnassus1 painted for ,sig4 ,gio4     
,filippo ,durazzo1 has been much        
praised2 and it is added1 that that     
nobleman said1 that he was glad he had  
not sent for ,solimene from ,naples1    
whilst ,genoa possessed such an artist4 
,had he painted less on walls and more  
on canvass1 his merit would have become 
known also to foreigners4  ,domenico    
,parodi was1 like his father1 a         
sculptor1 and moreover an architect2 but
 he owed his reputation to painting4    
,less equal to himself than ,piola1 he  
enjoyed a greater fame2 as he had a more

 enlarged genius1 a more extended       
knowledge of letters and the arts1 a    
more decided imitation of the ,greek    
design1 and a pencil more pliable to    
every style4 ,he first studied in       
,venice under ,bombelli1 and there      
remain1 in a casa ,durazzo1 some        
excellent copies of ,venetian pictures  
made at that period2 nor did he forsake 
this style during the many succeeding   
years that he studied in ,rome4 ,he     
painted1 in a good ,marattesque style1  
the noble picture of ,s4 ,francesco di  
,sales at the ,filippini1 and several   
other pictures2 but of him1 as well as  
of the ,caracci1 we find works partaking
 in an extraordinary manner of the style
 of ,tintoretto or ,paolo1 and which are
 described in his life4 ,his most       
celebrated work is the ,sala of the     
palace ,negroni4 ,some professors have  
expressed their opinion1 that there is  
not so fine a performance in all ,genoa2
 and it is a fact1 that ,mengs's        
attention was there arrested for several

 hours by a painter that he had never   
before heard of4 ,a correct design1 a   
vigour and harmony of colour1 a mode of 
decorating the walls peculiarly his own1
 attempted by many1 but not understood  
by any1 render this a most remarkable   
production2 nor is it a little aided by 
the poetical invention and the beautiful
 distribution and grouping of the       
figures4 ,the whole is devoted to the   
glory of this noble family1 whose       
escutcheon is crowned by ,prudence1     
,continence1 and other virtues1         
expressed by their several symbols2 and 
there are also fables of ,hercules      
slaying the ,lion1 and ,achilles        
instructed by ,chiron1 which indicate   
the honours acquired by this family in  
letters and in arms4 ,portraits are     
added to these decorations1 and every   
part is so well connected1 and so well  
varied1 and so enriched by vestures1    
drapery1 and other ornaments1 that1     
though many noble families may boast of 
being more highly celebrated by the     

muse1 few have obtained such            
distinguished honours from the sister   
art4 ,other noble houses were also      
ornamented by him in fresco2 and the    
gallery of the ,sig4 ,marcello ,durazzo1
 decorated with stories1 and fables1 and
 chiariscuri1 which might be taken for  
bassi-relievi1 is a work much resembling
 the one just described4 ,in some       
pictures1 as in the ,s4 ,camillo de'    
,lellis1 he does not seem the same2 and 
probably some of his scholars had the   
greater share in them4 ,his most        
celebrated scholar was the priest       
,angiolo ,rossi1 one of the best        
imitators1 in humorous subjects1 of     
,piovan ,arlotto2 and in painting a good
 follower of ,maratta1 though he left   
but few works4 ,batista ,parodi was the 
brother of ,domenico1 but not the       
scholar2 he partook of the ,venetian    
,school2 expeditious1 free1 fertile in  
invention1 and brilliant in colouring1  
but not sufficiently select1 nor equal  
to the better artists4 ,he lived for    

some time in ,milan and ,bergamo4       
,pellegro1 the son of ,domenico1 resided
 in ,lisbon1 and was a celebrated       
portrait painter in his day4  ,the      
,abate ,lorenzo1 the son of ,gregorio   
,ferrari1 though educated in ,genoa1 had
 much of the ,roman style4 ,he was one  
of the most elegant painters of this    
school1 and an imitator of the          
foreshortenings and the graces of       
,coreggio1 as was his father1 but more  
correct than he1 and a good master of   
design4 ,in refining on delicacy he     
sometimes falls into languor2 except    
when he painted in the vicinity of the  
,carloni1 7as in the palace ,doria1 at  
,s4 ,matteo71 or some other lively      
colourist4 ,he then invigorated his     
tints1 so that they possess all the     
brilliancy of oil1 and yield the palm to
 few4 ,he excelled in fresco1 like most 
of this school1 and is almost unrivalled
 in his chiaroscuro ornaments4 ,the     
churches and palaces abound with them2  
and in the palace of the noble family of

 ,carega is a gallery1 his last work1   
decorated with subjects from the        
,a,eneid1 and ornamented with           
arabesques1 stuccos1 and intaglios1 by  
artists under his direction4 ,he also   
painted historical subjects4 ,in his    
first public works he painted from his  
father's designs2 afterwards1 as in the 
picture of various saints of the        
,augustine order1 at the church of the  
,visitation1 he trusted to his own      
genius1 and enriched his school with the
 best examples4 ,he too was a painter   
whose reputation was not equal to his   
merits4  ,in ,bartolommeo ,guidobono1 or
 ,prete di ,savona1 we find the delicate
 pencil of ,ferrari1 and an imitation of
 ,coreggio1 but with less freedom of    
style4 ,this artist1 who was in the     
habit of painting earthenware with his  
father1 at that time in the employ of   
the royal court of ,savoy1 established  
the first rudiments of the art in       
,piedmont2 and ,i have seen1 in ,turin1 
some pictures by him partaking of the   

,neapolitan style of colour1 which was  
at one time in favour there4 ,he        
afterwards went to ,parma and ,venice1  
and by copying and practising became a  
very able painter1 and had an abundance 
of commissions in ,genoa and the state4 
,he is not so much praised for          
correctness of design in his figures1 as
 for his skill in the ornamental parts1 
as flowers1 fruits1 and animals2 and    
this excellence is particularly seen in 
some fabulous subjects in the ,palazzo  
,centurioni4 ,he had diligently studied 
the style of ,castiglione1 and made many
 copies of him1 which are with          
difficulty distinguished from the       
originals4 ,he is not1 however1 a       
figurist to be despised2 and it is his  
peculiar praise to unite a great        
sweetness of pencil with a fine effect  
of chiaroscuro2 as in the ,inebriation  
of ,lot1 and in three other subjects in 
oil1 in the palace ,brignole ,sale4 ,in 
,piedmont too there remain many works by
 him1 and by his brother ,domenico1 also

 a delicate and graceful painter1 by    
whom there is in the ,duomo of ,turin a 
glory of angels1 which might belong to  
the school of ,guido4 ,he would have    
been preferred to ,prete if he had      
always painted in this style2 but this  
he did not do1 and in ,genoa there      
remain of his1 amongst a few good1 many 
very indifferent pictures4  ,before ,i  
quit the followers of the school of     
,parma1 ,i shall return to the ,cav4    
,gio4 ,batista ,draghi1 to whom ,i      
alluded in the third book4 ,he was a    
scholar of ,domenico ,piola1 from whom  
he acquired his despatch2 and was the   
inventor of a new style1 which ,i know  
not where he formed1 but which he       
practised very much in ,parma1 and more 
in ,piacenza1 where he long lived and   
where he died4 ,we may trace in it the  
schools of ,bologna and ,parma2 but in  
the character of the heads and in the   
disposition of the colours there is a   
novelty which distinguishes and         
characterizes him4 ,though he painted   

with extraordinary celerity1 yet we     
cannot accuse him of negligence4 ,to a  
vivacity and fancy that delight us1 he  
added an attention to his contours and  
colouring1 and a powerful relief1       
particularly in his oil pictures4 ,there
 are many pictures by him in ,piacenza1 
and amongst them the ,death of ,st4     
,james in the church of the             
,franciscans1 in the ,duomo his ,st4    
,agnes1 in ,s4 ,lorenzo his picture of  
the titular saint1 and the great picture
 of the ,religious ,orders receiving    
their regulations from ,s4 ,augustin2 a 
subject painted already in the          
neighbouring town of ,cremona by        
,massarotti1 and well executed1 but     
inferior to ,draghi4 ,the ,sig4         
,proposto ,carasi particularly praises  
the picture he painted at ,busseto1 in  
the palace ,pallavicino4 ,in ,genoa he  
painted1 ,i believe1 only some pictures 
for private collections4  ,orlandi1 who 
does not even notice this excellent     
painter1 places among the first artists 

of ,europe ,gioseffo ,palmieri1 who1    
together with the preceding artist1     
flourished in the early part of the     
eighteenth century4 ,this praise seems  
exaggerated1 and he probably refers only
 to the merit which ,palmieri exhibited 
in his pictures of animals1 which he was
 employed to paint even for the court of
 ,portugal4 ,still in the human figure  
he is a painter of spirit1 and of a     
magic and beautiful style of colour2    
very harmonious and pleasing in those   
pictures where the shades do not        
predominate4 ,he is1 however1           
reprehended for his incorrect drawing1  
although he studied under a ,florentine 
painter1 who seems to have initiated him
 well2 for in the ,resurrection at the  
church of ,st4 ,dominic1 and in other   
pictures more carefully painted1 judges 
of the art find little to reprove4  ,a  
,pietro ,paolo ,raggi obtained also     
celebrity in invention and colouring4 ,i
 know not to what school to assign him1 
but he was certainly a follower of the  

,caracci in a ,s4 ,bonaventura          
contemplating a ,crucifix2 a large      
picture in the ,guastato4 ,there are    
,bacchanal subjects by him in some      
collections1 which partake of the style 
of ,castiglione1 as ,ratti has observed1
 and also of that of ,carpioni1 as we   
read in one of the ,lettere ,pittoriche1
 inserted in the fifth volume4 ,we there
 find him highly extolled4 ,nor is he   
any where better known than in ,bergamo2
 where1 amongst other works which he    
executed for the church of ,st4 ,martha1
 a ,magdalen borne to ,heaven by ,angels
 is particularly esteemed4 ,he is       
described as a man of a restless        
disposition1 irascible1 and dissatisfied
 with every place he inhabited4 ,this   
truant disposition carried him to       
,turin1 then to ,savona1 then afresh to 
,genoa1 now to ,lavagna1 now to         
,lombardy1 and last to ,bergamo1 where  
death put an end to his wanderings4     
,about this time died in ,finale1 his   
native place1 ,pier ,lorenzo ,spoleti1  

formerly a scholar of ,domenico ,piola4 
,his favourite occupation was to copy in
 ,madrid the pictures of ,morillo and   
,titian4 ,by this practice he was       
prevented from distinguishing himself by
 any works of invention2 but he became a
 very accomplished portrait painter1 and
 was employed in that branch of the art 
at the courts of ,spain and ,portugal4  
,he had also the habit of copying the   
compositions of others1 and of          
transferring them with remarkable       
ability from the engraving to the       
canvass1 enlarging the proportions and  
expressing them with a colouring worthy 
of his great originals4 ,a copyist like 
this painter has a better claim to our  
regard than many masters1 whose original
 designs serve only to remind us of our 
ill fortune in meeting with them4       
,among these native artists ,i may be   
allowed to commemorate two foreigners1  
who came to ,genoa and established      
themselves there1 and succeeded to the  
chief artists of this epoch1 or were    

their competitors4 ,the one was ,jacopo 
,boni of ,bologna1 who was carried to   
,genoa by his master ,franceschini as an
 assistant1 when he painted the great   
hall of the ,palazzo ,publico4 ,boni    
from that time was esteemed and employed
 there1 and established himself there in
 #agbf4 ,there are some fine works by   
him1 especially in fresco1 in the       
,palazzo ,mari and in many others2 and  
the most remarkable which he executed in
 the state is in the oratory of the     
,costa1 at ,s4 ,remo3 but we have spoken
 sufficiently of him in the third ,book4
  ,the other1 who repaired thither three
 years afterwards1 was ,sebastiano      
,galeotti1 a ,florentine1 and in his    
native city a scholar of ,ghilardini1 in
 ,bologna of ,giangioseffo dal ,sole1 a 
man of an eccentric and facile genius2 a
 good designer when he pleased1 a bold  
colourist1 beautiful in the air of his  
heads1 and fitted for large compositions
 in fresco1 in which he was sometimes   
assisted in the ornamental parts by     

