BOOK III. (continued 2)

Orazio Samacchini, the intimate friend of Sabbatini, his contemporary, and who followed him at a short interval to the tomb, began his career by imitating Pellegrino and the Lombards. Proceeding next to Rome, and employed in painting for the royal hall, under Pius IV.; he succeeded in catching the taste of the Roman School, for which he was praised by Vasari, (who calls him Fumaccini) and afterwards by Borghini and Lomazzo. In the display of this his new style, however, he contrived to please others more than himself; and returning to Bologna, he was accustomed to lament that he had ever removed from upper Italy, where he might have carried his early manner to greater perfection, without deviating in search of a new. Still he had no reason to feel dissatisfied with that which he had thus formed of various others, and so moulded by his own genius, as to exhibit something singular in its every character. In his altar-piece of the Purification, at S. Jacopo, it is all exquisite delicacy, in which the leading figures enchant us with at once a majestic and tender expression of piety; while those infant figures seen conversing near the altar, and that of the young girl holding a little basket with two doves, gazing on them in so peculiar a manner, delight us with their mingled simplicity and grace. Skilful judges even can take no exceptions but to the display of too great diligence, with which, during several years, he had studied and polished this single painting. This, however, as one of the most celebrated of its school, was engraved by Agostino, and it would seem that even Guido availed himself of it in his Presentation, painted for the cathedral of Modena, yet he was an equally powerful artist where his subjects required it of him. His chapel, of which we gave an account in the Parmese School, is highly commended, though his most vigorous effort is shewn in the ceiling of S. Abbondio, at Cremona. The grand and the terrible seem to strive for mastery in the figures of the prophets, in all their actions and positions; the most difficult from confinement of space, yet the best arranged and imagined. There is, moreover, a truth in the shortenings, and a skilful use of the sotto in su,[12] which appears in this instance to have selected the most difficult portion of the art, in order to triumph over it. His forte is believed to have consisted in grand undertakings in fresco, on which he impressed, as it were, the seal of a vast spirit, at once resolute and earnest, without altering it by corrections and retouches, with which he laboured his paintings in oil, as we have stated.

Bartolommeo Passerotti has been commended by Borghini and Lomazzo; and he is casually named also by Vasari among the assistants of Taddeo Zuccaro; indeed, it may rather be said, this is the artist with whom Vasari ceases to write, and Malvasia to inveigh.[13] He possessed excellent skill in designing with his pen; a gift which drew to his school Agostino Caracci, and which assisted the latter as a guide in the art of engraving. He likewise wrote a book, from which he taught the symmetry and anatomy of the human body, essential to the artist; and was the first who, to make a grander display, began to vary scriptural histories at Bologna by drawing the naked torsi. The finest of these specimens are, the Beheading of St. Paul, at Rome, in the Tre Fontane; and at S. Giacomo, of Bologna, a picture of the Virgin among various saints; a work meant to compete with the Caracci, and embellished by their praise. One of his pictures too of "Tizio" was much celebrated, which, being exhibited to the public, was supposed by the professors of Bologna to have been the work of Michelangiolo. This exquisite degree of diligence and refinement he rarely used; most generally he was bold and free, somewhat resembling Cesare, only more correct. In his portraits, however, he is by no means a common painter. After Titian, Guido included him among the very first, not preferring before him the Caracci themselves, whose name, indeed, in several galleries, is attached to the portraits of Passerotti. The most commendable of all however, are those he executed for the noble family Legnani—entire figures extremely varied in costume, in action, and attitudes; it being his usual custom to compose portraits, such as Ridolfi described of Paris, which should appear ideal pictures. By means of such a talent, which made him agreeable to the great, by his polite and refined manners and malicious strictures, he became a match for the Caracci; for whom he also prepared rivals in a number of his sons, whom he carefully instructed in the art. Among these, Tiburzio possessed real merit, of which his fine picture of the Martyrdom of St. Catherine, conducted in the taste of his father, displays sufficient proof. Passerotto and Ventura, however, were below mediocrity. Aurelio was a good miniaturist, and in the same branch Gaspero, a son of Tiburzio, also met with success. In the works of Bartolommeo we often meet with a sparrow, the symbol of his own name; a custom derived from the ancients, and followed by many of our own artists. It is a well-known fact relating to two sculptors, Batraco and Sauro, that for their proper names they substituted, the former a frog, and the latter a lizard.

Dionisio Calvart, born at Antwerp, and hence also called Dionisio the Fleming, came, when young, into Bologna, and displayed some ability in landscape painting. In order to become a figure painter, he entered first the school of Fontana, and next that of Sabbatini, whom he greatly assisted in his labours for the Vatican. But after quitting also this master, and occupying himself, some little time, in designing from Raffaello's pictures, he returned to Bologna, opened a studio, and there educated as many as a hundred and thirty-seven masters in the art, some of whom were excellent. He was a fine artist for his age; understood perspective well, which he acquired from Fontana, and designed both correctly and gracefully in the taste of Sabbatini. He moreover possessed the art of colouring, in the taste of his own countrymen, a quality which induced the Bolognese to regard him as a restorer of their school, which in this branch of painting had declined. If there were some degree of mannerism in his style, some action in his figures too little dignified, or too extravagant; the former was the fault of his age, and the latter of his temperament, which is described as extremely restless and violent. Notwithstanding, he instructed his pupils with assiduous care, and from the cartoons of the most celebrated inventors he gave them lectures in the art. Different collections abound with his small pictures, painted chiefly on copper, representing incidents from the Gospel, which attract by the abundance of the figures, by their spirit, and by the lusciousness of their tints. Similar commissions in this line were then very frequently given in Bologna; most times proceeding from the noviciate nuns, who were in the habit of carrying with them into the cloister similar little paintings to decorate their lonely cells; and Calvart provided abundance of them, with the assistance of his young men, whose pieces he retouched; and they obtained immense circulation both in Italy and Flanders. In particular those conducted by Albano and Guido, his two pupils, boast the most attractive graces, and may be known by a certain superior decision, knowledge, and facility. In the list of his altar-pieces, the S. Michele, at S. Petronio, and the Purgatory, at the Grazie, bear the palm; and from these, as well as others, the best disciples of the Caracci confessed the assistance which they received.

On the rise of the new Bolognese School, the pupils of Calvart for the most part changed their manner, attaching themselves some to one master, and some to another. Those who preserved most evident traces of their former education, in other words, who continued more feeble and less natural than the Caracceschi, were but few. Malvasia enumerates Gio. Batista Bertusio in this list, who vainly aspired at resembling Guido, leaving a variety of paintings both at Bologna and its villages, displaying beauties more apparent than real. Two other artists, Pier Maria da Crevalcore, a painter in oil, and Gabriel Ferrantini, known by his frescos, called also Gabriel degli Occhiali, seem both to have seen, and attempted to imitate the Caracci. Emilio Savonanzi, a Bolognese noble, attached himself to the art when nearly arrived at manhood, but he attended Cremonini more than Calvart; and strongly addicted to changing masters, entered the school of Lodovico Caracci, next that of Guido at Bologna, of Guercino at Cento, and finally the studio of Algardi, an excellent sculptor at Rome. By such means he became a good theorist and an able lecturer, applauded in every particular of his art; nor was he wanting in good practice, uniting many styles in one, in which however that of Guido most prevails. Still he was not equally correct in all his pieces, even betraying feebleness of touch, and not scrupling to denominate himself an artist of many hands. He resided at Ancona, next at Camerino, at which places, as well as in the adjacent districts, he left a variety of works. Of another Bolognese, who flourished at the same period, there remains at Ancona a picture of the offering of the Infant Jesus at the Temple, ornamenting the larger altar of S. Jacopo. The inscription shews him to have resided at Brescia, F. Tiburtius Baldinus Bononiensis F. Brixiæ, 1611. This date proves him to have belonged to the present epoch. His taste, from what I am informed by Sig. Cav. Boni, extremely well informed on subjects of the fine arts, reminds us of the excellent school that flourished in 1500: magnificence in the architecture, great copiousness of composition, and clearness of effect, except that in the general tone of his tints, and in his fleshes, he is somewhat cold. One artist there was, who declared that he had laid down for himself a maxim, never to alter with other styles that of Calvart; and this was Vincenzo Spisano, called likewise Spisanelli. He however is inferior in solidity and truth of design, and displays quite as much caprice and mannerism as any of the practitioners of his time. Nor does he always preserve the colours peculiar to his school; but deadens them with a leaden hue, which is still not unpleasing. His altar-pieces, executed at Bologna, and in the neighbouring cities, are less celebrated than his small pictures for private ornament, which abound in Bologna, and which he was in the habit of enlivening with very attractive landscape. It has already been observed that those who were mannerists in their style, like Zuccaro and Cesari, always when working on a small scale, improved upon themselves.

