Note 104 — BOOK IV.

A letter of Summonzio, written on the 20th March, 1524, has been communicated to me by the Sig. Cav. de' Lazara, extracted from the 60th volume of the MSS. collected in Venice by the Sig. Ab. Profess. Daniele Francesconi. It is addressed to M. A. Michele, who had requested from him some information respecting the ancient and modern artists of Naples; and in reference to the present question he thus speaks. "Since that period (the reign of King Ladislaus), we have not had any one of so much talent in the art of painting as our Maestro Colantonio of Naples, who would in all probability have arrived at great eminence, if he had not died young. Owing to the taste of the times, he did not arrive at that perfection of design founded on the antique, which his disciple Antonello da Messina attained; an artist, as I understand, well known amongst you. The style of Colantonio was founded on the Flemish, and the colouring of that country, to which he was so much attached, that he had intended to go thither, but the King Raniero retained him here, satisfied with showing him the practice and mode of such colouring." From this letter, which seems contrary to my argument, I collect sufficient, if I err not, to confirm it. For, 1st, the defence of those writers falls to the ground, who assume that the art of oil colouring was derived from Naples, while we see that Colantonio, by means of the king, received it from Flanders. 2ndly, Van Eyck himself is not here named, but the painters of Flanders generally; which country first awakened, as we have observed, by the example of Italy, had discovered new, and it is true, imperfect and inefficient methods, but still superior to distemper; and who knows if this were not the mode adopted by Colantonio. 3rdly, It is said that he died young, a circumstance which may give credit to the difficulty that he had in communicating the secret: in fact, it is not known that he communicated it even to his son-in-law, much less to a stranger. 4thly, Hence the necessity of Antonello undertaking the journey to Flanders to learn the secret from Van Eyck, who was then in years, and not without difficulty communicated it to him. 5thly, If we believe with Ridolfi that Antonello painted in 1494 in Trevigi, and credit the testimony of Vasari, that he was not then more than forty-nine years of age, how could he be the scholar of Colantonio, who, according to Dominici, died in 1444? It is with diffidence I advance these remarks on a matter on which I have before expressed my doubts, and I have been obliged to leave some points undecided, or decided rather according to the opinions of others than my own.