,natali of ,cremona4 ,he decorated the  
church of the ,magdalen in ,genoa2 and  
those frescos1 which first made him     
known in the city1 are among his most   
finished productions2 but he was        
obliged1 after painting the first       
history1 to soften his tones in some    
degree4 ,he worked little in his native 
city1 and that only in his early years2 
whence he does not there enjoy so high a
 reputation as in ,upper ,italy4 ,he    
traversed it almost all in the same     
manner as the ,zuccheri1 ,peruzzini1    
,ricchi1 and other adventurers of the   
art1 whose lives were spent in          
travelling from place to place1 and who 
repeated themselves in every city1      
giving the same figures1 without any    
fresh design1 and often the same subject
 entire4 ,hence we still find the works 
of this painter1 not only in many cities
 of ,tuscany1 but also in ,piacenza and 
,parma1 where he executed many works for
 the court2 and also in ,codogno1 ,lodi1
 ,cremona1 ,milan1 ,vicenza1 ,bergamo1  

and ,turin1 in which latter city he was 
appointed director of the academy4 ,in  
this office he ended his days in #agdf4 
,genoa was however his home1 where he   
was succeeded by two sons1 ,giuseppe and
 ,gio4 ,batista1 who were living in     
#agfi1 and are mentioned with           
commendation by ,ratti as excellent     
painters4  ,from the middle of the      
century to our own days1 what from the  
evils of war in which ,genoa was        
involved1 and the general decline of the
 art in ,italy1 but few artists present 
themselves to our notice4 ,domenico     
,bocciardo of ,finale1 a scholar and    
follower of ,morandi1 possessed         
considerable merit in historical cabinet
 pictures2 a painter of not much genius1
 but correct1 and a beautiful colourist4
 ,at ,s4 ,paolo in ,genoa there is by   
him a ,s4 ,giovanni baptizing the       
,multitude2 and although there are many 
better pictures by him in the state1    
still this is sufficient to render him  
respectable4 ,francesco ,campora1 a     

native of ,polcevera1 also possessed    
some reputation4 ,he had studied in     
,naples under ,solimene1 from whose     
school came also ,gio4 ,stefano ,maia1  
an excellent portrait painter4 ,a       
,batista ,chiappe of ,novi1 who had     
spent much time in ,rome in drawing1 and
 had become a good colourist in ,milan1 
gave great promise of excellence4 ,in   
the church of ,s4 ,ignazio of           
,alessandria there is a large picture of
 the patron saint1 one of his best      
performances1 well conceived and well   
composed2 a noble ground1 a beautiful   
choir of angels1 a fine character in the
 principal figure1 except that the head 
does not present a true portrait4 ,we   
should have seen still better works1 but
 the author was arrested in his career  
by death2 and he is described by ,ratti 
as the last person of merit of the      
,genoese ,school4  ,this school was for 
some time scanty in good perspective    
painters4 ,although ,padre ,pozzi was in
 ,genoa1 he did not form any scholars   

there4 ,bologna1 more than any other    
place1 supplied him with them4 ,from    
thence came ,colonna and ,mitelli1 at   
that time so much esteemed2 thither also
 repaired ,aldovrandini and the two     
brothers ,haffner1 ,henry and ,antony4  
,the latter joined the monks of the     
order of ,st4 ,philip in ,genoa1 and    
decorated the church of that saint and  
other places1 and initiated in the      
profession ,gio4 ,batista ,revello1     
called ,il ,mustacchi4 ,his works were  
also studied by ,francesco ,costa1 who  
was an ornamental painter from the      
school of ,gregorio de' ,ferrari4 ,these
 two young men1 from the similarity of  
their profession1 one which combines in 
itself the greatest rivalry and the     
greatest friendship1 became in process  
of time inseparable4 ,they both         
conjointly served1 for nearly the space 
of twenty years1 the various historical 
painters mentioned in this epoch1       
preparing for them the perspectives and 
ornaments1 and whatever else the art    

required4 ,they are both alike commended
 for their knowledge of perspective1    
their grace1 brilliancy1 and harmony of 
tints2 but ,revello1 in the             
embellishment of flowers1 is preferred  
to his companion4 ,their best           
performance is considered to be at      
,pegli1 in the ,palazzo ,grillo1 where  
they ornamented a saloon and some       
chambers4 ,there are also many works    
which they conducted separately1 being  
considered as the ,colonna and ,mitelli 
of their country4  ,the most justly     
celebrated landscape painter of this    
epoch is ,carlo ,antonio ,tavella1 the  
scholar of ,tempesta in ,milan1 and of  
,gruenbrech1 a ,german1 who1 from the   
fires he introduced into his landscapes1
 was called ,solfarolo4 ,he at first    
emulated this artist2 he then softened  
his style1 from studying the works of   
,castiglione and ,poussin1 and the best 
,flemish painters4 ,amongst the ,genoese
 landscape painters he ranks the next   
after ,sestri4 ,his works are easily    

distinguished in the collections of     
,genoa1 particularly in the palace      
,franchi1 which had more than three     
hundred pictures by him1 and acquired   
for him the reputation of one of the    
first artists of the age4 ,we are there 
presented with warm skies1 beautiful    
distances in the landscape1 pleasing    
effects of light2 the trees1 flowers1   
and animals are gracefully touched1 and 
with wonderful truth of nature4 ,in his 
figures he was assisted by the two      
,pioli1 father and son2 and oftener by  
,magnasco1 with whom he was associated  
in work4 ,he sometimes inserted them in 
his pictures himself1 copying them      
indeed from the originals designed by   
his comrades1 but identifying them by a 
style peculiarly his own4 ,tavella had a
 daughter of the name of ,angiola1 of a 
feeble invention1 but a good copyist of 
her father's designs4 ,he had also many 
other imitators2 amongst whom one       
,niccolo ,micone1 or as he is commonly  
called by his fellow-citizens ,lo       

,zoppo1 most nearly resembles him4      
,alessandro ,magnasco1 called           
,lissandrino1 was the son of one        
,stefano1 who was instructed by ,valerio
 ,castello1 afterwards resided many     
years in ,rome1 and died young1 leaving 
behind him few pictures1 but extreme    
regret for the death of an artist of so 
much promise4 ,his son was instructed by
 ,abbiati in ,milan2 and that bold and  
simple stroke of the pencil1 which his  
master used in his larger pictures1 he  
transferred to his subjects of humour1  
shows and popular meetings1 in which he 
may be called the ,cerquozzi of his     
school4 ,his figures are scarcely more  
than a span large4 ,ceremonies of the   
church1 schools of maids and youths1    
chapters of friars1 military exercises1 
artists' shops1 ,jewish synagogues1 are 
the subjects he painted with humour and 
delight4 ,these eccentric pieces are not
 rare in ,milan1 and there are some in  
the ,palazzo ,pitti at ,florence1 where 
,magnasco resided some years1 a great   

favourite with the ,grand ,duke ,gio4   
,gastone and all his court4 ,when he    
accompanied other painters in their     
works1 as often happened to him1 he     
added very apposite subjects2 this he   
did1 not only in the landscapes of      
,tavella and others1 but also in the    
ruins of ,clemente ,spera in ,milan1 and
 in other pictures of architecture4     
,this artist was more esteemed by       
foreigners than by his own countrymen4  
,his bold touch1 though joined to a     
noble conception and to correct drawing1
 did not attract in ,genoa1 because it  
is far removed from the finish and union
 of tints which these masters followed2 
hence ,magnasco worked little in his    
native country1 and left no scholar     
there4 ,in the school of ,venice he     
educated a celebrated scholar1          
,sebastian ,ricci1 of whom mention has  
been made more than once4  ,not many    
years since died ,gio4 ,agostino ,ratti 
of ,savona1 a painter of delightful     
genius4 ,he ornamented the theatres with

 beautiful scenes1 and the cabinets with
 lively caricatures1 which he also      
engraved4 ,he was clever in church      
paintings1 as may be seen in the church 
of ,s4 ,giovanni at ,savona1 where1     
besides other subjects of the ,baptist1 
there is a much praised ,decollation4   
,he painted also in the church of ,s4   
,teresa in ,genoa2 and was always a     
follower of ,luti1 whose school he had  
frequented when in ,rome4 ,he was also a
 good fresco painter2 and ,i have seen  
his works in the choir of the           
,conventual church in ,casale di        
,monferrato1 where he added figures to  
the perspective of ,natali of ,cremona4 
,but subjects of humour were his forte4 
,in these he had an exhaustless fancy1  
fertile and ever creative4 ,nothing can 
be more amusing than his masks1         
representing quarrels1 dances1 and such 
scenes as form the subjects of comedy4  
,luti1 who was his master in ,rome1     
extolled him as one of the first artists
 in this line1 and even equalled him to 

,ghezzi4 ,this information respecting   
,gio4 ,agostino was communicated to me  
by his son1 the ,cavaliere often        
mentioned in the course of this work1#gj
 and who died in #agie4       ,footnote 
#gj3 ,he had prepared for the press some
 further      information respecting    
this school1 both with regard to        
ancient and modern times4 ,the ,,ms4    
with which he favoured me      to       
perfect this edition of my work1 ,i have
 unfortunately1      and to the great   
detriment of my own work1 mislaid4 ,he  
was      not a great painter1 but       
certainly not deserving of the          
contempt with which he has been treated4
 ,gratitude1      friendship1 truth1 and
 humanity itself call on me to say all  
the good ,i can of him2 every thing that
 malevolence could      dictate has been
 already recorded against him4 ,we may  
therefore refer the reader to the       
perusal of the ,defence of      him     
before mentioned by us1 and noticed     
afterwards with its      true title1 in 

our second index1 under the head ,ratti4
      ,there 7whoever may be the author 
of it17 many works are      enumerated  
which1 in our opinion1 would confirm to 
him the      title of a praiseworthy    
artist4 ,but he derives peculiar        
honour from the opinion of him expressed
 by ,mengs1 who      proposed him as    
director to the academy of ,milan2 and  
some      historical and national       
subjects being required in the royal    
palace in ,genoa1 ,ratti was recommended
 to this honourable      commission both
 by ,mengs and ,batoni1 and he executed 
them to      the entire satisfaction of 
the public4 ,the more experienced       
judges pretend to detect in these works 
something more than      an imitation of
 the great masters2 and it is           
acknowledged1      indeed1 that he      
willingly availed himself of the designs
 of      others1 either painted or      
engraved2 but how few are there of      
whom the same may not be said8          
,afterwards in ,rome1 where he          

lived four years in the house of ,mengs1
 he executed under      his eye some    
excellent works2 as a ,nativity1 for    
which ,mengs      made the sketch2      
which1 when painted on a larger scale by
      ,ratti1 was placed in a church in 
,barcelona4 ,being called on      to    
paint a ,st4 ,catherine of ,genoa1      
afterwards placed there      in the     
church of that saint1 ,mengs designed   
for him the face      of the saint1 of  
an enchanting expression1 and afterwards
      retouched the picture1 rendering  
it a delightful      performance4 ,on   
this it may be observed1 that great     
masters      were not accustomed to shew
 such favours to their scholars      and
 friends1 except when they discovered in
 them      considerable talent4 ,as a   
copyist ,ratti excelled in the          
opinion of ,mengs2 the latter           
purchasing1 at a considerable      sum1 
a copy of the ,s4 ,jerome of ,coreggio1 
which ,ratti had      made in ,parma4   
,another proof of the esteem in which he

 held      him was his instigating him  
to write on art2 for which they         
must have amassed great materials during
 the four years they      lived         
together4 ,in the before-mentioned      
,difesa we read of      the academies   
that elected him1 the poets and men of  
letters      that extolled him1 the     
cross of a cavalier that he obtained    
from ,pius ,,vi41 the direction of the  
academy of ,genoa1      conferred on him
 for life if he had chosen to retain it2
      finally1 the numerous commissions 
for pictures he received      from      
various places2 all these things have   
their weight1 but      the favourable   
opinion of ,mengs is the strongest      
protection      that this ,defence      
affords to shield him from his enemies4 
,when the materials were prepared for   
the new edition1 the      ,elogio of the
 ,cav4 ,azara was published1 where it is
 said      that the ,,mss4 of ,mengs    
were given in a confused mass into      
the hands of ,milizia1 who took the     

liberty of modifying at      his        
pleasure the opinions of ,mengs         
respecting the great      masters4 ,this
 information1 which comes from a very   
creditable quarter1 ,i have wished to   
insert here for many      reasons4 ,it  
takes away from ,mengs the odium of some
      inconsiderate criticism1 or at    
least lessens it4 ,it confirms      what
 the ,difesa of ,ratti says respecting  
the true author      of the ,life of    
,coreggio1 who was in fact ,ratti2 but1 
with      some retouching1 it was       
published as the work of ,mengs1        
without reflecting that the author was  
there placed in      contradiction with 
himself4 ,it also shews us that ,mengs1 
for      his great name1 was indebted   
not only to his acknowledged      merit1
 but also to his good fortune1 which    
gave him greater      patrons and       
friends than were perhaps ever enjoyed  
before by      any painter in the world4
  ,the artists of this school1 of our   
own day1 will doubtless also receive    

their meed of praise from posterity4    
,they are now industriously occupied in 
establishing their own fame1 and        
conferring honour on their country4 ,the
 rising generation1 who are entering    
upon the art1 may look for increased    
support from the ,genoese academy1      
recently founded for the promotion of   
the three sister arts4 ,within these few
 years the members of this academy have 
been furnished with a splendid domicile1
 with an abundant collection of select  
casts and rare designs4 ,with such      
masters and so many gratuitous sources  
of assistance to study1 this institution
 may be already numbered amongst the    
most useful and ornamental of the city4 
,this establishment owes its existence  
to the genius and liberality of a number
 of noblemen1 who united together in its
 splendid foundation1 and who continue  
to support it by their patronage4       
,,book ,,vi4      ,,the ,,history ,,of  
,,painting ,,in ,,piedmont ,,and ,,the  
,,adjacent ,,territory4                 