Bartolommeo Cesi fills the rank also of head of a school, among those who cleared the path to the good method pursued by the disciples of the Caracci. From him Tiarini acquired the art of painting fresco, and his works gave the first impulse to Guido in attaining to his sweet and graceful manner. On examining a work by Cesi, it sometimes seems doubtful whether it may not have been that of Guido when young. He dares little, copies every thing from nature, selects fine forms of each period of life, and makes sparing use of the ideal; his lines and folds are few, his attitudes measured, and his tints more beautiful than strong. He has some paintings at San Jacopo, and at San Martino, which are extremely pleasing; and it is said that Guido, during his early youth, was in the habit of sitting to contemplate them sometimes for hours. His frescos, perhaps, display more power, where he has introduced many copious histories with great judgment, variety, and mastery; and such are those of Æneas, in the Favi palace. His Arch of Forli, painted for Clement VIII., with different exploits, surprises us even more. Though exposed to the action of the open air, during so many years, this piece retains the vividness of its tints to a surprising degree. Malvasia's opinion, in commendation of this artist, is very remarkable, that he had a manner which at once satisfies, pleases, and enamours the beholder, as truly exquisite and sweet as any style of the best Tuscan masters in fresco. In the larger chapel of the Bolognese monastery of Carthusians, there are distinguished examples in both kinds of painting; and the describer of the Carthusian monastery, in his account of them, likewise enumerates Cesi's works for other monasteries of the same order, those of Ferrara, of Florence, and Siena. He was held in esteem by the Caracci, and very generally so by the different professors, no less for the candour of his character, than for his love of the art. To his efforts it was chiefly owing that the company of painters, in 1595, obtained a separation from the artificers of swords, of saddles, and of scabbards, with all of whom they had for centuries been united in the same corporation, and that a new one being formed of painters and of cotton manufacturers,[14] it not being possible wholly to exclude the latter, they were to rank inferior to the artists, or, to use the words of Malvasia, "that they should condescend to furnish to the amount of two hundred, or more, crowns, rich purple cloaks to decorate the wearer of the laurel crown, preceding their vice steward."[15]

Cesare Aretusi, a son, perhaps, of Pellegrino Munari,[16] was distinguished as a colourist in the Venetian taste, but in point of invention weak and dull; while Gio. Batista Fiorini, on the other hand, was full of fine conceptions but worthless in his colouring. Friendship, that introduces community in the possessions of friends, here achieved what is narrated in the Greek anthology of two poor rogues, one of whom was blind and stout, and carried on his shoulders a sharp-eyed cripple, who thus provided himself with a friend's pair of feet, while he afforded him the advantage of as many eyes. So it fared with our two artists, who separately could accomplish very little; though in uniting their powers they produced paintings of considerable merit. In the Guida di Bologna they are very properly rarely divided from each other; and I believe, that in every painting we find attributed to Aretusi, we ought farther to seek for some companion of his labours. Of such kind is a Nativity of the Virgin at S. Afra in Brescia, passing under his name, and painted in a very powerful style. Respecting this picture, however, Averoldi is of opinion that it was in part the workmanship of Bagnatore, in part of other painters, or, perhaps, only painter; in other words that of his useful friend Aretusi. Nevertheless in the branch of portrait, Cesare possessed merit above sharing it with others, and in this capacity he was employed by different princes, and he also succeeded in copying the works of excellent masters better than any other of his age. He could assume the style of almost every painter, and even pass off his imitations for the originals. In his imitation of Coreggio, he was more particularly successful, and received a commission to execute a painting from the celebrated Night, by that master, for the church of S. Gio. di Parma, where it still remains. Mengs, who saw it, declared that were the original at Dresden by any accident lost, it might be well supplied by so fine a duplicate. It was this performance that obtained him the honour of restoring the painting, formerly executed by Coreggio for the same church, of which mention was made in the school of Parma, and to which we here refer the reader. Here too we should add, that such was the success of that picture, "from its accurate imitation of the taste displayed in the original, of its conception, and of its harmony, as to lead those unacquainted with the fact to suppose it to be the work of Allegri." Such are the words of Ruta in his Guida.

Little attention seems to have been given to inferior branches of the art during this epoch, if, indeed, we except that of portrait, whose leading artists must not again be introduced here, having treated of their merits in the proper place. Nor probably were there then wanting painters in oil, who severally produced ornamental pieces of landscape and animals, besides Cremonini and Baglione, whose ability in this line we shall shortly notice, in the class of ornamental fresco painters; though none, as far as I can learn, acquired celebrity. In one instance only I meet with handsome eulogiums on a miniature painter, occasionally mentioned throughout this work. He was called Gio. Neri, also Gio. degli Ucelli, from his peculiar talent in delineating all kinds of birds from the life. With these, and with fish of various species, with quadrupeds and other animals, he filled seven folio volumes, which are cited by Masini in the studio of Ulisse Aldovrandi.

Throughout the whole of this epoch we find no mention in Malvasia of any ornamental or perspective painters, except, perhaps, some figurist, who paid little attention to decorations. There is reason, however, to suppose that the celebrated Sebastiano Serlio, while yet a youth, painted perspectives. The Cav. Tiraboschi, in the seventh volume of his history, remarks that "there is no account of Serlio's occupation during the early part of his life." But the Guida of Pesaro, p. 83, alludes to him at the close of 1511, and subsequently in 1514, as residing in that city in quality of an artist; and in what branch can we more probably suppose him to have been engaged than in perspective? For this, indeed, was the tirocinium of other able architects, where, previous to being entrusted with the anxious duties of their profession, they were enabled, with more facility, to sustain themselves, until their reputation permitted them to assume the character of architects, and abandon the pursuit of painting. Indisputably he could not have been an architect at Pesaro, otherwise there would never have been written on a parchment of 1514, remaining in the archives of the Servi:—Sebastiano qu. Bartholomæi de Serlis de Bononia pictore habitatore Pisauri. And it is about 1534 that we have an account of his being at Venice, no longer handling the pencil, but the square. Masini, who had written his Bologna Perlustrata only a short period before the Felsina Pittrice, commends an Agostino dalle Prospettive, who had reached such a degree of perfection in that art, as even to deceive animals and men with his illusive staircases and similar works, executed at Bologna. It is doubtful whether he did not belong to another school, and may have been omitted by Malvasia as a foreigner. I suspected him to be a Milanese in my fourth volume p. 231), and pupil to the great Soardi, not inferior to his master. Next to him, and to Laureti, Gio. Batista Cremonini of Cento was employed in such commissions more than any other artist. He had received rather superior instructions in the rules of perspective, and respectable practice in the line of statues, figures, and histories, with whatever went to give splendour and effect to a façade, a theatre, or a hall; more particularly he succeeded in delineating animals, however ferocious and wild. There was scarcely a house of any account in all Bologna, which, if nothing more, could not boast some specimen of his chiaroscuro, some frieze for ornament, chimney-piece, or vestibule, decorated by Cremonini; to say nothing of his numerous works in fresco which filled the churches. He was also employed for the adjacent cities, and in different courts of Lombardy kept open school and instructed Guercino, Savonanzi, Fialetti, who flourished in Venice as before stated. He had for his companion Bartolommeo Ramenghi, cousin of Gio. Batista, with whom also lived Scipione Ramenghi, son of Gio. Batista himself, and both eminent[TN4] ornamental painters during that period.

Cremonini had a rival in one Cesare Baglione, an artist in the same sphere, and of the same eager and expeditious character in the art. He was, moreover, a better painter of landscape, and even surpassed all others, including the most ancient, in the method of drawing his foliage. In his inventions too, both of a serious and comic kind, he displayed greater novelty and variety than Cremonini. He thus became a favorite at Parma, where in the ducal palace he left some of his best works, all in harmony with the places which he painted; in the larder illusive eatables of every kind, and cooks employed in dressing them; in the bakehouse utensils for the bakers, and incidents relating thereto; in the washhouses women were seen busied in their different duties, and all in dismay at some untoward or comic accidents; works abounding in spirit and reality sufficient to procure him reputation in his line, had he shewn less eagerness in the execution. This praise will not apply, however, to his decorative taste, which excited the ridicule of the Caracci, who were in the habit of laughing at the fantastic ornaments of his capitals, and those arabesques, most resembling, they declared, the staves of barrels; as well as that custom of filling his compositions with useless ornaments, without rule or discretion, which his own pupils afterwards proceeded to introduce, especially Spada and Dentone. Several others were instructed by him in the art, as Storali and Pisanelli, and some of less note, who painted well in perspective, without aspiring to the reputation of figurists.

Thus we have taken a brief survey of the state of painting in Bologna from the time of Bagnacavallo to the Caracci, who already rising into repute about 1585, in some measure competed with the elder artists, and in some measure by their example, and the spirit of emulation, tended to improve them, of which more in the following epoch. Meanwhile, let us turn our attention to what was passing during this period in Romagna.

Ravenna prides herself on the name of Jacopone, a pupil of Raffaello, who, by his paintings at S. Vitale, introduced into that city the principles of the modern style, and of whom we shall shortly state our opinion, not without some degree of novelty. Another of Raffaello's disciples, if what is averred of him be correct, nourished at Ravenna about 1550, called Don Pietro da Bagnaia, a canon of the Lateran. In the church of his order he painted the altar-piece of S. Sebastian; in the Refectory, the scriptural history of the Loaves and Fishes, besides leaving in another place a history-piece of the Crucifixion of Jesus Christ, abounding in figures equal to the preceding. To these, enumerated by Orlandi, may be added the picture of Padua, with the Virgin between St. John the Baptist and St. Augustine, executed for the church of S. Giovanni di Verdara; in the sacristy of which is a Holy Family by him, imbued with all the graces of Raffaello in every feature and action, but sadly wanting in strength and harmony of colouring. There is another Holy Family at the Lateran Friars in Asti, on a larger scale, designed and composed with equal grace, but with similar feebleness of tints, even more lifeless; and to both pieces is appended an inscription, entreating the beholder to pray for the soul of the painter. I am not aware whether this worthy ecclesiastic was in Ravenna in 1547, at the period of Vasari's visit thither, but the latter makes no mention of his name.

