Aureliano taught during many years at Bologna, and among other pupils of his was the celebratedGiuseppe Marchesi, called il Sansone. He first studied under Franceschini, whose taste he nearly approaches in the vaulted ceiling of the Madonna di Galiera. It is even the opinion of some, that, in his skill of foreshortening, and in the tone of his colours, no artist succeeded in imitating him so well. He took his design from Milani; though at times his naked portion is rather too much loaded, which I would not venture to say of his master. Among his best pictures is the Martyrdom of S. Prisca, in the Rimini cathedral; an altar-piece of many and fine figures, and good tints, for which the S. Agnese of Domenichino supplied him with some ideas. He painted much for galleries, and among other pieces, one of his pictures representing the four seasons, (where it now is I cannot say,) is reputed, by a first rate judge, among the first works of the modern Bolognese school.
Antonio Gionima was some time also a pupil of Milani. He was a Paduan of obscure birth, whose father and grandfather had been artists; educated first by Simone his father (p.171), afterwards by Milani, and for a longer period by Crespi. He died young, leaving works highly prized at Bologna for their inventive spirit and for the high tone and clearness of their colouring. His picture ofSt.Florian and accompanying martyrs was engraved by Mattioli; and a grand canvass history of Haman is shewn in the Ranuzzi apartment, conspicuous among numbers in the same place, where no common artists gained admittance.
Leaving aside certain other pupils of Pasinelli, of less account, as Odoardo Orlandi, or Girolamo Negri, who had a place, however, in the Dictionary of Painters, we shall close this catalogue with two others, who, becoming friends in the school of Lorenzo, continued their intimacy to extreme old age; Giuseppe Gambarini and Gian Pietro Cavazzoni Zanotti. Gambarini attended the studio of Cesare Gennari, whose rapidity of touch and power of natural effect, he afterwards retained. He added no dignity of forms; owing to which his few altar-pieces and other serious subjects obtained him no reputation. Applying himself subsequently to Flemish composition, he represented women intent on domestic affairs, boys' schools, mendicants begging alms, with similar popular objects, copied faithfully from life; in all which he abounded with commissions. At Bologna such familiar pieces by him and his able pupil Gherardini are very common, and please by their spirit and their exactness. Sometimes he represented also serious subjects, as in that picture in Casa Ranuzzi, exhibiting the coronation of Charles V. during the government of a Gonfalonier of the family.
Zanotti is well known among the writers on pictoric subjects; and few have been more successful in wielding with equal excellence both pencil and pen. His "Directions for the Progress of young Artists" contain some learned maxims, which were meant to stem the corruption of theart, by rescuing it from a low mechanical manner, and replacing it upon its true principles. Upon the same maxims he composed his "History of the Clementine Academy," although he was not enabled to adopt corresponding freedom of style; having there written the lives of the academicians, then lately deceased, or still alive. This work, printed by Lelio dalla Volpe, in 1739, with a splendor nearly unknown, up to that period, in Italy, excited some degree of indignation in good artists, who found, next their own, many names of mere mediocrity distinguished by portraits and lives, on a footing with themselves. The complaints raised by Spagnuolo, are recorded by the Canon Crespi in his Felsina, (p.227, &c.). Other accusations were doubtless advanced against him by inferior parties, who, though commended beyond their merits, secretly, perhaps, believed themselves deserving of still higher praise. Zanotti, too, inserted notices relating to himself, who held in that assembly the offices of president and of secretary, for a much longer period. But domestic and literary matters combined, withdrew his attention from painting in his maturer years; whence we may date his more feeble performances, which convey no great idea of him. Before, however, he had conducted works which exempted him from the pictoric crowd; in which list we may include his grand picture of an Embassy from the People of Romagna to the Bolognese, which ornaments the public palace. In private houses, too, are othercompositions, either historical or mythological, composed in excellent taste, one of which is in possession of the Signore Biancani Tazzi, a piece greatly admired by Algarotti, as a perfect model of refined taste. A similar graceful little picture of a Cupid and nymphs, which I saw at Signor Volpi's, displays much poetical imagination, this artist delighting in poetical composition, very different from Lomazzo's and Boschini's, to an extreme old age.[50]
From Zanotti, who was an excellent master, Ercole Lelli acquired his knowledge of design. His extraordinary genius, his anatomical preparations in wax, made by himself and Manzolini for the institution, and his great influence in the instruction of young artists, in the three branches of the fine arts, acquired him great reputation in Italy. At the same time, it is known that he lectured much better than he painted; the art requiring, like a knowledge of languages, close and persevering application, such as Lelli could not command. One of his altar-pieces is reported in the Bolognese Guide; and standing in need of defence, it was truly stated, that it was among his earliest pieces. In the Guide to Piacenza, another, his S. Fedele, at the Cappuccini, is also noticed; though it is added, with more candour, that his highest merit did not consist in painting.