,,epoch ,i4       ,dawn of the ,art1 and
 ,progress to the ,sixteenth ,century4  
,piedmont1 like the other states of     
,italy1 cannot boast of a series of     
ancient masters2 but it does not on that
 account forfeit its claim to a place in
 the history of painting4 ,that         
enchanting art1 the daughter of peace   
and contemplation1 shuns not only the   
sound but the very rumour of war4       
,piedmont1 from her natural position1 is
 a warlike country2 and if she enjoys   
the merit of having afforded to the     
other parts of ,italy the protection    
necessary for the cultivation of the    
fine arts1 she is at the same time under
 the disadvantage of not being able to  
insure them safety in her own territory4
 ,hence1 though ,turin has ever been    
fruitful in talent1 to obtain the       
decorations suitable to a metropolis1   
she has been compelled to seek at a     
distance for painters1 or at least for  
pictures2 and whatever we find excellent
 either in the palace or the royal      

villas1 in the churches1 in the public  
buildings1 or in private collections1   
will be found to be wholly the work of  
foreigners4 ,i may be told that the     
artists of ,novara and ,vercelli1 and   
others from the ,lago ,maggiore1 are not
 strangers4 ,that might be true after   
those communities were included in the  
dominions of the house of ,savoy2 but   
they1 who were the first in this epoch1 
were born1 lived1 and died subjects of  
other states3 and after the new         
conquests1 these artists no more became 
,piedmontese from that circumstance1    
than ,parrhasius and ,apelles became    
,romans from the moment that ,greece was
 subjected to ,rome4 ,for this reason ,i
 have classed these artists in the      
,milanese ,school2 to which1 though they
 had not belonged as subjects1 they     
ought still to be assigned by education1
 residence1 or neighbourhood4 ,this plan
 ,i have hitherto persevered in3 the    
subject of my history being not the     
states of ,italy1 but her schools of    

painting4 ,nor on that account will the 
artists of ,monferrato be excluded from 
this place4 ,this is also a recent      
addition to the house of ,savoy1 which  
first possessed it in #agjf2 but it is  
anterior to the other acquisitions1 and 
its artists are scarcely ever named     
among the pupils of the ,milanese       
,school4 ,we must also recollect that   
they either left many works in          
,piedmont1 and that this is therefore   
the proper place to mention them1 or    
that they did not quit their native     
country2 and as it is impracticable to  
devote a separate book to that place1 ,i
 have judged it best to include it in   
this state1 on the confines of which it 
is situated1 and to which it eventually 
became subject4  ,confining ourselves   
therefore to the ancient state of       
,piedmont1 and noticing also ,savoy1 and
 other neighbouring territories not yet 
considered1 we shall find little written
 of1#ga nor have we much to praise in   
the artists2 but the ruling family1 who 

have been always distinguished by their 
love of the arts1 and have used all     
their influence to foster them1 are     
entitled to our grateful recollections4 
,at the time of their first revival     
,amadeus ,,iv4 invited to his court one 
,giorgio da ,firenze1 a scholar1 ,i know
 not whether of ,giotto or some other   
master3 it is however certain that he   
painted in the castle of ,chambery in   
#acad1 and we find remains of him to    
#acbe1 in which year he worked at       
,pinarolo4 ,that he from this time      
coloured in oil is doubted in ,piedmont2
 and the ,giornale of ,pisa published a 
letter on that subject the last year4 ,i
 know not that ,i can add any thing     
further to what ,i have already written 
on this question in many places of this 
work4 ,giorgio da ,firenze is unknown in
 his native place1 like some others who 
are commemorated only in this book1 who 
lived much in ,piedmont1 or at least    
were better known there than elsewhere4 
,in the same age there worked at ,s4    

,francesco di ,chieri1 quite in the     
,florentine style1 an artist who        
subscribed himself ,johannes pintor     
pinxit #acdc2 and some feeble fresco    
painters in the baptistery of the same  
city4 ,there are also some other        
anonymous artists in other parts1 whose 
manners differ in some respects from the
 style of ,giotto2 among whom ,i may    
mention the painter of the ,consolata1 a
 picture of the ,virgin held in great   
veneration at ,turin4       ,footnote   
#ga3 ,a catalogue of the painters of    
,piedmont1 and      their works1 is     
given by the ,count ,durando in the     
notes to      his ,ragionamento su le   
belle ,arti1 published in #aggh4 ,the   
,p4 ,m4 della ,valle has also written of
 them in his prefaces      to the tenth 
and eleventh volumes of ,vasari4 ,some  
valuable      information respecting    
them has also been contributed by the   
author of the ,notizie patrie1 and more 
is to be found in      the ,new ,guide  
of ,turin of ,sig4 ,derossi1 and in the 

first      volume of the ,pitture       
d',italia4 ,and1 lastly1 further        
notices are to be gathered from various 
works on art1 of      which we shall    
avail ourselves in the proper place4    
,at a later period1 that is1 about the  
year #adad1 ,gregorio ,bono1 a          
,venetian1 was invited also to ,chambery
 by ,amadeus ,,viii41 in order to paint 
his portrait4 ,he executed it on panel2 
nor is it probable that he ever returned
 to ,venice1 as we find no mention made 
of him there4 ,a ,nicolas ,robert1 a    
,frenchman1 was painter to the duke from
 #adgc to #adgg2 but his works have     
either perished1 or remain unknown2 and 
probably he was a miniature painter1 or 
an illuminator of books1 as they were at
 that time designated1 artists who from 
the proximity of their professions are  
called painters1 as well as the nobler  
masters of the art4 ,about the same time
 it appears that there worked in        
,piedmont ,raimondo1 a ,neapolitan1 who 
left his name on a picture of several   

compartments in ,s4 ,francesco di       
,chieri1 a piece estimable from the     
vivacity of the countenances and the    
colouring1 though the drapery is loaded 
with gold1 a mark of the little         
refinement of the times4 ,of another    
painter of this period there remains an 
indication in the church of ,s4         
,agostino in that city1 from this       
inscription on an ancient picture1 ,per 
,martinum ,simazotum1 alias de          
,capanigo1 #adhh4 ,i find noticed also  
in the hospital of ,vigevano a picture  
with a gold ground by ,gio4 ,quirico da 
,tortona4  ,but no territory at this    
period furnishes us with such           
interesting matter as ,monferrato1 then 
the feudal state of the ,paleologhi4 ,we
 learn from ,p4 della ,valle1 that      
,barnaba da ,modena was introduced into 
,alba in the fourteenth century1 and he 
certainly was among the first artists   
that obtained applause in ,piedmont4 ,we
 have cursorily noticed him in his      
school2 for to judge from the way in    

which his works are scattered1 he must  
have lived at a distance4 ,two pictures 
remain by him at the ,conventuals at    
,pisa2 one in the church1 the other in  
the convent2 both figures of the        
,virgin1 of whom the second picture     
represents the coronation1 where she is 
surrounded by ,s4 ,francis and other    
saints of his order4 ,sig4 da ,morrona  
praises the beautiful character of the  
heads1 the drapery1 and the colouring2  
and prefers him to ,giotto4 ,and ,p4    
della ,valle speaks in the same terms of
 another picture of the ,virgin1        
remaining in the possession of the      
,conventuals of ,alba1 which he says is 
in a grander style than any contemporary
 works2 and he states that the year     
#aceg is signed to it4 ,as to his       
assertion that the art in ,piedmont had 
derived from him much light and         
advancement1 ,i know not how to confirm 
it1 as ,i have never been in ,alba1 and 
as ,i find a great interval between him 
and his successors in that very city4   

,afterwards in the church of ,s4        
,domenico a ,giorgio ,tuncotto painted  
in #adgc2 and in that of ,s4 ,francesco 
a ,m4 ,gandolfino in #adic4 ,to these   
may be added ,gio4 ,peroxino and ,pietro
 ,grammorseo1 well known for two        
pictures which they left at the         
,conventuals2 the one in ,alba in #aeag1
 the other in ,casale in #aebc4  ,but   
the most distinguished artist in those  
parts1 and in ,turin itself1 was        
,macrino1 a native of ,alladio1 and a   
citizen of ,alba2 whence1 in a picture  
which is in the sacristy of the         
metropolitan church in ,turin1 he       
subscribes himself ,macrinus de ,alba4  
,his name was ,gian ,giacomo ,fava1 an  
excellent painter1 of great truth in his
 countenances1 careful and finished in  
every part1 and sufficiently skilled in 
his colouring and shadowing4 ,i am aware
 that the ,sig4 ,piacenza has mentioned 
him in his notes to ,baldinucci1 a work 
which1 to the loss of the history of art
 and just criticism1 remains imperfect1 

and which ,i have not now at hand4 ,i   
know not where ,macrino studied2 but in 
his picture at ,turin1 which is much in 
the style of ,bramante and his ,milanese
 contemporaries1 he has placed as an    
ornament in his landscape the ,flavian  
amphitheatre2 whence we may conclude    
that he had seen ,rome2 or1 if not      
,rome1 at least the learned school of   
,da ,vinci4 ,i found by him in the      
,certosa of ,pavia another picture1 with
 ,s4 ,ugo and ,s4 ,siro2 an inferior    
performance with respect to the forms   
and the colouring1 but very carefully   
painted in all its parts4 ,but1 wherever
 he studied1 he is the first artist in  
these countries who made advances to the
 modern style2 and he seems to have been
 held in esteem1 not only in ,asti and  
in ,alba1 which contain many of his     
large works and cabinet pictures1 but in
 ,turin1 and in the palace of the       
prince2 to whose family1 as ,i          
conjecture1 belonged a cardinal1        
represented at the feet of the ,virgin1 

and of the saints surrounding her1 in   
the picture at the cathedral4 ,i am     
persuaded that he left other pictures in
 ,turin2 but that city1 above all the   
other capitals of ,italy1 has perhaps   
been the most addicted to substitute    
modern pictures for the ancient4        
,contemporary with ,macrino was ,brea of
 ,nizza1 whom ,i mentioned in the school
 of ,genoa1 together with three painters
 of ,alessandria della ,paglia1 all     
having lived in that state4 ,i shall    
here only add ,borghese of ,nizza della 
,paglia1 where1 and in ,bassignana1 are 
pictures inscribed ,hieronymus          
,burgensis ,niciae ,palearum pinxit4    
,in the beginning of the sixteenth      
century1 whether it was that the        
troubled state of ,italy called the     
attention of the princes to more serious
 objects1 or from some other cause1 ,i  
do not find any interesting records4    
,about the middle of that century it is 
supposed that ,antonio ,parentani       
flourished1 who at the ,consolata       

painted within the chapter house a      
,paradise with numerous angels4 ,i do   
not know his country1 but he followed   
the ,roman taste of that age1 and in a  
certain way diminished it4 ,at this     
period the books of the public ,treasury
 stand in the place of history1 and     
guide us to the knowledge of other      
artists4 ,i am indebted for the         
information to the ,baron ,vernazza de  
,fresnois1 secretary of state of his    
majesty1 a gentleman not less rich in   
knowledge than obliging in communicating
 it4 ,the before-mentioned books record 
a ,valentin ,lomellino da ,raconigi2 and
 after #aefa1 in which year he died1 or 
relinquished his place1 a ,jacopo       
,argenta of ,ferrara4 ,both the one and 
the other bore the title of painter to  
the duke2 but the world cannot judge of 
their talents1 as no work by them is    
known either in ,turin or elsewhere2 and
 it is probable they were rather        
illuminators than painters4 ,a ,giacomo 
,vighi is noticed by ,malvasia and by   