Yet he mentioned, among the excellent artists who still flourished there, Luca Longhi, whose ability in the essentials of the art is highly praised. He regrets, however, that he should always have resided in his native place, which had he left for objects of improvement, he might have become a very distinguished artist. He was a good portrait-painter, and produced a great number of pictures for Ravenna. Some, too, he sent elsewhere, and they are met with at San Benedetto in Ferrara, in the Abbey at Mantua, in that of Praglia near Padua, at S. Francesco in Rimini, with the date of 1580, in Pesaro, and other places. They are chiefly composed in the ancient manner, but on comparing some of the earlier with those that follow, a more modern air is perceptible, a circumstance attributed by Vasari to his own conversations with the artist. Longhi's style, however, was opposed to that of Vasari, being very correct and highly finished; his conceptions sweet, varied, and graceful; with a powerful union of colours; more nearly resembling Innocenzo da Imola, if I mistake not, than any other artist of the times, though inferior to him in point of grandeur and beauty. Luca's most perfect pictures that I have met with in Ravenna are those of S. Vitale, of S. Agata, of S. Domenico, all with a representation of the Virgin between two or more saints, and with some graceful cherubs playing above. There are others more laboured, which please us less, and demonstrate that to succeed in grand compositions, it is previously necessary to have studied the great schools. Luca had a daughter, named Barbara, yet a child at the period when Vasari published his work, but who had begun to paint "with a tolerable degree of grace and manner." From the hand of this lady there is only a single specimen remaining in public. Respecting a son of Luca, named Francesco, the historian is wholly silent, being, doubtless, at the time he wrote, still younger than his sister, but who became an artist in maturer years. In 1576 he produced a picture for the church of the Carmine, and there are accounts of him, even down to 1610. He chiefly pursued the steps of his father, though he is more common in his countenances, and more feeble in point of colouring, which he copied rather from Vasari.

Francesco Scannelli mentions a pupil of Raffaello at Cesena[TN5], omitted by all other historians, named Scipione Sacco. He painted a picture of S. Gregory for the cathedral of Cesena, in a grand style,[17] and the Death of St. Peter the Martyr for the church of S. Domenico. Doubtless he was of Raffaello's school, and not remembered out of Romagna.

While the family of the Longhi was employed at Ravenna, that of the Minzocchi, which was surnamed San Bernardo, was distinguishing itself at Forli. Francesco, called also the elder di S. Bernardo, studied the works of Palmigiani in his native place; and there remain pictures conducted in his youth, but feeble in point of design, such as his Crucifixion at the Padri Osservanti. But under Genga, according to Vasari, and, as some writers add, under Pordenone, he changed his manner, assuming a more correct style, graceful, animated, and of an expression which looks like nature herself in these his subsequent productions. Among the works he executed with most care are two lateral pictures at the cathedral of Loreto, in a chapel of S. Francesco di Paola. These consist of a Sacrifice of Melchisedec, and the miracle of the Manna, in which the prophets and the principal characters boast all the dignity and nobleness of drapery becoming the school of Pordenone. The crowd, however, is represented in the most popular features and attitudes, sufficient almost to excite the envy of Teniers, and the most natural artists of the Flemish school. His delineations in these pictures, of numerous and various animals, are expressed to the life, with baskets and different utensils like reality, though the attempt to excite our mirth in treating serious subjects has a bad effect. Scannelli extols a specimen of his works in fresco at S. Maria della Grata in Forli, representing the Deity on the ceiling, surrounded by a number of angels; figures full of spirit, majestic, varied, and painted with a power and skill of foreshortening, which entitles him to greater celebrity than he enjoys. He left a variety of productions, likewise, at S. Domenico, at the cathedral, and at private houses in his native place, where such is his reputation, that on the chapels being taken down, his least celebrated frescos were carefully cut out, and replaced elsewhere. Among his sons and pupils were Pietro Paolo, mentioned also by Vasari, and Sebastiano, both artists of the same natural style, not very select, with little relief, and mediocrity of invention. To Pietro Paolo belong several figures at the Padri Francescani at Forli, of feeble execution; and to Sebastiano a picture at S. Agostino, composed in 1593 in the ancient taste, and of a style like his other works, inferior to the character of his age.

Subsequent to the elder Minzocchi, Forli produced two other artists deserving commemoration; namely, Livio Agresti, conspicuous in the histories of Vasari and Baglione, as a daring designer, a copious composer, and universal in point of manner; the other, Francesco di Modigliana, an artist of more limited genius, but still deserving to be known. Of Livio, I spoke in the third epoch of the Roman School, to which, as pupil to Perino, and resident in Rome, where he was employed at the Castello, in the Vatican, at S. Spirito and elsewhere, he doubtless belongs. His native place, however, seems to have culled the fairest fruit of his labours, Rome possessing nothing nearly so Raffaellesque, as are his Scriptural Histories in the public palace at Forli. Nor ought we to pass over that finely decorated chapel in the cathedral, where he represented the Last Supper, with some majestic figures of the prophets upon the ceiling; a work that for depth and intricacy of perspective yields in nothing to Minzocchi. I shall not stop to inquire, with Malvasia, whether having gone to Rome in a moment of disgust and in haste, instead of there advancing himself, he wholly failed; but of this I am convinced, that his history in the Cappella Paolina, is by no means his masterpiece.

Francesco di Modigliana is said to have been pupil to Pontormo, in whose school he almost fills the same rank as Bronzino in that of Florence; not remarkably powerful, nor always consistent with himself, but very graceful and beautiful, and deserving a place in our pictoric Lexicons, where his name is wanting. His works at Urbino consist of those which are pointed out under the name of Francesco da Forli; a picture of Christ taken down from the cross, in oil, at S. Croce; and some angels in fresco at S. Lucia; productions much commended, and resembling in style his best at the Osservanti in Forli, and at the Rosario in Rimini. Here, perhaps, he most distinguished himself; in his picture of Adam driven from Eden, his Deluge, the Tower of Babel, with similar histories already treated by Raffaello at Rome, and by Agresti in Forli, from imitating whom, if I mistake not, he greatly improved and advanced himself. Dying suddenly he left his work imperfect, afterwards continued by Gio. Laurentini, called Arrigoni, who painted the Death of Abel at the same place.

After Bartolommeo da Rimini, who inclined more towards the modern than the ancient style, I find no other artist of celebrity in that city besides Arrigoni. Even his name has not been recorded by Orlandi, nor by his continuator. He diligently employed himself in his native place, and two of his pictures representing martyrdoms, met with surprising success; one of St. John the Baptist, at the Augustine friars, and another of the Saints John and Paul, at the church bearing their name. Yet they do not display that beau ideal, so attractive at that period in the productions even of the inferior disciples of the Roman School; but they convey the impression of grand compositions, a vivacity of action, a boldness of hand, a splendor in the retinue of horse and arms, and military ensigns, calculated to compete with the chief part of the painters employed at Rome in the service of Gregory and of Sixtus.

Faenza, too, at the opening of this epoch, boasted her Jacopone, or Jacomone, of whom we treated among the assistants of Raffaello, and among the masters of Taddeo Zuccaro. Vasari makes brief mention and smaller account of this artist; recording only one of his productions, the tribune of S. Vitale at Ravenna, and which has ceased to exist. In the cupola of the church, however, subsequently repainted by another hand, there were visible, in the time of Fabri, author of "Ravenna Ricercata," (researches in that city) several figures of saints richly apparelled, bearing this inscription: "Opus Jacobi Bertucci et Julii Tondutii Faventinorum. Pari voto f. 1513."[18] At present I no longer doubt but that under this Jacopo was concealed the name of Jacopone di Faenza, though according to Orlandi they were two several painters, and though it has never occurred to Baldinucci and Bottari, and other writers of pictoric history, to unite them into one. My conjecture is founded upon a picture which I saw in the church of the Dominican nuns in Faenza, representing the Birth of the Virgin, with the name of Jacopo Bertucci of Faenza, and dated 1532. It is a work which arrests the eye by its resemblance to the style of Raffaello, though his harmonious gradations have not been well observed, and the colouring inclines more to the strong than to the beautiful. The women busied about the couch of St. Anne are beautiful, graceful, and animated figures, and there are some animals, and in particular a fowl, which a Bassano himself would not have been sorry to have painted. Now what other Jacopo of Faenza could in the year 1532, have painted in this style, with more shew of reason and probability than Jacopone da Faenza, whose family would here appear to be discovered?

The same city possesses a variety of other pieces by this Bertucci, and in the soffitto of S. Giovanni, various histories, both of the Old and New Testament, were pointed out to me as his. There too are several of inferior character attributed to another Bertucci, his son, an artist who in his heads repeats the same idea, even to satiety. Still his merit ought not, I think, to be estimated from a single work, but rather from some pictures cited by Crespi.[19] One of these is the Beheading of St. John the Baptist, animated and high toned in its colours, beautiful in point of design and character, and worthy of decorating the Ercolani collection at Bologna. Upon it is inscribed "Bertucius pinxit, 1580." The other is at the Celestini of Faenza, a singular work, as Crespi denominates it, from which he appears to have learnt the proper name of this younger Bertucci, whom he calls Giambatista. Baldinucci treats of Jacopone at the commencement of his fifth volume, and on the credit of Count Laderchi, he enumerates his different paintings, which then remained at Faenza. Of his surname he mentions nothing; nothing of his altar-piece of the Nativity; nothing of S. Vitale; nothing of the son, or the other artist of Faenza lately alluded to. He adds, that works of Jacopone were to be seen up to the year 1570, but I believe these last to have belonged to the son, inasmuch as the father, at the period when Vasari wrote, was already deceased. Other pictures by this artist are mentioned, painted in glowing and attractive colours, and in particular the Baptizing of Christ, preserved in the public collection, valuable from its giving the epoch of 1610, which must have been towards the close of his days.