Gio. Viani was fellow-pupil to Pasinelli in the school of Torre; but it is only a conjecture that he was also his assistant. He was a learned painter,not inferior in design to any contemporary of the same school; and added to his powers by assiduous drawing from the living model in the academy, and the study of anatomy, until the close of his career. To such knowledge he united elegance in his forms, softness of colouring, engaging attitudes, lightness of drapery, studying much from life, and giving it an air of grace, in the manner of Torre, or of Guido. That exquisite picture ofSt.John di Dio, at the hospital of the Buonfratelli, is such a specimen of his art. In the portico of the Servi he represented, in a lunette, S. Filippo Benizi, borne up to heaven by two angels; a figure which, both in countenance and action, breathes an expression of beatitude, conspicuous, even at the side of another history, by Cignani. In other lunettes of the same portico he does not excite equal admiration, and gives us an idea of an artist able to compete with the best masters, but obliged to work with a much larger share of study than they were accustomed to bestow.
Viani opened school opposite that of Cignani, and taught to some extent; in which he was succeeded by his son Domenico, whose life was written by Guidalotti, who, in point of merit, prefers him to his father. Few will subscribe to this opinion, he not having attained to that exactness, much less to that dignity of design, exhibited by his father; and inferior to him in the nature, truth, and clearness of his colouring. Still he possessed a grander character in his outline, a stronger execution,like Guercino's, more splendid ornaments, like the Venetians, whom he assiduously studied in their own capital. There is hisSt.Antony, at S. Spirito, in Bergamo, in the act of convincing a sceptic by a miracle; a surprising picture, extolled by Rotari and Tiepolo, and perhaps the best work which he left at Bologna. At the same place is his Jove, painted on copper, for the Casa Ratta, besides other works in private houses, to which he chiefly devoted himself.
His fellow-pupils in the paternal school were four Clementine academicians, whose altar-pieces we find mentioned among the "Paintings of Bologna." These were Gian Girolamo Bonesi, who renounced both the name and style of Viani, in order to follow Cignani, and complained of being included in Viani's school. However this might be, his pictures pleased, by adding to the beautiful a peculiar delicacy and sweetness that characterize him. Carlo Rambaldi, imitating both the Viani, was not the less employed by Bonesi; and pictures of both are met with, especially half-length figures, in select galleries at Bologna, and a few historical pieces in the royal collection at Turin. Antonio Dardani possessed more universal talent than either of the preceding, but was not equally refined. Pietro Cavazzi was a fine connoisseur in prints, and only on this account was celebrated in Italy and abroad. Tronchi, Pancaldi, Montanari, with others, not admitted into the Clementine academy, may be found mentioned in Crespi. No one,I imagine, would desire an account of the under graduates, when the academicians who enjoyed the first rank, were many of them, according to Zanotti, only artists of mediocrity.
From the school of Cignani, to which I now proceed, scarcely any disciple issued who ultimately adhered to his style. A master, whose maxim it was to labour every picture, as if his entire reputation depended on it; who preferred to cancel, rather than retouch his less successful pieces, might, perhaps, have scholars, but not many emulators. Two of his family, however, imitated him; Count Felice his son, who long assisted him, particularly in the Cupola at Forli; and the Count Paolo his grandson, whom he, perhaps, instructed in the outset; while his father indisputably employed him at Forli, and Mancini at Rome. Both were gifted with facility of genius; but being sufficiently wealthy, they only devoted themselves to the art for the sake of the pleasure it afforded. Felice is seldom mentioned in the Guide to Bologna; in which, however, hisSt.Antony, at the Carità , meets with praise. At Forli is the altar-piece ofSt.Philip, by some ascribed to him, and by others to Count Carlo, in his declining years; so inferior is it to the best style of that artist. In collections his paintings are not rare; though appearing, like a young boy in the presence of his father. Of Count Paolo's I only recollect a single altar-piece at Savignano, representingSt.Francis in the act of appearing toSt.Joseph da Copertino, and puttinga demon to flight. The scene appears illuminated by torch-light, and has a fine effect; and the figures, in regard to their studied and finished manner, display the taste of his grandfather.