,orlandi1 who painted for the court of  
,turin about #aefg1 and was presented   
with the castle of ,casal ,burgone4 ,the
 works of this painter too are unknown  
to the public2 but not so the works of  
those who follow4  ,alessandro ,ardente 
of ,faenza1 though some make him a      
,pisan1 and others a ,lucchese1#gb      
,giorgio ,soleri of ,alessandria1 and   
,agosto ,decio1 a ,milanese miniaturist 
before mentioned by me1 painted the     
portrait of ,charles ,emanuel1 duke of  
,savoy1 for which all three are praised 
by ,lomazzo in his treatise1 at p4 #dce4
 ,the two first were also appointed     
painters to the court4 ,they excelled in
 historical compositions as well as     
being celebrated portrait painters4 ,by 
,alessandro we see in ,turin at the     
,monte della ,pieta the ,fall of ,st4   
,paul1 in a style that would lead us to 
believe he had studied in ,rome4 ,more  
of his works remain in ,lucca2 in one of
 which1 a ,baptism of ,christ painted at
 ,s4 ,giovanni by this ,ardente1 the    

subject is treated in a highly original 
manner4 7,guida di ,lucca1 p4 #bfa47 ,in
 the neighbourhood also of that city are
 many of his works4 ,the ,sig4 da       
,morrona also names him in the second   
volume of his ,pisa illustrata1 and     
informing us that he has not a          
sufficient account of him1 concludes    
that he lived a long time out of        
,tuscany4 ,i believe that he resided a  
considerable time in ,piedmont1 as ,i   
find some works by him out of ,turin2 as
 an ,epiphany in ,moncalieri1 inscribed 
with his name and the year #aeib2 and   
knowing further1 that on his death1 in  
#aeie1 a pension was assigned by the    
prince to his widow and sons2 a proof in
 my mind that ,ardente must have served 
the court many years4       ,footnote   
#gb3 ,we ought to credit his own        
testimony4 ,he      painted three       
pictures at ,s4 ,paolino di ,lucca1 and 
in that      of ,s4 ,antonio ,abate he  
subscribes himself ,alexander           
,ardentius ,faventinus1 #aefe2 so says  

,monsig4 ,mansi1      ,archbishop of    
,lucca1 in his ,diario4 ,he however in  
other      places in that little work1  
and ,sig4 ,morrona in his ,pisa1        
call him a ,pisan1 and others a         
,lucchese4  ,of ,soleri1 the son-in-law 
of ,bernardino ,lanini1 ,i have given   
some account in the ,milanese ,school1  
7tom4 iv4 p4 #bgh74 ,he is also         
mentioned by ,malvasia in tom4 ii4 p4   
#acd1 and compared with ,passerotti1    
,arcimboldi1 ,gaetano1 and with ,del    
,monte of ,crema1 in portrait painting4 
,his professional education however     
remains obscure1 except as far as we are
 able to conjecture from his works4 ,i  
have only been able to find two of his  
performances2 and ,i am not aware that  
any other are known4 ,the one is in     
,alessandria1 and serves as an          
altar-piece to the domestic chapel of   
the ,conventuals4 ,it represents the    
,virgin and the ,saints ,augustin and   
,francis recommending to her protection 
the city of ,alessandria1 which is      

represented in the background4 ,the     
landscape is in the style of ,bril1 as  
usual with our painters before the      
,caracci2 the figures are painted with  
more labour than spirit2 the colour is  
languid2 and the whole presents the     
style of one desirous of imitating the  
best period of the ,roman ,school1 but  
who had not seen or studied it          
sufficiently4 ,but there is a more      
authentic picture in the church of the  
,domenicans of ,casale1 with the        
inscription1 ,opus ,georgii ,soleri     
,alex4 #aegc4 ,it represents ,s4        
,lorenzo kneeling at the feet of the    
,virgin1 who has with her the holy      
infant2 near the saint three angelic    
boys are playing with a huge gridiron1  
his customary symbol2 and are straining 
to raise it from the ground4 ,here we   
most distinctly trace the follower of   
,raffaello1 in the chasteness of design1
 the beauty and grace of the            
countenances1 and the finished          
expression2 if indeed the design of     

these angels is not taken from          
,coreggio4 ,to render the picture more  
engaging1 there is represented a        
landscape1 with a window1 whence there  
appears in the distance a beautiful     
country1 with fine buildings2 nor are   
there many pictures remaining in the    
city at this day to be compared with it4
 ,if it had possessed a more vigorous   
colouring1 and a stronger chiaroscuro1  
there would be nothing more to wish for4
 ,when ,i consider the style1 ,i know   
not to what school to assign it2 for it 
is not that of ,lanini1 although his    
father-in-law2 nor that of any          
,milanese1 although he was in ,milan4   
,perhaps1 like others of his day1 he    
formed himself on the engravings after  
,raffaello2 or if he copied any other   
painter1 it was ,bernardino ,campi1     
whom1 if we except a certain timidity of
 touch1 he resembles more than any      
other4  ,soleri had a son1 a painter of 
mediocrity1 as may be seen in           
,alessandria in the sacristy of ,s4     

,francesco4 ,the father1 to propitiate  
his success in the art to which he      
destined him1 had given him the two most
 illustrious names of the profession1   
calling him ,raffaele ,angiolo4 ,but    
these names served only to flatter      
parental fondness4  ,with ,alessandro   
,ardente and ,giorgio ,soleri we find   
mentioned a ,jacopo ,rosignoli of       
,leghorn1 who was at that time painter  
to the court4 ,his character is         
described in an epitaph placed over him 
at ,s4 ,thomas in ,turin1 which thus    
extols him3 quibuscumque naturae        
amoenitatibus exprimendis ad omnigenam  
incrustationum vetustatem2 meaning      
grotesques1 in which he imitated with   
success ,perino del ,vaga4 ,we also find
 memorials of another painter to the    
court about the same time4 ,the books of
 the ,treasury call him ,isidoro        
,caracca1 and he seems to have succeeded
 to ,ardente2 for in #aeie his name     
begins to be found1 to which others may 
perhaps add1 in progress of time1 his   

country1 school1 and works4 ,to me it   
seems that persons who have received    
such a mark of distinction1 ought at    
least not to be placed among the vulgar2
 nor should a notice of them be         
neglected when they fall in our way4    
,we may add to these some others of     
doubtful schools1 as ,scipione ,crispi  
of ,tortona1 who has derived celebrity  
from the ,visitation1 placed in ,s4     
,lorenzo in ,voghera2 and in ,tortona   
itself there is a picture representing  
,s4 ,francis and ,s4 ,dominick with the 
,virgin1 with his name1 and the date    
#aeib4 ,contemporary with ,crispi was   
,cesare ,arbasia1 of ,saluzzo1 supposed 
by ,palomino1 but incorrectly so1 to be 
a scholar of ,vinci1 as ,i mentioned    
when ,i spoke of him before4#gc ,he     
resided some time in ,rome1 and taught  
in the academy of ,st4 ,luke1 and is    
mentioned with commendation by the ,p4  
,chiesa in his life of ,ancina1 as one  
of the first of his age4 ,he went also  
to ,spain1 where1 in the cathedral of   

,malaga1 there still exists his picture 
of the ,incarnation1 painted in #aegi2  
and there is an entire chapel painted by
 him in fresco in the cathedral of      
,cordova4 ,he painted too the vault of  
the church of the ,benedictines of      
,savigliano2 in the public palace of his
 native place he executed also some     
works in fresco2 and he was held in     
esteem by the court1 who granted him a  
pension in #afja4       ,footnote #gc3  
,tom4 iv4 p4 #beg4 ,one truth prepares  
the way for      another4 ,i have read  
in ,sig4 ,conca1 tom4 iii4 p4 #afd1 that
      the style of ,arbasia partakes of 
that of ,federigo ,zuccaro2      an     
opinion ,i believe of ,sig4 ,ponz1 the  
principal guide of      ,conca4 ,if     
,federigo about the same time was chief1
 and      ,arbasia master in the academy
 of ,rome1 the style of the      first  
might be caught by the other4 ,when we  
reflect that the      style of ,da      
,vinci is highly finished1 correct1 and 
strong1      diametrically opposed to   

the facility and popular style of       
,federigo1 we cannot accord to ,palomino
 that authority and      veneration     
which ,conca bestows on him4 ,what      
should we think      of a critic who    
should endeavour to palm on us1 as the  
production of the time of ,horace1 an   
ode written in the      style of        
,prudentius8  ,there is ground for      
believing that ,soleri1 who was married 
in ,vercelli1 and who lived in ,casale1 
had a share in the instruction of the   
celebrated ,caccia1 surnamed ,il        
,moncalvo1 who gave to ,monferrato its  
brightest days of art4 ,we may with     
propriety say a few words on this       
subject before we return to ,turin4     
,monferrato was some time under the     
,paleologhi2 afterwards under the       
,gonzaghi2 this is a sufficient reason  
for us to believe that it was willingly 
frequented by excellent artists4 ,vasari
 relates that ,gio4 ,francesco ,carotto 
was considerably employed by ,guglielmo1
 ,marquis of ,monferrato1 as well in his

 court at ,casale as in the church of   
,s4 ,domenico4 ,after him other artists 
of merit resorted thither1 whose works  
still remain to the public4 ,we further 
know that these princes had a collection
 of marbles and pictures1 which were    
afterwards removed to ,turin1 where they
 contributed to the ornament of the     
palace and royal villas4 ,after what we 
have stated we cannot be surprised that 
the arts should have flourished in this 
part of ,italy and the adjacent country1
 and that we should there meet with     
painters deserving of our admiration4   
,such an one was ,moncalvo1 so called   
from his long residence in that place4  
,he was however born in ,montabone1 and 
his true name was ,guglielmo ,caccia4   
,no name is more frequently heard by    
cultivated foreigners who pass through  
this higher part of ,italy4 ,he         
commenced his career in ,milan1 where he
 painted in several churches4 ,he       
proceeded afterwards to ,pavia1 where he
 did the same1 and where he was         

presented with the freedom of the city4 
,but he is still more frequently named  
in ,novara1 ,vercelli1 ,casale1         
,alessandria1 and in the tract of       
country leading from thence to ,turin4  
,nor is this the whole itinerary of such
 as wish to see all his works4 ,we must 
often deviate from the beaten road1 and 
visit in this district castles and      
villas1 which frequently present us with
 excellent specimens1 particularly in   
,monferrato4 ,he there passed a great   
part of his life2 having been brought up
 in ,moncalvo1 says ,p4 ,orlandi1 an    
estate of ,monferrino1 where he had both
 a home and school of painting4 ,he     
seems to have begun his career in these 
parts2 and as his first works they point
 out1 in the ,sacro ,monte di ,crea1    
some small chapels with passages from   
the sacred writings4  ,p4 della ,valle  
describes his style at ,crea as that of 
the infant ,graces4 ,he remarks that    
there are indications of his            
inexperience in fresco painting1 and    

that by comparing his early works with  
his last we may trace the improvement in
 his style4 ,he attained such a degree  
of excellence as to be considered as an 
example to fresco painters for his great
 skill in this department4 ,he is to be 
seen in ,milan at ,s4 ,antonio ,abate1  
by the side of the ,carloni of ,genoa3  
he there painted the titular saint1 with
 ,s4 ,paul1 the first hermit2 and       
maintains himself in this dangerous     
contest4 ,his picture in the cupola of  
,s4 ,paul at ,novara is a beautiful and 
vigorous painting1 with a glory of      
angels1 painted1 as he generally did1 in
 a delightful manner4 ,in oils he was   
perhaps not so successful4 ,i have seen 
few of his pictures painted with that   
strength with which he represented in   
,turin ,st4 ,peter in the pontifical    
habit1 in the church of ,s4 ,croce4 ,the
 picture of ,s4 ,teresa1 in the church  
of that saint1 is also well coloured2   
and it is celebrated for its graceful   
design1 in which is represented the     

saint between two angels1 overpowered at
 the appearance of the holy family1     
which is revealed to her in her ecstacy4
 ,to this may be also added the         
,deposition from the ,cross at ,s4      
,gaudenzio di ,novara1 which is there by
 some considered his masterpiece1 and it
 is indeed a work of the highest merit4 
,in general his tints are so delicate1  
that in our days at least he appears    
somewhat languid1 the fault perhaps of  
not having retouched his pictures       
sufficiently4  ,his style of design does
 not accord with that of the ,caracci1  
which leads me to question the opinion  
prevalent in ,moncalvo1 that he was a   
pupil of that school4 ,one of the       
,caracci school would have studied      
fresco in ,bologna1 not in ,crea2 nor   
would he have adopted in his landscape  
the style of ,bril1 as ,moncalvo has    
done2 nor have discovered a preference  
of the ,roman style to that of ,parma4  
,caccia's style of design seems derived 
from the elder schools1 as we may       