By Giulio Tonduzzi there is pointed out at Ravenna the Stoning of St. Stephen, on the large altar of a church consecrated to that saint, a beautiful picture, but not indisputably proved to be his. I conjecture it to be a copy of the St. Stephen that decorates the church of Faenza, in which the whole style of Giulio Romano is apparent; so much so, that it has been attributed to him, a mistake arising from resemblance of names; but Tonduzzi is known to have been Giulio's pupil. I omit other productions of this excellent artist, though I ought to notice, that in the soffitto of S. Giovanni, he also painted several sacred histories, in competition with all the first artists, who then flourished at Faenza, on which account that very cultivated city has preserved the whole of these paintings, although much defaced by age, in the Lyceum collection, belonging to the commune, mentioned in other places. I also find one M. Antonio da Faenza, commended by Civalli for a very excellent picture, possessing fine relief, at the church of the Conventuali of Monte Lupone, in the Marca, dated 1525. Contemporary with these must have been Figurino da Faenza, enumerated by Vasari among the best disciples of Giulio Romano, though I meet with no mention of him elsewhere. It is conjectured, however, with good reason, that Figurino was only a surname given to Marc Antonio Rocchetti, a painter of great reputation at Faenza, who in youth took great delight in minute drawing, producing, among other pieces, little histories of St. Sebastian, for the ornament of that church, now destroyed, when they came into possession of various individuals who treasure them up in the present day. In maturer years he enlarged his manner, attaching himself to the imitation of Baroccio, which he did with a simplicity of composition and sweetness of tints, that made him conspicuous in different churches which he adorned, as we may gather from the picture of the titular Saint at S. Rocco, with the year 1604, the latest period which we find mentioned on his productions. In the Communal collection, also, there is seen a picture of the Virgin, known in Faenza under the name of the Madonna of the Angels, with a St. Francis, a holy bishop, and two portraits below. It bears the inscription, M. Antonius Rochettus Faventinus pingebat, 1594. It was requisite to mention this picture, which I find extolled above all other specimens that have remained. The name of Niccolo Paganelli, before unknown to us, is also met with in the Oretti correspondence, contained in a letter of Zanoni, which we cite in treating of Benedetto Marini. He is supposed to have been a good pupil of the Roman School, and some attribute to him the fine picture of S. Martino, in the cathedral of Faenza, the supposed work of Luca Longhi. His genuine pictures are recognized by the initials N.+P.

Subsequent to the period of Jacopone, who never acquired fortune, Marco Marchetti greatly distinguished himself. So at least he is named by Baglione, or Marco da Faenza, according to Vasari, who observes that he was "particularly experienced in regard to frescos; bold, decided, terrible; and especially in the practice and manner of drawing grotesques, not having any rival then equal to him." Nor perhaps has any artist since appeared who equals him in this respect, and in happily adapting to grotesques little histories, full of spirit and elegance, and with figures which form a school for design. Such is the Slaughter of the Innocents, in the Vatican. He succeeded Sabbatini in the works of Gregory XIII. and entered the service of Cosmo I. for whom he decorated the Palazzo Vecchio at Florence. He painted little in his own country, though a few pieces in oil are still pointed out, and an arch in a public way, with festoons of flowers, monsters, and capricci, resembling the work of an ancient artist. The whole reminds us of mythology and erudition, while at subsequent periods it became customary in this kind of painting to dare every extravagance and excess. Perhaps his most finished piece adorns the Communal collection, representing the Feast of Christ in the house of the Pharisee. His death occurred in 1588. Contemporary with him flourished Gio. Batista Armenini, also of Faenza, an able artist, and author of the "True Precepts of Painting,"[20] published at Ravenna in 1587, a work that re-appeared in the ensuing century at Venice. In fact Armenini was a better theorist than a practitioner; nor has he any production in his native place, except a large picture of the Assumption, on which he inscribed Jo. Bapt. Armenini primiliæ, meaning, that it was among the first, or perhaps the very first altar-piece which he ever painted. Perotti, the author of certain Farragini,[21] which are still preserved in the library of the Seminary at Faenza, there observes, that Armenini was a pupil of Perin del Vaga. Nor is there a great interval between him and Cristoforo Lanconello, an artist of Faenza, first discovered to us in the letter of Crespi, just before cited. He is celebrated for his picture in the Casa Ercolani, in which the Virgin appears crowned with a glory, attended by Saints Francis and Chiara, and two more; a work displaying great freedom of hand, beauty of colouring, fine airs of the heads, and altogether in the composition of Barocci.

We must not take our leave of the Cinquecentisti[22] without first noticing a cavalier of Faenza, who flourished till the year 1620, in which he died at the age of 83. His name was Niccolo Pappanelli, and such was his enthusiasm for the art, that he attended all the most distinguished masters then in vogue at Rome. On his return to his native place, he produced, along with some pieces of mediocrity, a few of an exquisite character, such as his picture of S. Martino at the cathedral, so well executed in point of design, force of colouring, and expression, as to be truly admirable. He, too, attempted to follow in the track of Barocci.

Other artists of Romagna, belonging to this period, are treated of in the schools where they chiefly flourished, such as Ingoli of Ravenna, at Venice, Zaccolini of Cesena at Rome, and Ardente, a native of Faenza, in Piedmont.

BOLOGNESE SCHOOL.

EPOCH III.

The Caracci, their Scholars, and their Successors, until the time of Cignani.

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 centuries. In our preceding books we have taken a survey of almost every school; and everywhere, early or late, we have met with either the Caracci or their pupils, or at least with their successors, employed in overthrowing the ancient maxims, and introducing new, until we reach the period when there was no artist who, in some respect or other, might not be said to belong to their school. Now, as it is grateful to the traveller, after long following the course of some royal river, to ascend still higher to its source, so I trust it will, in like manner, prove delightful to my readers, to be here made acquainted with those principles that conferred this new style upon the world of art, and in a short time filled with its specimens, and took the lead of every individual school. What, in my opinion, too, is still more surprising is, that it should owe its origin to Lodovico Caracci, a young artist, who appeared of a slow, inactive intellect in early years, and better adapted to grind colours than to harmonize and apply them. He was advised, both by Fontana, his master at Bologna, and by Tintoretto[TN6], who directed his studies in Venice, to adopt a new profession, as quite unqualified for the art of painting; his fellow pupils likewise bantering him with the epithet of the ox, in allusion to his extreme dulness and tardiness. Indeed, every thing seemed to conspire to discourage him; he alone did not despair; from the obstacles he had to encounter he only gathered courage, and inducements to rouse, not to alarm himself. For this, his dilatory character, did not spring from confined genius, but from deep penetration; he shunned the ideal of the art as a rock on which so many of his contemporaries had suffered shipwreck; he pursued nature every where; he exacted of himself a reason for every line he drew; and considered it the duty of a young artist to aim only at doing well, until at length it grows into a habit, and such habit assists him in expediting his work.

Resolute, then, in his purpose, after having studied the best native artists in Bologna, he proceeded to do the same under Titian and Tintoretto at Venice. Thence he passed to Florence, and improved his taste from the pictures of Andrea, and the instructions of Passignano. At that period, the school of the Florentines had attained to that crisis, described in treating of its fourth epoch. Nothing could be more advantageous to young Lodovico than to observe there the competition between the partizans of the old and the new style; nor could there be better means of ascertaining the causes of the decline, and of the revival of the art. Such a scene was assuredly of the greatest use to him, though hitherto not much noticed, in attempting the reform of painting, and carrying it to a higher degree of perfection. The most eminent Florentines, with the view of improving the languid colouring of their masters, turned to the models of Coreggio and his followers; and their example, I am of opinion, induced Lodovico to leave Florence for Parma, where, observes his historian, he wholly devoted himself to that master and to Parmigianino. On his return to Bologna, although well received and esteemed as a good artist, he soon became aware that a single individual, so reserved and cautious as he was, could ill compete with an entire school; unless, following the example of Cigoli at Florence, he were to form a party among the rising pupils at Bologna.

In the first instance, he sought support in his own relatives. His brother Paolo cultivated the art, but was deficient both in judgment and in ability, and calculated only to execute with mediocrity the designs of others. On him he placed no reliance, but a good deal on two of his cousins. He had a paternal uncle named Antonio, by profession a tailor, who educated his two sons, Agostino and Annibale, at home. Such was their genius for design, that Lodovico was accustomed to say in his old age, that he had never had, during his whole professional career, a single pupil to equal them. The first devoted his attention to the goldsmith's art—always the school of the best engravers; the second was at once the pupil and assistant of his father in his calling. Though brothers, their dispositions were so opposite, as to render their society insufferable to each other, and they were little less than enemies. Accomplished in letters, Agostino always sought the company of learned men; there was no science on which he could not speak; at once a philosopher, a geometrician, and a poet; of refined manners, ready wit, and averse to the pursuits of the crowd. Annibale, on the contrary, neglected letters, beyond the mere power of reading and writing, while a natural bluntness of manner inclined him to taciturnity, and when compelled to speak, it was mostly in a satirical, contemptuous, or disputing tone.