observe in it a manner which partakes of
 ,raffaello1 of ,andrea del ,sarto1 and 
,parmigianino1 the great masters of     
ideal beauty4 ,and in his ,madonnas1    
which are to be seen in many            
collections1 he sometimes seems the     
scholar of the one1 and sometimes of the
 other2 one of those in the royal palace
 of ,turin seems designed by ,andrea4   
,but the colouring1 though accompanied  
by grace and delicacy1 as ,i said       
before1 is different1 and even borders  
often on debility1 in the manner of the 
,bolognese ,school which preceded the   
,caracci1 and more especially of        
,sabbatini4 ,he resembles that master   
also in the beauty of the heads and in  
grace2 and if it could be satisfactorily
 proved that ,moncalvo studied in       
,bologna1 we need not look further for a
 master than ,sabbatini4 ,but ,i have   
before made the remark that two painters
 frequently fall into the same style1 as
 two different writers sometimes adopt  
the same characters4 ,and ,i have also  

observed1 in regard to ,moncalvo1 that  
in ,casale he had ,soleri1 a painter of 
a lively and elegant style2 and that    
there1 in ,vercelli1 and in other cities
 where he resided1 there was not wanting
 to him the best examples of that       
graceful style to which his genius      
inclined4 ,he did not however shun      
nobler subjects2 as his works in the    
church of the ,conventuals at ,moncalvo 
will shew1 where there is a rich gallery
 of his pictures4 ,chieri also has      
specimens of him in two historical      
pictures in a chapel of ,s4 ,domenico4  
,he there painted the two laterals of   
the altar2 in the one is the            
resuscitation of ,lazarus1 in the other 
the miracle of the loaves in the desert2
 works remarkable for their richness of 
fancy1 their excellent disposition1 the 
correctness of the drawing1 the vivacity
 of the action1 and the first of which  
inspires both devotion and awe4 ,they   
would confer honour on the noblest      
churches4  ,he executed many works1     

assisted by scholars of mediocrity2 a   
thing which ought to be avoided by every
 good master4 ,in ,casale ,i heard a    
,giorgio ,alberino enumerated among his 
best scholars2 and on the relation of   
,p4 della ,valle ,i may add to them     
,sacchi1 also of ,casale1 as his        
companion in ,moncalvo2 who possessed a 
more energetic pencil perhaps1 and more 
learning than ,caccia4 ,he painted in   
,s4 ,francesco a ,drawing of ,lots for  
,marriage ,portions2 in which is seen a 
great assemblage of fathers1 mothers1   
and young daughters2 and in the latter  
the sentiments are most vividly         
expressed1 so that we read the fate of  
each in her countenance2 the face of one
 beaming with delight at the mention of 
her name1 while another stands wishful1 
yet fearing to hear herself called4 ,and
 at ,s4 ,agostino di ,casale is a       
standard1 with the ,virgin and saints1  
and certain portraits of the ,gonzaghi  
princes2 a picture ascribed to          
,moncalvo3 but if we consult the style  

and the mode of colouring1 ,i should    
rather attribute it to ,sacchi4  ,caccia
 taught1 and was assisted in his labours
 by two daughters1 who may be called the
 ,gentilesche1 or the ,fontane of       
,monferrato1 where they painted not only
 cabinet pictures but more altar-pieces 
than perhaps any other females4 ,the    
contours of their figures are exactly   
copied from their father1 but they are  
not so animated4 ,it is said that their 
manner was so similar1 that1 in order to
 distinguish them1 the younger1         
,francesca1 adopted the symbol of a     
small bird2 and ,ursula1 who founded the
 convent of ,ursulines in ,moncalvo1    
that of a flower4 ,of the latter her    
church and ,casale also have some       
altar-pieces1 and not a few cabinet     
pictures with landscapes touched in the 
style of ,bril1 and ornamented with     
flowers4 ,a ,holy ,family by her in this
 style is in the rich collection of the 
,palazzo ,natta4  ,lastly ,i may record 
the name of ,niccolo ,musso1 the boast  

of ,casalmonferrato1 where he lived1 and
 left works which possess an originality
 of style4 ,he is said by ,orlandi to   
have been the scholar of ,caravaggio for
 ten years in ,rome2 and there is a     
tradition in his native place that he   
studied under the ,caracci in ,bologna4 
,musso leans to ,caravaggio1 but his    
chiaroscuro is more delicate and more   
transparent2 he is very select in his   
figures and in expression2 and is one of
 those admirable painters almost unknown
 to ,italy itself4 ,he did not live     
long1 and generally painted for private 
individuals4 ,he left however some works
 in public1 and more than one in the    
church of ,s4 ,francis1 representing    
that saint at the feet of ,christ       
crucified1 and angels partaking his     
lamentations and devotions4 ,the        
portrait of this artist1 painted by     
himself1 is also in ,casale1 in the     
possession of the ,marchese ,mossi2 and 
some memoirs of him were published by   
the ,canonico de' ,giovanni1 as ,i read 

in ,p4 ,m4 della ,valle4#gd             
,footnote #gd3 ,pref4 al tomo xi4 del   
,vasari1 p4 #bj4                        
,,school ,,of ,,piedmont ,,and ,,the    
,,adjacent ,,territory4                 
,,epoch ,,ii4       ,painters of the    
,seventeenth ,century1 and first        
,establishment of the ,academy4         
,returning now to ,turin and to the     
seventeenth century1 in the early part  
of which the painters1 whom we have     
mentioned with commendation1 were either
 still surviving1 or only lately        
deceased1 we meet with ,federigo        
,zuccaro1 who1 in his journey through   
the various states of ,italy1 7of which 
,baglione speaks17 did not fail to visit
 ,turin4 ,he there painted some pictures
 in the churches1 and commenced the     
decoration of a gallery for the duke2 a 
work which1 from some cause or other1   
was left unfinished4 ,baglione does not 
inform us that this gallery was destined
 for the reception of works of art1 but 
it is highly probable that it was so2   

since1 at that time1 a considerable     
collection of ancient marbles1#ge       
designs1 and cartoons1 was already      
formed1 which has been since enlarged1  
and is now preserved in the ,archivio   
,reale2 and a select cabinet of         
pictures1 to which similar additions    
have been made1 and which is now the    
principal ornament of the royal palace1 
and the villas of the sovereign4 ,we    
there find the works of ,bellini1       
,holbein1 and the ,bassani2 the two     
large compositions of ,paolo1 executed  
for the ,duke ,charles1 and described by
 ,ridolfi2 several pictures of the      
,caracci and their best scholars1       
amongst which are the ,four ,elements by
 ,albano1 an admirable production2      
without mentioning others by ,moncalvo  
and ,gentileschi1 both of whom resided  
for some time in ,turin1 and by other   
eminent ,italian artists1 or the best   
,flemish painters1 some of whom remained
 a considerable time in that city4      
,hence1 in this class of pictures1 the  

house of ,savoy surpasses every single  
house in ,italy1 or even many taken     
together4       ,footnote #ge3 ,galleria
 del ,marini1 p4 #bhh4  ,but1 to proceed
 in due course1 we may observe1 that1 at
 the commencement of the seventeenth    
century1 there existed in ,turin a rich 
collection of pictures and drawings1 the
 ornament of the throne1 and subservient
 to the instruction of young artists1   
the care of which was entrusted to a    
painter of the court4 ,we first find one
 ,bernardo ,orlando invested with this  
charge1 who was appointed painter to the
 duke in #afag4 ,this honour1 in        
succeeding years1 was conferred on many 
others1 whose pencils were employed in  
,turin and the castle of ,rivoli2 where1
 however1 many of their works were      
effaced in the present century1 and     
others substituted by the two ,vanloos4 
,some of these are unknown in the       
history of art1 as ,antonio ,rocca and  
,giulio ,mayno1 the first a native of ,i
 know not what place1 the latter of     

,asti4 ,a della ,rovere is also an      
unknown artist1 mentioned in the        
,registers from the year #afbf2 nor can 
this be the same who left1 in the       
convent of ,st4 ,francis1 a picture of  
very original invention1 the subject of 
which is ,death4 ,it expresses the      
origin of death1 in the transgression of
 ,adam and ,eve2 and the fulfilment of  
it1 by the thread spun1 wound1 and      
severed1 by the three ,fates1 with other
 fancies in which profane and sacred    
ideas are confounded together4 ,if the  
design of this picture cannot command   
our approbation1 its other qualities are
 still prepossessing1 and conciliate our
 esteem for the painter1 who subscribes 
himself1 ,jo4 ,bapt4 a ,ruere ,taur4 f4 
#afbg4 ,but the name of the court       
painter was ,girolamo4 ,baglione        
acquaints us with another1 called       
,marzio di ,colantonio1 a ,roman by     
birth1 who excelled in grotesques and   
landscapes4 ,there are also some others 
included in the list of ducal painters1 

whom we have before mentioned in various
 schools2 as ,vincenzo ,conti in the    
,roman1 ,morazzone in the ,milanese1 and
 ,sinibaldo ,scorza in the ,genoese4    
,these and others1 who painted in ,turin
 and the neighbourhood about this time1 
will be found in the ,lettere and the   
,galleria of the ,cav4 ,marini1 who     
resided for some time at this court4 ,we
 must1 however1 consult him with        
caution1 as he was a poet1 and very     
readily augmented his gallery1 by       
devoting a sonnet to every picture and  
drawing1 so that artists of mediocrity  
valued themselves more on his applause  
than painters of merit4#gf ,thus        
,malvasia informs us1 that he had       
frequently heard ,albano boast of having
 refused ,marini's request1 the gift of 
a picture1 for fear the poet should make
 it the subject of a sonnet1 7tom4 ii4  
p4 #bgc74       ,footnote #gf3 ,the     
mediocrity of some who are extolled in  
,marini's work1 which was published     
about the year #afaj1      appears from 

the silence observed towards them by    
contemporary writers1 or the little     
applause with which they      are named4
 ,i never elsewhere found mention1 to   
the best of      my recollection1 of    
,lucilio ,gentiloni1 of ,filatrava1 nor 
of      ,giulio ,donnabella1 who there  
figure as eminent designers2      nor of
 ,annibale ,mancini1 whence ,i know not1
 a painter of      histories2 nor of the
 two equally renowned ,frenchmen1 ,m4   
,brandin and ,m4 ,flaminet1 elsewhere   
transformed into      ,fulminetto2 much 
less a ,raffaele ,rabbia1 and a ,giulio 
,maina1      who painted the poet's     
portrait2 unless1 indeed1 the second    
be the ,bolognese ,giulio ,morina1      
mutilated in his name1 like      not a  
few other artists of this truly ill     
assorted      ,gallery4 ,this artist    
would rather appear to be the ,giulio   
,mayno1 of ,asti1 the court painter1    
mentioned in p4 #dfg1      ante4 ,ed4   
,the painters whom ,i have just         
mentioned were1 most probably1 the      

instructors of those artists of ,turin  
and the states who flourished elsewhere2
 as ,bernaschi in ,naples1 ,garoli in   
,rome1 and others who are said to have  
been also taught by foreigners1 and who 
distinguished themselves in ,piedmont4  
,none of this number possess a stronger 
claim to our notice than ,mulinari1 7or1
 as he is more frequently called1       
,mollineri7 whether with regard to      
merit1 or the order of time4 ,most      
writers have considered him a scholar of
 the ,caracci in ,rome2 from the        
imitation of whom he received the       
surname of ,caraccino from his own      
countrymen4 ,but ,i apprehend that this 
supposed residence of his in ,rome      
proceeds from the common source of such 
mistakes1 the resemblance of style1 true
 or supposed4 ,della ,valle mentions him
 as being settled in his native place in
 #afba1 and of forty years of age2      
languid and feeble in his contours1 and 
improving himself by the assistance of  
some masters1 his friends2 to which we  

may perhaps add1 the study of the prints
 of the ,caracci1 and some of their     
paintings4 ,my suspicions are confirmed 
by the ,count ,durando1 a well informed 
and cautious writer1 who denies that    
positive proof can be given of the      
reported instruction of ,mulinari1      
notwithstanding the surname of          
,caraccino1 a title not difficult to    
acquire from the vulgar1 in a city so   
remote from ,bologna and ,rome2 as in   
some countries which have little        
knowledge of the true style of ,cicero1 
a writer may pass for an elegant        
latinist1 while imitating ,arnobius4 ,in
 other respects1 in the pictures which  
have acquired him celebrity1 he is      
correct1 energetic1 and1 if not         
dignified1 yet animated and varied in   
his male heads2 for1 as ,durando himself
 confesses1 his females are all         
deficient in grace4 ,his colouring is   
also good1 though not resembling the    
,caracci2 his tints being more clear1   
differently disposed1 and sometimes     

feeble4 ,at ,turin1 the ,deposition from
 the ,cross at ,s4 ,dalmazio1 is classed
 amongst his best works2 but the        
composition is crowded1 and very        
different from the principles of the    
,bolognese4 ,in ,savigliano1 where      
,mulinari was born1 and where he lived  
many years1 pictures by him are found in
 almost every church2 and his talent and
 merit are1 in fact1 only known in that 
place4 ,there1 and in ,turin1 we find   
some works by a worthy ,flemish artist1 
named ,gio4 ,claret1 by some considered 
the scholar1 by others the master of    
,gio4 ,antonio in colouring1 but at all 
events his intimate friend4 ,he is an   
artist of a free and spirited pencil1   
and painted in several churches in      
competition with ,mulinari4  ,giulio    
,bruni1 a ,piedmontese1 was a clever    
pupil of the ,genoese ,school1 first    
under ,tavarone1 then under ,paggi1 and 
remained painting in ,genoa1 until he   
was expelled by war4 ,his works there1  
though not very finished1 and too darkly

 coloured1 were well designed1          
harmonious1 and well composed4 ,such is1
 in the church of ,st4 ,james1 his ,st4 
,thomas of ,villanova giving alms4      
,history also mentions one ,gio4        
,batista1 his brother and scholar4      
,giuseppe ,vermiglio1 although born in  
,turin1 is not named in the ,guide of   
that city4 ,we find pictures by him in  
,piedmont1 as at ,novara and            
,alessandria2 and beyond that dominion1 
in ,mantua and ,milan1 in which last    
city is a work which is perhaps his     
masterpiece4 ,the subject is a ,daniel  
amidst ,lions1 in the library of the    
,passione1 a large composition1 well    
disposed1 with fine architectural       
decorations1 in the ,paolesque style4   
,the king and people are seen on a      
balcony admiring the prophet1 untouched 
by the ferocious animals1 while his     
accusers are1 at the same instant1      
precipitated amidst the ravenous beasts1
 and torn to pieces4 ,in the same       
composition is also represented the     

other prophet1 borne through the air by 
an angel1 by the hair of his head4 ,we  
cannot exactly commend the design1 which
 thus unites events incongruous in point
 of time4 ,but with this exception1 this
 is one of the most valuable pictures   
painted in ,milan1 after ,gaudenzio1 for
 correctness1 beautiful forms1          
expression highly studied1 and colours  
warm1 varied1 and lucid4 ,from the      
imitative style of the heads1 it is     
evident that he studied the ,caracci1   
and was not a stranger to ,guido2 but in
 the colouring it seemed as if he had   
imitated the ,flemish artists4 ,it is   
reported in ,milan1 perhaps from the    
resemblance of the style1 that he       
instructed ,daniel ,crespi2 a           
circumstance very improbable1 since     
,vermiglio continued to work to the year
 #afge4 ,for we find this date at the   
foot of a large picture of the ,woman of
 ,samaria1 in the refectory of the ,,pp4
 ,olivetani1 in ,alessandria1 which must
 be one of his last works1 decorated    

with a beautiful landscape1 and a       
magnificent view of the city of ,samaria
 in the distance4 ,i consider him the   
finest painter in oil that the ancient  
state of ,piedmont can boast1 and as one
 of the best ,italian artists of his    
day4 ,why he painted so near ,turin1 and
 yet had no success in that city1 and   
why he was not distinguished by his own 
sovereign1 though well received at the  
court of ,mantua1 ,i have not been able 
to discover4 ,we find one ,rubini1 a    
,piedmontese1 certainly not of equal    
merit with the last artist1 who1 about  
the time of ,vermiglio1 worked in the   
church of ,s4 ,vito1 in ,trevigi1 and   
whom we find mentioned in the ,,mss4 of 
that city1 or in the description of its 
pictures4  ,giovenal ,boetto1 celebrated
 amongst the engravers in ,turin1       
deserves a place amongst superior       
artists1 from a saloon painted by him in
 ,fossano1 his native place4 ,it is in  
the ,casa ,garballi1 and contains four  
pictures in fresco4 ,the subject is the 

illustration of various arts and        
sciences4 ,theology is represented by a 
dispute between the ,thomists and       
,scotists2 and in that piece1 and in the
 others1 we must admire the truth of    
nature in the portraits1 and the        
powerful chiaroscuro1 as well as the    
design4 ,little else of him remains4    
,gio4 ,moneri1 some of whose descendants
 were also painters1 was born near      
,acqui1 and being instructed by         
,romanelli1 he brought with him from    
,rome the style of that school4 ,the    
first proofs of his art were given in   
,acqui1 in #afeg1 where he painted in   
the cathedral the picture of the        
,assumption1 besides a ,paradiso in     
fresco1 much commended4 ,he continued to
 advance in his art1 as we see both in  
the ,presentation in the church of the  
,capuchins1 and in other pictures of him
 remaining in the neighbourhood1        
exhibiting a greater copiousness1 a     
finer expression1 and a stronger relief4
 ,it is known that he worked in ,genoa  

and ,milan and their dependencies1 and  
in several places in ,piedmont2 but     
among these we cannot include ,turin2   
nor could it be easy for a provincial   
painter to find commissions1 when the   
capital had artists in sufficient number
 to form an academy4  ,until the year   
#afeb the professors of the art in      
,turin did not possess the form of a    
society1 much less the appearance of an 
academy4 ,in the above year they first  
began to form themselves into a company1
 which had the name of ,st4 ,luke given 
to it2 and which1 in a few years1 grew  
into the academy of ,turin4 ,we may     
consult1 on this subject1 the ,memorie  
,patrie1 published by the ,baron        
,vernazza4 ,the court1 in the mean time1
 continued their salaries to the foreign
 painters1 who were the ornament and    
support of the academy4 ,they were about
 this time engaged in embellishing the  
palace1 and afterwards that delightful  
residence1 which was built from the     
design of the same ,duke ,charles       

,emanuel ,,ii41 and had the name of the 
,veneria ,reale4 ,their frescos1        
portraits1 and other works1 remain to   
the present day4 ,after one ,baldassar  
,matthieu of ,antwerp1 by whom there is 
a highly prized ,supper of our ,lord in 
the refectory of the ,eremo1 ,gio4      
,miel1 also from the neighbourhood of   
,antwerp1 a scholar1 first of ,vandyk1  
and afterwards of ,sacchi1 was appointed
 painter to the court2 a man of a       
delightful genius1 extolled in ,rome for
 his humorous1 and in ,piedmont for his 
serious subjects4 ,in the soffitto of   
the great hall1 where the body guard of 
the king is stationed1 are some pictures
 of ,miel1 in which1 under the fabulous 
characters of the heathen divinities1   
are represented the virtues of the royal
 house2 he executed some others1 and    
perhaps more beautiful ones1 in the     
above named villa2 and there is an      
altar-piece by him at ,chieri1 with the 
date of #afed4 ,we trace in all his     
works his study of the ,italian ,school2

 a grandeur and sublimity of ideas1 an  
elevation beyond his countrymen1 an     
accurate knowledge of the sotto in su1  
and a fine chiaroscuro1 not             
unaccompanied by great delicacy of      
colour1 particularly in his cabinet     
pictures4 ,the talent which he possessed
 in an extraordinary manner in figures  
of a smaller size1 he exhibited more    
especially in the ,veneria ,reale1 where
 he painted a set of ,huntings of wild  
,beasts1 in eight pieces1 which are     
amongst the finest of his works in this 
department of the art4 ,after him we    
read of one ,banier1 a painter to the   
court2 in whose time1 about the year    
#afgh1 the company of ,st4 ,luke1 united
 since the year #afge to that of ,rome1 
was1 with the royal assent1 erected into
 an academy2 and from this year may be  
dated the birth of that professional    
society so much enlarged in our own     
days4 ,but of all who were at that time 
or afterwards in the service of the     
royal house1 the most celebrated was    

,daniel ,saiter1 or ,seiter1 of ,vienna4
 ,i have mentioned him as well as ,miel 
in the ,roman ,school1 nor have ,i      
passed him over in the ,venetian1 in    
which he learnt his art1 perfecting his 
style by the study of all the schools of
 ,italy4 ,his works are found in the    
palace and in the villas2 nor has he    
occasion to fear the proximity of ,miel 
himself4 ,he yields to the latter1      
indeed1 in grace and beauty1 but is     
superior both to him and others in the  
force and magic of his colouring4 ,nor  
in ,turin do we find in him that        
incorrect design which ,pascoli         
attributes to him in ,rome4 ,but his oil
 pictures are by far the most highly    
finished of his works2 as for example1 a
 ,pieta in the court1 which we should   
say was designed in the academy of the  
,caracci4 ,he also painted the cupola of
 the great hospital1 and it is one of   
the finest frescos of the capital4 ,we  
also meet with him in the churches in   
various places in the state2 and we find

 his works in many private collections  
out of ,piedmont1 as he painted         
considerably in ,venice and in ,rome4   
,another foreigner1 ,carlo ,delfino1 a  
,frenchman1 also flourished at this     
time2 an artist of very considerable    
merit4 ,from the registers of the       
archives we learn that he was painter to
 ,prince ,philibert2 and from an        
inspection of his works we may          
conjecture that he was more employed in 
the churches than at the court1 where we
 find him an animated and lively        
portrait painter and colourist4 ,he     
painted some altar-pieces for the city1 
in which is displayed a genius more     
disposed to the natural than to the     
ideal1 and a fire which gives life to   
the gestures and composition2 but       
sometimes1 if ,i do not estimate him    
wrongly1 his ideas seem forced4 ,thus at
 the church of ,s4 ,carlo1 wishing to   
paint a ,s4 ,agostino overpowered by the
 love of ,god1 he represented a ,s4     
,joseph holding in his arms the infant  

,christ1 who from a cross-bow directs an
 arrow against the breast of the saint4 
,the saint struck1 falls into the arms  
of angels1 who employ themselves in     
supporting and comforting him4 ,delfino 
had a scholar in ,gio4 ,batista         
,brambilla1 who painted at ,s4 ,dalmazio
 a large picture on canvass1 of the     
,martyrdom of that saint1 and was an    
artist of a correct style and a good    
colourist4  ,there were other painters  
employed by the court from the middle to
 the end of the century3 some as        
portrait painters1 as ,monsieur         
,spirito1 the ,cav4 ,mombasilio1        
,theodore ,matham of ,haerlem1 and      
others employed in larger works in oils 
and fresco4 ,giacinto ,brandi1 already  
mentioned among the scholars of         
,lanfranc1 painted in the palace a      
sfondo1 in competition with some others 
painted there by ,saiter4 ,agostino     
,scilla of ,messina1 whom we have       
elsewhere noticed1 painted some ,virtues
 there1 conjointly with ,saiter4 ,he was

 a fine artist1 of more talent than     
industry4 ,gio4 ,andrea ,casella of     
,lugano1 a scholar of ,pietro da        
,cortona1 and one of his best followers1
 and sometimes in design an imitator of 
,bernino1 painted in the ,veneria ,reale
 some fables1 assisted by ,giacomo1 his 
nephew4 ,gio4 ,paolo ,recchi da ,como   
worked there in the same way in fresco1 
with the assistance of his nephew       
,giannandrea4 ,gio4 ,peruzzini1 of      
,ancona1 a scholar of ,simon da ,pesaro1
 was also patronised by the court1 and  
was created a cavalier1 and contributed 
by his lectures to the instruction of   
youth4  ,casella1 ,recchi1 and          
,peruzzini1 repaired to ,turin and      
united their talents in the             
embellishment of the churches of that   
city2 and we may observe that1 towards  
the close of the century1 a great part  
of the commissions were executed by     
foreigners4 ,to those already recorded  
we may add ,triva1 ,legnani1 ,cairo1 and
 also a ,gio4 ,batista ,pozzi1 who not  

succeeding to his wishes in his own     
country1 as ,i believe1 decorated with  
frescos a vast number of walls in       
,turin1 and through all the             
,piedmontese4 ,he was a hasty           
practitioner1 but sometimes produced a  
good general effect1 as in the ,s4      
,cristoforo of ,vercelli4 ,we find      
another1 and a better artist of the same
 name in ,p4 ,andrea1 a ,jesuit1 who    
resided for a long time in ,turin1      
where1 in the ,congregazione de'        
,mercanti1 he left four histories from  
the life of the ,saviour1 painted in oil
 in his best manner1 a manner derived   
from ,rubens1 chequered by those        
beautiful and playful lights which may  
be said to irradiate the composition4   
,he also painted in fresco1 in the      
church of his order1 but he was not     
satisfied with that work2 and having    
afterwards also to ornament the vault of
 the church of his order at ,mondovi1 he
 repeated the subject1 and executed it  
more to his satisfaction4 ,there also we