On devoting themselves, at the suggestion of Lodovico, to the pictoric art, they still found themselves opposed to each other in genius, as they were in manners. Agostino was timid, and extremely select, backward in resolve, difficult to please himself, and was never aware of a difficulty that he did not encounter, and attempt to vanquish it. Annibal, in common with numbers of artificers, was an expeditious workman, intolerant of doubts and delays, eagerly seeking every remedy for the intricacies of the art, trying the most easy methods, and to perform much in little time. Had they indeed fallen into other hands, Agostino would have become a new Samacchini, Annibal a new Passerotti; and painting would have owed no improvement to their efforts. But their cousin's fine judgment led him, in their education, to imitate Isocrates, who, instructing Ephorus and Theopompus, was accustomed to say, that he was compelled to apply spurs to the one, and a rein to the other. With similar views he consigned Agostino to Fontana, as an easy and rapid master, and retained Annibal in his own studio, where works were carried to higher perfection. By such means too he kept them apart, until riper age should by degrees remove the enmity subsisting between them, and convert it into a bond of amity, when devoted to the same profession, they might unite their capital, and mutually assist each other. In a few years he succeeded in reconciling them, and in 1580 he placed them at Parma and at Venice, of which an account has been given under those schools. During this period Agostino collected materials for his varied learning, and enlarged his design; and as before leaving Bologna he had made great progress in engraving under Domenico Tibaldi, he continued in Venice to practise it under Cort with such success, as to excite his master's jealousy, who drove him, but in vain, from his studio; for Agostino was already esteemed the Marc Antonio of his time. Annibal, devoted to a single aim, both at Parma and Venice continued to paint, availing himself of the works and conversation of illustrious men, with whom at that period the Venetian School abounded. It was then, or shortly subsequent, that he executed his beautiful copies of Coreggio, Titian, and Paul Veronese; in whose taste he also conducted some small pictures. Several specimens of these I saw in possession of the Marchese Durazzo at Genoa, displaying opposite, but very graceful styles.

Returning accomplished artists into their native place, they struggled long and nobly with their fortunes. Their first undertakings consisted of the exploits of Jason, in a frieze of the Casa Favi; these, though conducted with the assistance of Lodovico, were vituperated with excessive scorn by the old painters, as deficient both in elegance and correctness. To this censure, the credit of these masters who had flourished at Rome, who were extolled by the poets, adorned with diplomas, and regarded by the declining age as pillars of the art, seemed to give weight. Their disciples echoed their words, and the crowd repeated them; and such murmurs proceeding from a public, gifted with as much volubility in conversation as would suffice for purposes of declamation or controversy elsewhere, wounded the feelings of the Caracci, overwhelmed and depressed them. I was informed by the accomplished Cav. Niccolò Fava, that Lodovico's change of fortune, along with that of his cousins, occurred on an occasion, and at a period little differing from the above; which is supported by a tradition to the same effect. The two cousins had executed the frieze in the same hall where Cesi adorned another, in opposition to it, with histories of Æneas, which we have already mentioned, (p. 74). The work, conducted in the old style, was certainly beautiful, but Lodovico, in the new, painted another chamber with other histories, twelve in number, of Æneas, of which mention is made in the Guide of Bologna, (p. 14); histories in no way inferior to those in the Casa Magnani. Here was the beginning of the Caracci's fortune, and of the fall of the old masters, Bologna at length preparing to do justice to the worth of that divine artist, and to verify in respect to Cesi that sentence of Hesiod, of which, to the best of my ability, I here offer a version from the Greek, as follows:

It was now that the Caracci, more than ever confident in their style, answered the voice of censure only by works full of vigour and nature, opposed to the works of older masters, feeble and void of truth. By such means that revolution of style which had so long been meditated, at length took place; but it became necessary, in order to accelerate it, to bring over the students of the art to their party, the better to insure the hopes of a new and improved era. This too the Caracci achieved, by opening an academy of painting at their house, which they entitled Degli Incamminati, supplying it with casts, designs, and prints, in the same manner as those of their rivals; besides introducing a school for the drawing of the naked figure, and for the study of anatomy and perspective: in short, every thing requisite to the art; directing the whole with a skill added to a kindness that could not fail to procure it abundance of pupils. In particular, the fiery temper of Dionisio Calvart contributed to fill it, who, being in the habit of striking, and even wounding his disciples, drove Guido, Albano, and Domenichino, to transfer their talents to the studio of the Caracci. Panico too entered it from the school of Fontana, and from all sides the best young artists assembled, drawing after them fresh ranks of students. Finally, the other academies were closed; every school was left to solitude; every name gave way before that of the Caracci; to them the best commissions, to them the meed of praise were accorded. Their humbled rivals soon assumed another language, especially when the grand hall of Magnani was thrown open, presenting the wonders of the new Carraccesque art. It was then Cesi declared that he would become a disciple of the new school; and Fontana only lamented that he was too grey-headed to keep pace with it, while Calvart alone, with his usual bravado, ventured to blame the work, being the last of all to recant, or at least to become silent.

It is now time to record the pursuits and the maxims of an academy, which, besides educating many illustrious pupils, perfected the art of their masters; and confirmed the axiom, that the shortest method of learning much is that of teaching. The three brothers were on the most perfect understanding as to the art of teaching, as free from venality as from envy; but the most laborious branches of the professorship were sustained by Agostino. He had drawn up a short treatise of perspective and architecture, from which he expounded to the school. He explained the nature of the bones and muscles, designating them by their names, in which he was assisted by Lanzoni the anatomist, who also secretly provided the school with bodies for such dissections as were required. His lectures were sometimes founded upon history, at others upon fictions; and these he illustrated, and offered for designs, which being exhibited at stated intervals, were examined by skilful judges, who decided upon their respective merits; as we gather from a ticket written to Cesi, one of the arbiters. The meed of fame was sufficient for the crowned candidates, round whom the poets collected to celebrate their name; with whom Agostino enthusiastically joined both with harp and voice, applauding the progress of his scholars. These last were likewise instructed in true criticism, and to give due praise or blame to the works of others; they were also taught to criticise their own works, and whoever could not give good reasons for what he had done, and defend his own work, must cancel it upon the spot. Each, however, was at liberty to pursue what path he pleased, or rather each entered upon that to which nature had best adapted him, which gave rise to so many original manners from the same studio; yet each style was to be founded upon reason, nature, and imitation. In all more doubtful points, recourse was had to the opinion of Lodovico; the cousins presided over the daily exercises of design, full of assiduity, industry, and perseverance. Even the recreations of the academicians had a view to art; to draw landscapes from nature, or to sketch caricatures, were the customary amusements of Annibale and the disciples of the school, when they wished to relax from study.[23]

The maxim of uniting together the study of nature, and the imitation of the best masters, already touched upon in the outset of this book, formed the real foundation of the school of Caracci; although they took care to modify it according to particular talents, as we have seen. Their object was to collect into one whatever they found most valuable in other schools, and in this process they observed two methods. The first resembles that of the poets, who, in several Canzoni, propose different models for imitation; in one, for instance, borrowing from Petrarch, in another from Chiabrera, in a third from Frugoni. The second method is like that of those, who, being masters of these three styles, form and harmonize them into one, like Corinthian metal, composed of various other kinds. Thus the Caracci, in some of their compositions, were accustomed to present different styles in a variety of different figures. So Lodovico, in his Preaching of St. John the Baptist, at the church of the Certosini (where Crespi is especially opposed to Paul Veronese), has exhibited the audience of the saint in such a manner that a judge described them by these names:—the Raffaellesque, the Tizianesque, and the imitator of Tintoretto. Annibal too, who had long admired only Coreggio, having finally adopted Lodovico's maxim, painted his celebrated picture for the church of St. George, where, in his figure of the Virgin, he imitated Paolo; in that of the Divine Infant and St. John, Coreggio; in St. John the Evangelist he exhibited Titian; and in the very graceful form of St. Catherine, the sweetness of Parmigianino. Most generally, however, they pursued the second path, and still more examples might be adduced of less apparent and more free and mixed imitations, so modified as to produce a whole of a perfectly original character. And the ingenious Agostino, emulating the ancient legislators, who embodied all their laws in a few verses, composed that very picturesque, rather than poetical sonnet, in praise of Niccolino Abati, but which also well explains the maxim of their school, in selecting the peculiar merits of each different style. It has been handed down to us by Malvasia, in his life of Primaticcio, and runs as follows:—

It is not easy to ascertain how far the Caracci may have carried this project, though it must always reflect the highest degree of credit upon them to have executed it in a superior manner to all other artists. In the outset they most felt their deficiency in their imitation of the antique, called by Agostino the design of Rome. He and Annibal, however, while residing there as strangers, in some measure reproduced and restored it to Roman artists themselves; and Lodovico, though remaining at Bologna, shewed that he was by no means unacquainted with it. At first, observes Mengs, they devoted much study to Coreggio, both in their ample outline and in their general design, although they did not observe the same exact equilibrium in their concave and convex lines, but rather affected the latter. There were other points which they did not attempt to include in such imitation, as in the shortening of the heads, and exhibiting them so very frequently with that smile so much repeated by the Parmigiani, by Barocci, and Vanni. They took their heads from life, and improved upon them by general ideas of the beautiful. Hence Annibal's Madonnas, many of them of a small size on copper, exhibit a peculiar and original beauty derived from his studies; and the same may be said of Lodovico, who, in his softer heads, often gives the portrait of a lady named Giacomazzi, celebrated for her beauty at that time. The Caracci were extremely well-grounded in a knowledge of anatomy, and of the naked figure; and it would be manifest injustice not to give them credit for due estimation of Michelangiolo, whom they also imitated. One of them indeed is known to have said, with some acrimony towards the rival school, that Bonarruoti ought to have covered his bones with a little flesh, in the manner of their own Tibaldi. It is true they availed themselves less of the naked form in composition than the Florentines, though more largely than the other schools. In their costume, they were not so anxious to observe the exactness and richness of Paul Veronese, as the grandeur of his folds and form; nor did any other school give more ample flow of drapery, or arrange it with dignity more suitable to the figures.