 find ,il ,genovesino1 so called from   
his native place1 not so well known in  
,turin as in the state1 particularly at 
,alessandria2 a painter by no means     
deficient in grace and colour1 whence he
 is much esteemed in cabinets4 ,the     
,,pp4 ,predicatori have a ,s4 ,domenico 
by him1 and a ,s4 ,thomas in two altars 
of their church2 the ,sig4 ,marchese    
,ambrogio ,ghilini1 a ,christ praying in
 the ,garden2 the ,marchese ,carlo      
,guasco1 two ,madonnas1 with the holy   
infant sleeping1 two different designs4 
,the name of this artist was ,giuseppe  
,calcia1 who in consequence of living in
 a foreign country1 is not noticed in   
his native history1 and in the ,notizia 
delle ,pitture d',italia1 he is confused
 with ,marco ,genovesini1 a ,milanese   
mentioned by ,orlandi4 ,this artist was 
a considerable machinist1 of whom there 
are no remains in ,milan1 except what he
 painted in the church of the           
,augustines2 the genealogical tree1 or  
history of that order1 in the gallery1  

and two grand lateral compositions1 in  
which the figures are finely varied and 
coloured1 but not disposed and put into 
action with equal art4 ,it would occupy 
too much time to enumerate all the      
foreigners who worked at that time in   
,turin1 or throughout the state2 and    
some of whom we have occasionally       
noticed in the various schools of       
,italy4  ,the native painters of        
reputation were not numerous at this    
time2 and the most considerable1 if ,i  
mistake not1 were ,caravoglia and       
,taricco4 ,bartolommeo ,caravoglia1 a   
,piedmontese1 was said to be the scholar
 of ,guercino3 he followed his master's 
footsteps at a distance1 affecting a    
contrast of light and shade2 but his    
lights are much less clear than those of
 ,guercino1 and the shadows not so      
strong2 a thing which does not occur in 
the works of the genuine scholars of    
that master4 ,notwithstanding this      
feebleness1 he pleases us by a certain  
modest harmony which pervades his       

pictures1 and governs also the          
invention1 the design1 the architecture1
 and the other decorative parts of his  
composition4 ,in ,turin is to be seen   
the ,miracle of the ,eucharist1 painted 
in the church of the ,corpus ,domini1   
which1 to perpetuate the occurrence of  
that event in ,turin in #adec1 was      
erected in a sumptuous manner1 and      
magnificently decorated4  ,sebastiano   
,taricco was born in ,cherasco1 a city  
of ,piedmont1 in the year #afde2 and it 
clearly appears from his works that he  
studied with ,guido and with            
,domenichino in the great school of the 
,caracci4 ,thus far his historian4 ,i   
have endeavoured1 but in vain1 to find  
any record of the residence of these two
 great masters in ,bologna in the year  
#afde1 when ,taricco was born2 they were
 at that time both dead4 ,i therefore   
conjecture that the writer meant to say1
 that ,taricco studied in ,bologna the  
works of the ,caracci1 as ,guido and    
,domenichino had done before him4 ,that 

he acquired the principles of his art in
 that city is believed in ,piedmont2 and
 his manner does not contradict this    
supposition4 ,the truth is1 that at that
 time all ,italy1 as it were1 was turned
 to the imitation of the ,bolognese2 and
 ,turin1 as ,i have previously observed1
 had already a few specimens4 ,above all
 they possessed specimens of ,guido1 and
 of his followers1 ,carlo ,nuvolone and 
,gio4 ,peruzzini2 and all might         
influence the style of ,sebastiano1     
which was select in the heads1 and      
sufficiently pleasing in general1 but of
 too great facility1 and without that   
refinement which distinguishes the      
classic painters4 ,this ,i say after    
seeing the picture of the ,trinity1 and 
others of his oil pictures at ,turin3   
but ,i have heard that the ,sala of the 
,sig4 ,gotti1 painted by him in fresco  
in his native place1 and various other  
works by him interspersed through that  
vicinity1 inspire a higher opinion of   
his talents4 ,in the seventh volume of  

the ,lettere ,pittoriche there is       
mention made of a picture of ,s4        
,martino ,maggiore at ,bologna2 where   
are represented the ,saints ,giovacchino
 and ,anna1 and where there is          
subscribed the initials ,,tar1 probably 
,taricco1 as has been elsewhere         
conjectured4 ,but the style of this     
picture is like that of ,sabbatini1     
which is in fact a more ancient style   
than that which ,taricco has exhibited  
in his authenticated works4  ,alessandro
 ,mari1 of ,turin1 resided only for a   
short time in his native city1 nor did  
he leave any public works there4 ,he    
changed both his country and his school1
 and studied first under ,piola1 next   
under ,liberi1 and again under          
,pasinelli2 always uniting the practice 
of painting with the cultivation of     
poetry4 ,he ultimately became a         
celebrated copyist1 and a successful    
designer of capricci and symbolical     
representations1 by which he established
 a reputation in ,milan1 and afterwards 

in ,spain1 where he died4  ,we find the 
name of ,isabella dal ,pozzo inscribed  
at the foot of a picture at ,s4         
,francis1 which represents the ,virgin1 
together with ,s4 ,biagio and other     
saints4 ,the birth-place of this fair   
artist is unknown to me2 but ,i may     
observe that1 in #afff1 when she        
painted1 there were not many better     
artists in ,turin4 ,somewhat later      
flourished ,gio4 ,antonio ,mareni1 a    
scholar of ,baciccio1 by whom there is a
 beautiful picture noticed in the       
,guide4 ,towards the beginning of the   
eighteenth century were employed in     
those churches1 and sometimes in        
competition with each other1 ,antonio   
,mari and ,tarquinio ,grassi1 whether of
 the family of ,niccolo ,grassi of      
,venice1 who painted at ,s4 ,carlo1 ,i  
cannot say1 but certainly the father of 
a ,gio4 ,batista4 ,tarquinio is well    
known in ,turin1 and seems to have      
derived some portion of his style from  
,cignani and the ,bolognese of that age4

  ,monferrato was not deficient in good 
artists in the seventeenth century4     
,some of these ,i have mentioned in the 
train of ,lanini2 others in that of     
,moncalvo4 ,i shall here mention only   
,evangelista ,martinotti1 the scholar of
 ,salvator ,rosa1 of great excellence in
 landscapes1 small figures1 and animals1
 as ,orlandi informs us4 ,i may add1    
that he succeeded also in nobler        
subjects2 a ,baptism of our ,lord1 in   
the ,duomo of ,casale1 is shewn as his1 
and is a highly finished performance4   
,there are two works there in public by 
a ,raviglione di ,casale1 than whom1    
after ,musso1 ,i do not think that      
,monferrato has produced a more         
commendable artist3 but we are          
nevertheless ignorant of his name1 his  
age1 and his school4 ,ferdinando ,cairo 
was a respectable disciple of           
,franceschini in ,bologna3 he afterwards
 established himself at ,brescia1 where 
he continued1 with ,boni and others1 to 
profess that easy style1 and the latter 

city possesses his best works4          
,,school ,,of ,,piedmont ,,and ,,the    
,,adjacent ,,territory4                 
,,epoch ,,iii4       ,school of         
,beaumont1 and ,restoration of the      
,academy4   ,the eighteenth century was 
graced by the reign of three successive 
princes1 all lovers of the fine arts1   
and was consequently rich in patronage2 
but from the decline of painting it was 
not equally rich in the production of   
great works4 ,saiter1 who lived some    
years in this century1 was succeeded at 
the court by ,agnelli1 a ,roman1 whose  
style was a mixture of those of ,cortona
 and ,maratta4 ,he painted a large hall1
 which is filled with select pictures1  
and which now bears his name4 ,agnelli  
was in his turn succeeded by ,claudio   
,beaumont of ,turin1 who after having   
studied in his native place1 repaired to
 ,rome1 where he employed himself for a 
considerable time in copying the works  
of ,raffaello1 the ,caracci1 and ,guido4
 ,he did not much regard the masters of 

the ,roman ,school of that day1         
considering them feeble3 he deferred to 
,trevisani1 and aimed at emulating his  
execution and the vigour of his         
colouring3 he was also desirous of      
studying the works of the old masters at
 ,venice1 but was prevented by his      
domestic circumstances4 ,on his return  
to ,turin1 he became distinguished for  
the noble style he had acquired in      
,rome4 ,to appreciate him correctly we  
must inspect the works of his best time2
 as the ,deposition from the ,cross in  
the church of the ,s4 ,croce1 or the    
pictures in fresco in the royal library1
 where1 under various symbols1 he has   
celebrated the ruling family2 adding to 
it a ,genius with a cross of a          
cavaliere1 which was the reward he was  
ambitious of1 and which he obtained4 ,he
 decorated also other rooms with        
pictures in fresco2 the ,rape of ,helen 
in one cabinet1 and the ,judgment of    
,paris in another1 are his productions1 
alike happy in their general effect and 

in their separate parts4  ,the court    
gave an additional stimulus to his      
industry by employing1 in competition   
with him1 many eminent foreigners1      
particularly in the reign of ,king      
,charles1 to embellish the palace1 the  
villas1 and the churches of royal       
foundation2 among the latter of which   
the most remarkable is the church of the
 ,sopperga1 erected by ,victor ,,ii41   
which contains the family monuments4    
,beaumont was in consequence brought    
into competition with ,sebastiano       
,ricci1 ,giaquinto1 ,guidoboni1 ,de     
,mura1 ,galeotti1 and ,gio4 ,batista    
,vanloo1 the celebrated scholar of      
,luti4 ,vanloo in ,turin distinguished  
himself both in the frescos of the      
villas1 and in church pictures2 and had 
with him ,carlo1 his brother and his    
scholar1 who was his assistant1 and     
executed even more works than he4 ,he   
painted the beautiful decorations of a  
cabinet in the ,palazzo1 consisting of  
subjects from the ,jerusalem of ,tasso4 

,these princes were moreover accustomed 
to send commissions to the most         
distinguished foreign painters1 such as 
,solimene1 ,trevisani1 ,masucci1 and    
,pittoni2 which gave a stimulus to      
,beaumont to rival them1 or at least to 
endeavour not to be left too far behind4
 ,and thus in his best works he sustains
 his fame in a commendable manner2 at   
one time excelling in design those who  
conquer him in colour2 at another time  
surpassing in spirit of execution those 
who excel him in design4 ,it is the     
general opinion that his genius declined
 as he advanced in years2 and this is   
attributed to his superintendance of the
 working of tapestry1 for which1 while  
he made the cartoons1 he gradually      
degenerated into negligence of design1  
vulgarity in his heads1 and above all1  
crudeness and want of harmony in his    
colours2 a defect not uncommon in those 
who survived him4  ,his memory is       
deservedly held in veneration in his    
native place4 ,he was the first to form 

the ,turin academy on the model of the  
greater institutions of that kind3 so   
that it seemed to date a new birth from 
his time1 in #agcf 7for it was not      
before extended to all branches of the  
art7 under the appellation of the ,royal
 ,academy2 as appears from the ,orazione
 of ,tagliazucchi1 and the poetry       
annexed1 in a little volume edited in   
,turin in #agcf1 entitled1 ,orazione e  
,poesie per la ,instituzione            
dell',accademia del disegno1 in #hvo4   
,beaumont educated not only many        
painters of merit1 but also engravers1  
tapestry-workers1 and modellers and     
statuaries2 from which epoch the        
national cultivation of the fine arts   
has increased1 far beyond the example of
 former times4 ,some of those who were  
the scholars of ,beaumont in painting   
still survive4 ,some are deceased1 7and 
these alone hold a place in this work17 
of similar style1 though not of equal   
talents with their master4 ,vittorio    
,blanseri was considered the best       

amongst them1 and was on that account   
chosen by the court to succeed          
,beaumont4 ,the three pictures by him at
 ,s4 ,pelagia1 and particularly a ,s4   
,luigi fainting in the arms of an angel1
 are much esteemed in ,turin2 and if ,i 
err not1 he is superior to his master in
 the distribution of light and shade4 ,a
 more correct designer than ,blanseri1  
but inferior in poetical invention1 and 
in knowledge of harmony and colouring1  
was ,gio4 ,molinari1 who painted some   
pictures in the churches2 one of which  
is at ,s4 ,bernardo di ,vercelli1 a     
composition of saints1 well disposed1   
with good action1 and conducted with    
great care4 ,in ,turin there is an      
,addolorata by him at the ,regio        
,albergo delle ,virtu2 others in various
 places in the state2 amongst which in  
the abbey of ,s4 ,benigno is a ,st4     
,john the ,baptist1 with a landscape by 
,cignaroli4 ,in private collections we  
meet with his historical pieces and his 
portraits3 he painted one of the king1  