Yet Mengs denies that they were consummate colourists, though they studied the Lombard and Venetian schools, an opinion confirmed by Lodovico's paintings in oil, which are faded and almost gone. This arose, either from the nature of his grounds, from too abundant use of oil, or from not allowing due time between preparing his canvass and colouring it. The same remark will not apply to his frescos, which, on a near view, exhibit a boldness of hand equal almost to Paolo's; nor, in the opinion of Bellori, was there any work which, in point of colouring, reflected higher credit on the Caracci, and on the age, than their pictures in the Casa Magnani. They boast a truth, force, mixture, and harmony of colours, such as to entitle them also in this portion of the art to the praise of being reformers of the age. They effectually banished those wretched yellows, and other weak, washy tints, introduced from parsimony, in place of the azures and different colours of higher price. In this Bellori accords most merit to Annibal; declaring it was owing to him that Lodovico himself renounced his first method of colouring, which was formed on that of Procaccini.

In action and expression they aimed at vivacity, but without ever losing sight of propriety, of which they were extremely observant; and to which they were ready to sacrifice any of the graces of the art. In taste of invention and composition, they come near that of Raffaello. The Caracci were not lavish of their figures, conceiving twelve sufficient for any historical piece, except in crowds, or in battle-pieces, where they were still moderate, in order to give greater relief to particular groups. That they were competent to compose with judgment, learning, and variety, is fully apparent from their sacred histories represented on altars, where they avoided, as much as possible, the very trite representation of a Madonna between various saints. This truth is still more remarkably shewn in their profane histories, and in none better than those of Romulus, in the family just before mentioned. The three relations there appear universal in the art, as perspective, landscape, and ornamental painters, masters of every style, and concentering in one point of view whatever is most desirable in any single work. The three artists seem to disappear in one; and the same is observed also in several galleries and churches of Bologna. They followed the same maxims, and in the same studio designed in union with one another, conferring and taking measures how best to complete every work in hand. In several instances it still remains matter of doubt whether pictures are to be attributed to Annibal or to Lodovico; and the three scriptural histories of the Sampieri, in which the three relations wished to display their respective powers, do not exhibit a diversity which might essentially characterize their respective authors. Some indeed there are who may detect in Lodovico a more general imitation of Titian, than is observable in the cousins, Agostino inclining more to the taste of Tintoretto, Annibal to that of Coreggio. It has sometimes been remarked that the figures of the first of the three are light in form, those of the third, robust; while those of Agostino hold a middle rank. At Bologna I found Lodovico enjoying most repute for a certain elevation and grandeur; Agostino for his inventive powers; Annibal for grace. Every one must judge, however, according to his own views. It is now my duty to consider these separately.

Lodovico, doubtless, rises into the sublime in many of his works at Bologna. His picture of the "Probatica" so excellent both in point of architecture and the design of the figures; that of S. Girolamo, who, suspending his pen, turns towards heaven with a look and gesture so truly impressive and dignified; his Limbo of holy fathers, which, as if to renew his delight in it, he repeated in the cathedral of Piacenza, and sketched also under a Crucifixion at Ferrara: these have ever been regarded in that school as models of the sublime. Nevertheless, if we examine the "Assumption," at the Teresiani, the "Paradise," at the Barnabiti, or the "S. George," in which is represented that admirable virgin, who is seen seized with terror in the act of flight, it will be allowed that Annibal himself could not have exhibited more grace in his drawing of young maidens or of boys. More excelling, therefore, than great, Lodovico may be said to be transcendant in every character; and it would even seem that he had aimed at this boast in the two frescos that have perished, with which he decorated, at S. Domenico, the chapel of the Lambertini. In one he exhibited the holy founder, with S. Francis, in a manner very easy and pleasing to the eye, with few lights and as few shades, but both powerful, and with few folds in the drapery; the countenances full of piety; insomuch that the whole performance, in the words of Malvasia, "rose to a pitch of grandeur not to be excelled." In the other piece he represented "Charity," in a style equally soft, graceful, and polished, and which was subsequently, says the historian, esteemed "the model and the rule of modern painting." He proceeds to relate, that Albani, Guido, and Domenichino all derived their sweetness from this source, in the same way, most probably, that Cavedoni took his first style from the S. Domenico; and from his Paul at the Conventuali Guercino acquired his grand power of chiaroscuro. In short, if we may give credit to history, Lodovico in his own school ranks like Homer among the Greeks, fons ingeniorum. Individual artists in him have recognized what constituted the character of their own knowledge, because in every branch of painting he was truly profound.[24]

The masterly dignity of his character appears to most advantage in the cloister of S. Michele in Bosco, where, assisted by his pupils, he represented the actions of St. Benedict and St. Cecilia in thirty-seven separate histories. By his hand is the Conflagration of Mount Cassino, and some other portions; the remaining parts are by Guido, by Tiarini, by Massari, by Cavedoni, by Spada, by Garbieri, by Brizio, and other young artists. These paintings have been engraved, and are worthy of the reformers of that age. On beholding what we may term this gallery by different hands, we should be almost inclined to bestow upon the school of Lodovico this trite eulogy; that from it, as from the Trojan horse, there issued only princes. What does him still more honour is, that his relatives themselves, down to the least and last, uniformly venerated him as a preceptor, insomuch that Annibal, on the completion of the Farnese gallery, invited him to Rome, as the adviser, arbiter, and umpire of that work. He remained there less than two weeks, and then returning to his beloved Bologna, he survived Agostino seventeen years, and Annibal ten. Being separated from the two cousins, he employed himself at an advanced age in a manner less studied, but still exemplary and masterly. Nor ought a few slight inaccuracies of design to detract from the praise due to him, inaccuracies which he fell into about this period, as in the drawing of the hand of the Redeemer, in the act of calling St. Matthew to follow him, or in the foot of the Madonna of the Annunciation painted at S. Pietro, a fault which he saw too late, and it may be added, for which he died of affliction. Other less well founded criticisms advanced against him by a traveller have been fully rebutted and confuted by the Can. Crespi.[25]

Agostino, occupied for the most part in engraving, painted but little, this employment supplying him at once with the means of subsistence, and of shining in the class of artists. Doubtless painting here sustained a loss, deprived of a genius equally calculated as his relations to promote the art. His powers of invention surpassed those of the other Caracci, and many rank him foremost in point of design. It is certain that in his engraving he corrected and improved upon the outlines of his originals. On his return from Venice he applied himself more effectually to colouring, and succeeded in that of a horse, so far as to deceive the living animal, a triumph so much celebrated in Apelles. He once competed with his brother Annibal for an altar-piece intended for the church of the Carthusians. His design was preferred; and it was then that in his Communion of S. Girolamo he produced one of the most celebrated pictures of which Bologna can boast. Nothing can be imagined finer than the expression of devotion in the aged saint, the piety of the priest at the communion, the looks of the spectators, who support the dying, who catch his last accents, committing them instantly to writing, lest they escape; countenances finely varied and animated, each breathing and speaking, as it were, peculiar mind. On its first exhibition, the pupils thronged around the picture to make their studies, insomuch that Annibal, urged by jealousy, assumed more of his brother's taste, becoming more select and slow, contriving further to addict his brother to engraving; a plan in which he succeeded. He returned, as a painter, to Rome; and the fine representation of Poetry, so much admired in the Farnese gallery, was, in great part, owing to his talent; and the same may be said of the fables of Cephalus and Galatea, exquisitely graceful productions, which seem dictated by a poet, and executed by a Greek artist. Hence it was rumoured that in the Farnesian paintings the engraver had surpassed the painter; at which Annibal, no longer able to subdue his envy, removed his brother from the undertaking under a variety of false pretences; nor was any humility on the part of Agostino, any advice of his elders, or any mediation of the great, sufficient to appease him. Quitting Rome, Agostino entered into the service of the Duke of Parma, for whom he painted Celestial Love, Terrestrial Love, and Venal Love, to adorn one of the halls, a very beautiful work, which he terminated only just before his death. A single figure remained wanting, and this the duke would never consent to have supplied by any other hand. At the point of death he was seized with lively remorse, on account of his many licentious engravings and prints, and even wept bitterly. At that period he designed a picture of the Last Judgment, which, however, he was unable to complete. In the account of his funeral, and in the oration recited on that occasion by Lucio Faberio, mention is made of a head of Jesus Christ, in the character of the universal judge, painted at that time, though unfinished, upon a black ground. Such a head is pointed out in the Albani palace at Rome, and duplicates exist elsewhere. In the features we see exhibited all that is at once most majestic and most terrible within the limits of the human imagination.

Annibal was greatly celebrated in Lombardy in every peculiar taste which he chose to pursue. In his earliest works Mengs declares that he traces the appearance, but not the depth and reality of Coreggio's style; but it is an appearance so extremely plausible, that it compels us to pronounce him one of the most perfect imitators of that consummate master. His Taking down from the Cross, at the church of the Capuccini in Parma, may challenge the most distinguished followers of the Parmese School. His picture of S. Rocco is still more celebrated, comprising the perfections of different artists, a piece engraved in aqua forte by Guido Reni. It was executed for Reggio, thence transferred to Modena, and from the last place to Dresden. He represented the saint, standing near a portico on a basement, and dispensing his wealth to poor mendicants; a composition not so very rich in figures as in knowledge of the art. A throng of paupers, as different in point of infirmity as in age and sex, is admirably varied, both in the grouping and the gestures. One is seen receiving with gratitude, another impatiently expecting, a third counting his alms with delight; every object is misery and humiliation, and yet every thing seems to display the abundance and dignity of the artist. But proceeding to Rome in the year 1600, he entered on another career; "he checked his fire," observes Mengs, "he improved the extravagance of his forms, imitated Raffaello and the ancients, retaining at the same time a portion of the style of Coreggio to support dignity." (Tom.ii. p. 19.) Albano makes use of nearly the same words in a letter given by Bellori, (p. 44,) adding, that Annibal, in the opinion of competent judges, "far surpassed his cousin, from a knowledge of the works of Raffaello, in addition to that of the most beautiful ancient statues." He was there employed in various churches, though his crowning effort, and nearly the whole foundation of the art, as restored by his means, are to be sought for in the Farnese palace. The subjects were selected by Monsig. Agucchi; and together with the allegories may be read in Bellori. In a small chamber he gave representations of the Virtues, such as his Choice of Hercules, Hercules sustaining the World, Ulysses the Liberator; in the gallery various fables of Virtuous Love, such as those of Arion and Prometheus; with others of Venal Love, among which a wonderful figure of a Bacchanal is one of the most conspicuous. The work is admirably distributed and varied with ovals, cornices, and with a variety of ornamental figures, sometimes in stucco, at others in chiaroscuro, where the effect of his assiduous studies of the Farnesian Hercules is very apparent, as well as of the torso of the Belvidere, which he accurately designed, without even having the model before him. The whole of the other parts breathe Attic elegance combined with Raffaellesque grace, and imitations not only of his own Tibaldi but of Bonarruoti himself, no less than all the sprightly and the powerful added to the art by the Venetians and Lombards. This was the earliest production, where, as in Pandora's box, all the geniuses of the Italian schools united their several gifts; and in its fit place I described the astonishment created by it at Rome, with the revolution it occasioned in the whole art.

On account of this work he is ranked by Mengs next after the three leading masters in the fourth degree, and even esteemed supereminent in regard to the form of his virile figures. Poussin asserts, that after Raffaello there were no better compositions than these, and he prefers the decorative heads and figures already mentioned, with the other naked forms, in which the artist was said to have surpassed himself, even to his fables so beautifully painted. To him Baglione refers the method of colouring from nature, which was nearly lost, as well as the true art of landscape-painting, afterwards imitated by the Flemish. To these might likewise be added the use of caricatures, which no one better than he knew how to copy from nature, and to increase with ideal power. In the Roman galleries many of Annibal's pictures are to be met with, conducted in this new style; and there is one in the Lancellotti palace, small, and painted a colla,[26] rivalling, I had almost said, the best pieces of Ercolani. It is a Pan teaching Apollo to play upon the pipe; figures at once designed, coloured, and disposed with the hand of a great master. They are so finely expressive, that we see in the countenance of the youth, humility, and apprehension of committing an error; and in that of the old man, turning another way, peculiar attention to the sound, his pleasure in possessing such a pupil, and his anxiety to conceal from him his real opinion, lest he might happen to grow vain.[27]

No other pieces so exquisitely finished are found by his hand at Bologna, where there prevails the same strong party, commenced in the time of the Caracci, and which prefers Lodovico to Annibal. When we reflect that Annibal, in addition to the patrimony left by his school, conferred upon it the riches which the genius of the Greeks, throughout many ages and many places had collected to adorn their style; when we reflect on the progress, which, on observing his new style at Rome, was made by Domenichino, Guido, Albano, Lanfranco, with the new light which it afforded to Algardi, according to the supposition of Passeri, in respect to sculpture, and the improvement which by his means took place in the very pleasing and attractive painting of Flanders and of Holland, we feel inclined to coincide with the general sentiment entertained beyond the limits of Bologna, that Annibal was the most eminent artist of his family. At the same time we may allow, that Agostino was the greater genius, and Lodovico, to whom we are indebted for both, the greater teacher of these three. As such, too, the learned Ab. Magnani, librarian and lecturer upon eloquence to the institution, assigns to him the office of teacher, in an able oration upon the fine arts, printed at Parma by Bodoni, along with others by the same author.

The three Caracci may be almost said to define the boundaries of the golden age of painting in Italy. They are her last sovereign masters, unless we are willing to admit a few of their select pupils, who extended that period during the space of some years. Excellent masters, doubtless, flourished subsequently; but after their decease, the powers of such artists appearing less elevated and less solid, we begin to hear complaints respecting the decline of the art. Nor were there wanting those who contended for a secondary age of silver, dating from Guido down to the time of Giordano, as well on account of the minor merit of the artists, as for the prices, so much greater than formerly, which Guido introduced into the art. The Caracci themselves had been only scantily remunerated. Count Malvasia admits this fact, not omitting to point out the small dwelling, and to describe the narrow circumstances in which Lodovico died, while his two relatives left the world still more impoverished than himself. The Caracci, moreover, did not, like other painters, leave legitimate sons to perpetuate their school; they never married, and were accustomed to observe that the art was sole partner of their thoughts. And this beloved mistress they adored and served with a love so passionate, as to abandon almost all worldly care for themselves. Even while sitting at their meals they had the implements of their art before them; and wherever they observed an action or gesture adapted to adorn it, they took instant note of it. And to this their free estate, more than to any other cause, were they indebted for their noble progress and improvement. Had they "taken to themselves a wife," how easily would their agreeable friendship and attachment, from which each of the three derived light and knowledge from the rest, have been broken in upon by tattling and trifles beneath their care. Most probably, too, it might have occasioned too great rapidity of hand, at the expense of study; such at least having been the result with regard to many, who, to indulge a woman's taste, or to provide for the wants of a family, have addicted themselves to carelessness and despatch. At the period, then, of the decease of the two cousins, and the advanced age of Lodovico, there remained of the family only two youths, one, named Francesco, at Bologna, the other, Antonio, in Rome.

Francesco was a younger brother of Agostino and Annibal. Confiding in his connexions and in his own talent, excellent in point of design, and reasonably good in colouring, he ventured to oppose a school of his own to that of Lodovico, his master, inscribing upon the door: "This is the true school of the Caracci." He enjoyed no reputation at Bologna, but was rather held in dislike, on account of his opposition to and detraction of Lodovico, to whom he owed what little he executed at that place, namely, an altar-piece, with various saints, at S. Maria Maggiore, the whole of which had been retouched by his kind and able cousin. Having gone to Rome, he was first received with applause, but becoming better known he was soon despised; and, without leaving a single specimen of his pencil, he died there in his twenty-seventh year, in the hospital. Antonio Caracci, a natural son of Agostino, and pupil to Annibal, was of a totally different disposition. Prudent, affectionate, and grateful to his relatives, he received Annibal's last sighs at Rome, bestowed upon him a splendid funeral in the same church of the Rotonda, where Raffaello's remains had been exhibited, and deposited his ashes at the side of that great artist. He survived, a valetudinarian, during some years, and died at the age of thirty-five, in Rome, where he left some works in the pontifical palace, and at S. Bartolommeo. They are rarely met with in cabinets, though I saw one in Genoa, a Veronica, in possession of the Brignole family. Bellori Had written his life, which, although now lost, leads to the supposition that he possessed great merit, inasmuch as that writer confined himself to the commemoration of only first rate artists. Baldassare Aloisi, called Galanino, a kinsman and scholar of the Caracci, yielded to few of his fellow-pupils in his compositions. His picture of the Visitation, at the church of the Carità in Bologna, so much extolled by Malvasia, to say nothing of various other pictures, executed at Rome, and favourably recorded by Baglione, affords ample proofs of it. His fortune, however, was not equal to his merit; so that he wholly devoted himself to portraiture, and as we have stated, in the Roman School, he there for some period boasted the chief sway in the branch of portraits, which were uniformly characterized by great power and strong relief.