which was highly applauded1 and has been
 very frequently copied4 ,owing to his  
character1 which was naturally timid1   
reserved1 and modest1 he painted history
 less than he ought to have done4 ,this 
artist was honoured by the ,baron       
,vernazza with an elegant eulogium1     
which will confer a lasting honour on   
his memory4 ,he died nearly at the same 
time as another eminent ,piedmontese of 
the name of ,tesio4 ,whether or not     
,tesio was instructed in the art by     
,beaumont1 or by others1 ,i cannot      
state2 but ,i know that he repaired to  
,rome1 and there became one of the best 
scholars of ,mengs2 and at ,moncalieri1 
a delightful residence of the royal     
family1 are to be seen some of the      
finest specimens of his talents4 ,felice
 ,cervetti and ,mattia ,franceschini    
worked sometimes alone1 sometimes in    
competition1 with more facility but less
 finish1 and are pretty frequently met  
with in ,turin4 ,but in ,turin1 and     
throughout the state1 ,antonio ,milocco 

is better known than these1 or perhaps  
any other painter4 ,he was not the      
scholar1 but for some time the companion
 of the ,cavalier ,beaumont2 more dry   
than he in design1 less cultivated1 and 
inferior to him in all the qualities of 
a painter3 but from a peculiar facility 
he was often employed by private        
individuals1 and sometimes by the court4
  ,about the same period ,giancarlo     
,aliberti flourished in ,asti1 his      
native city1 which he adorned with many 
large compositions4 ,the best of these  
are at ,s4 ,agostino1 where1 in the     
cupola of the church he has represented 
the titular saint borne to heaven by a  
band of angels2 and in the presbytery1  
the same saint baptizing the newly      
converted in the church of his town of  
,ippona4 ,the subject is well conceived2
 the perspective1 which the vaulting of 
the edifice rendered difficult1 is      
correctly preserved2 the architecture is
 magnificent2 the expression of the     
figures is in unison with the august    

ceremony3 the style participates of the 
,roman and ,bolognese of those times4   
,he would probably have left some works 
of a higher order in the cathedral1 a   
fine church1 which was intended to have 
been wholly decorated by him2 but in    
consequence of demanding fifteen years  
for the completion of his work1 he was  
deprived of the commission2 nor was it  
difficult to find one to execute it     
quickly enough1 without exciting the    
jealousy of ,aliberti4 ,p4 della ,valle 
found in his style a mixture of         
,maratta1 of ,gio4 da ,s4 ,giovanni1 and
 of ,coreggio2 heads and feet which one 
should attribute to ,guido or           
,domenichino2 forms peculiar to the     
,caracci2 drapery of ,paolo1 colours of 
,guercino1 a ,sacrifice of ,abraham1    
imitated from ,mecherino4 ,i had not    
myself time to form so many comparisons4
 ,the ,abate ,aliberti1 his son1 painted
 in many of the above-named cities1 and1
 7which ,i have not found in the        
father17 in the capital4 ,there is a    

,holy ,family1 of fine effect1 painted  
by him in the church of the ,carmine1   
though in the colouring it is not exempt
 from that greenish tinge which was then
 in vogue in ,italy1 and which still    
predominates in the works of some of our
 artists4  ,francesco ,antonio          
,cuniberti1 of ,savigliano1 a fresco    
painter of some reputation in the       
decoration of cupolas and ceilings1     
worked in his native place and its      
neighbourhood4 ,pietro ,gualla di       
,casalmonferrato also employed himself  
in fresco1 and likewise painted in oil  
in many places of the state1 and in the 
metropolis4 ,although he applied himself
 late to the study of his art1 he became
 a portrait painter of great spirit4    
,nor ought he to have gone beyond this  
province1 neither possessing a knowledge
 of design1 nor genius equal to greater 
attempts4 ,when verging on age1 he      
assumed the habit of a friar of ,s4     
,paul1 and in ,milan undertook to       
ornament a cupola of the church of that 

order2 but he died before he had        
finished his work4  ,another department 
of the art was cultivated in a          
distinguished manner by ,domenico       
,olivieri of ,turin1 a man born to amuse
 by his singular personal appearance1   
his lively conversation1 and the        
humorous productions of his pencil4 ,his
 cabinet pictures of spirited           
caricatures in the style of ,laer1 and  
other eminent ,flemish artists1 are well
 known in the collections of ,piedmont4 
,in his time the royal collection1 by   
the death of ,prince ,eugene1 was       
enriched by the addition of nearly four 
hundred ,flemish pictures2 which are    
still distinguishable from others by the
 highly finished carving and fine taste 
of the frames4 ,no one profited more    
than ,olivieri from the imitation of    
these works4 ,if he had possessed the   
lucid clearness of their tints1 he would
 have passed for a ,flemish artist4 ,he 
is happy in his subject1 strong in his  
colours1 and free in his touch4 ,the    

court has two large pictures of his1    
crowded with figures of a span in size3 
one of which is a market scene1 with    
charlatans1 drawers of teeth1 villagers 
quarrelling1 and the variety of incident
 usually furnished by a busy assemblage 
of the vulgar4 ,it might indeed1 from   
its humour1 be called a little          
,bernesque poem4 ,he occasionally       
employed his talents in sacred subjects1
 as in the ,miracle of the ,sacrament1  
which he represented by a number of     
small figures in two pictures1 which are
 preserved in the sacristy of the       
,corpus ,domini4 ,his style was         
inherited by one ,graneri1 who imitated 
him successfully1 and died only a few   
years since4  ,the court had also a     
painter from ,prague1 of the name of    
,francesco ,antonio ,meyerle1 commonly  
called ,monsieur ,meyer1 who did not    
acquire so much fame from his larger    
works as from his small pictures in the 
,flemish style3 in the latter he was    
indeed excellent4 ,he was also a fine   

painter of portraits4 ,the ,bishop of   
,vercelli possesses one of an old man1  
scrutinizing some object or other with  
an eye-glass1 executed with great truth 
and humour2 and in the same city1 where 
he spent his latter days1 his works are 
frequently met with1 and the more prized
 the smaller they are found in size4 ,in
 landscapes and other ornamental        
pictures1 painted in a bold ,venetian   
style1 and for distant effect1 a        
,piedmontese1 of the name of ,paolo     
,foco1 distinguished himself1 who lived 
for a long time in ,casale1 where the   
greater number of his works are to be   
found4 ,he1 too1 attempted figures on a 
larger scale1 but with little success4  
,in portraits1 in the time of ,orlandi1 
a lady of the name of ,anna ,metrana1   
whose mother also was a painter1 was    
much esteemed4 ,in our days a similar   
reputation was obtained in ,bologna1 by 
,marcantonio ,riverditi1 of             
,alessandria1 a very good follower of   
that school4 ,he painted also in the    

churches in a clear chaste style1 far   
removed from mannerism2 and amongst     
other pictures which he painted for the 
church of the monks of ,camoldoli1 is a 
,conception1 in which he manifested his 
predilection for ,guido ,reni4 ,he died 
in the same city in the year #aggd4  ,i 
have found1 in the course of my reading1
 one ,michela1 whether or not of        
,piedmont ,i cannot determine1 who1 in  
the royal castle painted perspectives1  
ornamented with figures by ,olivieri2 a 
work executed in competition with       
,lucatelli1 ,marco ,ricci1 and ,gian    
,paolo ,pannini1 celebrated artists of  
those times4 ,for the more extensive    
decorations of the churches and the     
theatres we find two artists often      
employed2 ,dellamano1 of ,modena1       
mentioned by us in the second chapter of
 the ,lombard ,schools1#gg and ,gio4    
,batista ,crosato1 of ,venice1 whose    
genius and fine taste are extolled by   
,sig4 ,zanetti4 ,he has not1 however1   
been able to adduce more than one public

 picture1 in which branch1 and in every 
other of a figurist1 he was less admired
 than in perspective4 ,he is one of     
those painters who deceive the eye by a 
strong relief1 and he thus gives the    
semblance of reality to his imitations4 
,he has left proofs of this quality in  
various parts of ,piedmont1 where he    
generally resided2 and the works which  
do the most honour to his memory are at 
the ,vigna della ,regina4 ,he conferred 
a benefit on the ,school of ,piedmont1  
from his instruction of ,bernardino     
,galliari1 a celebrated perspective     
painter1 particularly for the theatres1 
and of great fame in ,milan1 in ,berlin1
 and in other places beyond the         
mountains4 ,to this respected professor 
his scholars are indebted for their     
accurate taste in art4 ,the state has   
also produced other painters in figures 
and in landscape2 nor will any impartial
 person blame me for not having         
particularised every individual of them4
 ,on the contrary1 ,i fear that several 

names here inserted by me1 may appear to
 some of my readers scarcely worthy of  
admission4 ,such persons ought however  
to consider1 that the mediocrity of the 
times compels the historian to notice   
artists of mediocrity4       ,footnote  
#gg3 ,see vol4 iv4 p4 #fi4  ,the rules  
of the academy1 introduced in ,turin in 
#aggh1 have not subsisted sufficiently  
long to allow us to judge of their      
result1 as ,i have done with regard to  
older establishments4 ,they were given  
to the public the same year1 from the   
royal press2#gh and do honour as well to
 the good taste as to the munificence of
 ,victor ,amadeus ,,iii4 ,his august    
father had1 indeed1 already prepared a  
domicile for the fine arts in the halls 
of the university1 and had founded the  
new academy of design1 under the        
direction of the first painter of the   
court4 ,it has since received fresh     
lustre from the patronage of the present
 king1 and has been enlarged by         
professorships1 stipends1 and laws1 and 

aids of all kinds for studious youth4   
,turin has1 in the present day1         
exhibited productions in painting1 such 
as1 except in ,rome1 are to be found in 
few capitals of ,italy2 and in          
architecture1 statuary1 and bronze1     
stands almost unrivalled4 ,i do not     
particularise the living artists1 as    
they may easily be found in the ,new    
,city ,guide1 or in the preface to      
volume xi4 of ,vasari1 printed in       
,siena2 and some of their names have    
become better known from the voice of   
public applause than from the pens of   
writers4       ,footnote #gh3 ,there is 
annexed to them a learned ,treatise1 by 
the ,count ,felice ,durando di ,villa1  
with very erudite and      copious      
notes4  ,i here close my ,history of the
 ,art of ,painting4 ,the ,indexes1 which
 form the sixth volume1 the first1      
containing the nomenclature and the     
different ages of the artists2 the      
second1 a list of the writers from whom 
,i have derived my information2 and the 

third1 a reference to some things more  
particularly deserving of notice1 will  
complete the work4                      
,,end ,,of ,,vol4 ,v4                   
,transcriber's ,notes3  ,standardized   
spacing after apostrophes in ,italian   
names and phrases4  ,standardized       
inconsistent hyphenation4 ,for          
consistency with prior volumes in this  
series of books1 'bassi-rilievi' was    
changed to 'bassi-relievi' and          
'master-piece' to 'masterpiece4'  ,moved
 footnotes to the end of the paragraph  
in which the anchor occurs4  ,retained  
archaic spelling and punctuation1 except
 as noted below3    'an' added to       
,footnote #a 444 to supply an abundance 
of valuable 444   ',comunal' to         
',communal' 444 in the ,communal        
,collection 444   'reconducts' to       
're-conducts' 444 he re-conducts him to 
,bologna 444   'emiment' to 'eminent'   
444both eminent ornamental painters 444 
',ceseno' to ',cesena' 444 a pupil of   
,raffaello at ,cesena 444   ',tintoret' 

to ',tintoretto' 444 under ,titian and  
,tintoretto at ,venice4444              
'chiariscuri' to 'chiaroscuri' 444 some 
chiaroscuri happily enough 444          
',ferrau' to ',ferrau' 444 ,he          
flourished after ,ferrau 444   added    
'of' 444 names not unworthy of a place  
in history 444'   'desart' to 'desert'  
for consistency with remaining text     
444 desert of ,judea1444      444 ,the  
,saint preaching in the ,desert 444     
',barruffaldi' to ',baruffaldi' 444     
relating to ,baruffaldi's ,,ms4444      
',mezzarata' to ',mezzaratta' 444the    
church of ,mezzaratta2444               
',winckelman' to ',winckelmann' 444 and 
of ,winckelmann1444   'intituled' to    
'entitled' 444 in #agcf1 entitled1444