Other Bolognese artists, educated in the same academy, took up their residence also at Rome, or in its state; nor were they few in number, since, as was observed in the fourth epoch of that school, they were received there with distinguished favour. We shall commence with the least celebrated. Lattanzio Mainardi, called by Baglione Lattanzio Bolognese, had visited Rome previous to Annibal, and in the pontificate of Sixtus V., conducted several works for the Vatican, which augured well of his genius, had he not died there very young; as well as one Gianpaolo Bonconti, at an age still more immature, having vainly followed his master to Rome, where he had only time to make a few designs, but conceived in the best taste. Innocenzio Tacconi was kinsman, according to some, and assuredly enjoyed the confidence of Annibale. From him he received designs and retouches, tending to make him appear a more considerable artist than he really was. To judge from some of his histories of St. Andrew, painted for S. Maria del Popolo, and S. Angiolo, in the fish-market, he may be said to have rivalled his best fellow-pupils. But abusing his master's goodness, and alienating his regard from Agostino, from Albano, and from Guido, by misrepresentations, he received the usual recompence of slanderers. Annibal withdrew his support, deprived of which he gradually became more and more insignificant. Anton Maria Panico early left Rome, and, entering the service of Mario Farnese, resided upon his estates, being employed in painting at Castro, at Latera, and at Farnese, in whose cathedral he placed his picture of the mass, to which Annibal also put his hand, even conducting some of the figures. Baldassare Croce is an artist enumerated by Orlandi among the pupils of Annibal; by Malvasia, among the imitators of Guido. Baglione describes him as superior in age to all three of the Caracci, introducing him into Rome as early as the times of Gregory. Towards reconciling the accounts of these writers, it might be observed, that continuing to reside at Rome, he may have taken advantage, as he advanced in age, of the examples afforded by his noble fellow-citizens. His style, from what we gather of it in the public palace of Viterbo, and a cupola of the Gesù, as well as from his large histories of S. Susanna, and other places in Rome, is easy, natural, and entitling him to the name of a good mechanist and painter of frescos, but not so easily to that of a follower of the Caracci. Gio. Luigi Valesio entered, though late, into the same school, and chiefly attached himself to engraving and to miniature. Proceeding to Rome, he was there employed by the Lodovisi under the pontificate of Gregory XV., and obtained great honours. We find him commended in the works of Marini and other poets, though less for the art, in which he only moderately excelled, than for his assiduity and his fortune. He was one of those wits, who in the want of sound merit know how to substitute easier methods to advance themselves; seasonably to regale such as can assist them, to affect joy amidst utter humiliation, to accommodate themselves to men's tempers, to flatter, to insinuate, and to canvass interest, until they attain their object. By means like these he maintained his equipage in Rome, where Annibal, during many years, obtained no other stipend for his honourable toils, than a bare roof for his head, daily pittance for himself and his servant, with annual payment of a hundred and twenty crowns.[28] In the few pieces executed by Valesio at Bologna, such as his Nunziata of the Mendicants, we perceive a dry composition of small relief, yet exact according to the method of the miniaturists. He appears to have somewhat improved at Rome, where he left a few works in fresco and in oil, exhibiting his whole power, perhaps, in a figure of Religion, in the cloister of the Minerva. To these artists of the Caracci school it will be sufficient only to have alluded. They were indeed no more than gregarious followers of those elevated standards of their age.

The five, however, who next follow, deserve a nearer view, and more accurate acquaintance with their merits. These, remaining indeed at Rome, became leaders of new ranks, which from them assumed their name and device; and hence we have alternately been compelled to record the disciples of Albano, of Guido, and so of the rest. This repetition, however, in other places, will now permit us to treat of them in a more cursory view.

Domenico Zampieri, otherwise Domenichino, is at this day universally esteemed the most distinguished pupil of the Caracci; and has even been preferred by Count Algarotti to the Caracci themselves. What is still more, Poussin ranked him directly next to Raffaello; and in the introduction to the life of Camassei, almost the same opinion is given by Passeri. During the early part of his career his genius appeared slow, because it was profound and accurate; and Passeri attributes his grand progress more to his amazing study than to his genius. From his acting as a continual censor of his own productions, he became among his fellow pupils the most exact and expressive designer, his colours most true to nature, and of the best impasto, the most universal master in the theory of his art, the sole painter amongst them all in whom Mengs found nothing to desire, except a somewhat larger proportion of elegance. That he might devote his whole being to the art, he shunned all society, or if he occasionally sought it in the public theatres and markets, it was in order better to observe the play of nature's passions in the features of the people;—those of joy, anger, grief, terror, and every affection of the mind, and to commit it living to his tablets; and thus, exclaims Bellori, it was, he succeeded in delineating the soul, in colouring life, and rousing those emotions in our breasts at which his works all aim; as if he waved the same wand which belonged to the poetical enchanters, Tasso and Ariosto. After several years' severe study at Bologna, he went to Parma to examine the beautiful works of the Lombards; and thence to Rome, where he completed his erudite taste under Annibal, who selected him as one of his assistants.

His style of painting is almost theatrical, and he in general lays the scene amidst some splendid exhibition of architecture,[29] which serves to confer upon his compositions a new and elevated character in the manner of Paul Veronese. There he introduces his actors, selected from nature's finest models, and animated by the noblest impulses of the art. The virtuous have an expression so sweet, so sincere, and so affectionate, as to inspire the love of what is good. And in the like manner do the vicious, with their guilty features, create in us as deep aversion to their vice. We must despair to find paintings exhibiting richer or more varied ornaments, accessaries more beautifully adapted, or more majestic draperies. The figures are finely disposed both in place and action, conducing to the general effect; while a light pervades the whole which seems to rejoice the spirit; growing brighter and brighter in the aspect of the best countenances, whence they first attract the eye and heart of the beholder. The most delightful mode of view is to take in the whole scene, and observe how well each personage represents his intended part. In general there is no want of an interpreter to declare what the actors think and speak; they bear it stamped upon their features and attitudes; and though gifted with audible words, they could not tell their tale to the ear, more plainly than they speak it to the eye. Surely, of this, we have proof in the Scourging of St. Andrew, at S. Gregorio, at Rome, executed in competition with Guido, and placed opposite to his St. Andrew, in the act of being led to the gibbet. It is commonly reported that an aged woman, accompanied by a little boy, was seen long wistfully engaged with viewing Domenichino's picture, shewing it part by part to the boy, and next turning to the history by Guido, she gave it a cursory glance, and passed on. Some assert, that Annibal, being acquainted with the fact, took occasion from the circumstance to give his preference to the former piece. It is moreover added, that in painting one of the executioners, he actually threw himself into a passion, using threatening words and actions, and that Annibal surprising him at that moment, embraced him, exclaiming with joy, "To-day, my Domenichino, thou art teaching me!" So novel, and at the same time so natural it appeared to him, that the artist, like the orator, should feel within himself all that he is representing to others.

Yet this picture of the Scourging is in no way to be compared with the Communion of S. Jerome, or to the Martyrdom of S. Agnes, and other works, conducted in his riper years. The first of these is generally allowed to be the finest picture Rome can boast next to the Transfiguration of Raffaello; while the second was estimated by his rival Guido at ten times the merit of Raffaello's own pieces.[30] In these church paintings one great attraction consists in the glory of the angels, exquisitely beautiful in feature, full of lively action, and so introduced as to perform the most gracious offices in the piece; the crowning of martyrs, the bearing palms, the scattering of roses, weaving the mazy dance, and waking sweet melodies. In the attitudes we often trace the imitation of Coreggio; yet the forms are different, and for the most part have a flatness of the nose, which distinguishes them, and gives them an air of comeliness. Much, however, as Domenichino delighted in oil-painting, he is more soft and harmonious in his frescos; some of which are to be seen, besides those in Naples, at Fano, but the greatest part of them were destroyed by fire. They consist of scriptural histories in a chapel of the cathedral; of mythological incidents in villa Bracciano, at Frascati; the acts of S. Nilo, at Grotta Ferrata; and various sacred subjects interspersed through different churches at Rome. In the corbels of the cupolas at S. Carlo a' Catinari, and at S. Andrea della Valle, he painted, at the former, the four Virtues, at the latter, the four Evangelists, still regarded as models after innumerable similar productions. At S. Andrea also are seen various histories of that saint in the tribune, besides those of St. Cecilia, at S. Luigi; others at S. Silvestro, in the Quirinal of David, and other scriptural subjects, which in point of composition and taste of costume are by some esteemed superior to the rest.

It seems almost incredible, that works like these, which now engage the admiration of professors themselves, should once, as I have narrated, have been decried to such a degree, that the author was long destitute of all commissions, and even on the point of transferring his genius to the art of sculpture. This was in part owing to the arts of his rivals, who represented his very excellences as defects, and in part to some little faults of his own. Domenichino was less distinguished for invention than for any other branch of his profession. Of this, his picture of the Rosary at Bologna affords an instance, which neither at that period nor since has been fully understood by the public; and it is known not to have pleased even his own friends, which led the author to regret its production. Diffident thenceforward of his powers in this department, he often borrowed the ideas of others; imitated Agostino in his St. Jerome, the S. Rocco, of Annibal, in his almsgiving of St. Cecilia; and even other less eminent artists; observing, that in every picture he found something good, as Pliny said, that from every book we may cull some useful information. These imitations afforded occasion for his rivals to charge him with poverty of invention, procuring an engraving of Agostino's St. Jerome, of which they circulated copies, denouncing Domenico Zampieri as a plagiarist. Lanfranco, the chief agent in these intrigues, exhibited on the contrary only his own designs, invariably novel, and made a display of his own celerity and promptness of hand, as contrasted with his rival's want of resolution and despatch. Had Domenichino enjoyed the same advantages of party as the Caracci in Bologna, which he well deserved, he would soon have triumphed over his adversaries, by proving the distinction between imitation and servility,[31] and that if his works were longer in being brought to perfection than his rival's, their reputation would be proportionally durable. The public is an equitable judge; but a good cause is not sufficient without the advantage of many voices to sanction it. Domenichino, timid, retired, and master of few pupils, was destitute of a party equal to his cause. He was constrained to yield to the crowd that trampled him, thus verifying the observation of Monsig. Agucchi, that his worth would never be rightly appreciated during his lifetime. The spirit of party passing away, impartial posterity has rendered him justice; nor is there a royal gallery but confesses an ambition for his specimens. His figure pieces are in the highest esteem, and fetch enormous prices. He is rarely to be met with except in capital cities; his David is a first rate object of inquiry to all strangers visiting the college of Fano, who have the least pretensions to taste; the figure of the king, as large as life, being of itself sufficient to render an artist's name immortal.