After the relatives of Carlo comes Emilio Taruffi, his fellow-pupil with Albani, as well as his assistant, first at Bologna, in decorating the public hall, and next at Rome, where he resided three years, sometimes employed at S. Andrea della Valle, at others for private houses. No artist then better conformed to Cignani's style; and Taruffi could at least second him in painting histories. But his genius lay more in minor compositions. He was an excellent copyist of any ancient manner; a portrait painter of great spirit, and, in landscape, one of the best pupils formed by Albani. In these three branches he obtained his usual commissions, which he ever discharged with credit. He also conducted some altar-pieces, and that of S. Pier Celestino, at the church of that name, yields to few of the same period.
Cignani's most distinguished pupils and heads of new schools were Franceschini and Crespi. The Cav. Marcantonio Franceschini left the school of Gio. Batista Galli for that of Cignani, and became his most effective assistant and intimate friend. This friendship was cemented by his union with Cignani's cousin, sister of Quaini, whom I shall shortly again mention. Some productions of Franceschini might be taken for Cignani's himself; but these were among his earliest, before he hadformed his characteristic manner. He remained with his friend many years, and possessing peculiar gracefulness of design, Cignani availed himself of it to draw from life the individual portions of his compositions, engaging him to consult various models, in order to select the best forms from each. By this study of nature, in which he persevered, and by copying from the designs and under the eye of his master, he attained much of the taste, the nice selectness, and the grandeur of Cignani. To these he added a certain grace of colouring, and a facility which gave a novel character to his productions; besides an originality, equal to any other artist, in the form of his heads, in his attitudes, and in the costume of his figures. His freshness, his harmony, his just equilibrium of full and retreating parts; in short, his whole style presents a glowing spectacle never before seen. If we trace in his works, especially on an extended scale, a degree of mannerism, it may almost be excused: would that his disciples had restrained themselves within the same limits! But easy roads to painting are like walking on a declivity, where it is difficult to count one's steps, or restrain one's motions. Franceschini seemed born to execute works on a large scale, fertile in ideas, and with facility to dispose them in every point of view, and to colour them at any distance. He was accustomed to compose his cartoons in chiaroscuro, and, having fixed them in the intended spot, to judge of the success of his proposed work;a method it would be desirable to inculcate and adopt more generally.
His large fresco paintings are numerous; the recess in the Ranuzzi palace, the cupola and ceiling in the church of Corpus Domini, the tribune of S. Bartolommeo at Bologna. Among those in other states we shall mention only the corbels of the cupola, with three histories, in the cathedral of Piacenza, and the grand ceiling of the Hall of Public Counsel at Genoa. This painting, of which it is enough to state that Mengs devoted many hours in examining it in detail, the noblest of Franceschini's performances, perished by fire, without a single engraving having been taken to commemorate its grandeur of conception. The same fertility of ideas and attraction of style are conspicuous in his grand histories, dispersed among the first galleries of Europe, and in his no less copious altar-pieces. Such is the S. Tommaso da Villanova, in the act of dispensing alms, placed at the Agostiniani di Rimini; a picture truly imposing by its magnificent workmanship, and which surprises by the beauty of its figures. What is equally surprising, the Cavalier Franceschini, when nearly an octogenarian, displayed pictorial powers equal to his best days; as we gather from his Pietà , at the Agostiniani of Imola, and his BB. Fondatori, at the Serviti in Bologna, which betray no traces of decline. This artist rejected the most advantageous offers from courts, which all vied in soliciting his services. Giordano even was not invitedto that of Madrid, until the situation had been refused by Franceschini. He chose to reside in Upper Italy, there assuming the same rank, as head of his school, with almost the same success as Cortona in Lower Italy. Both schools adhered much to the Caracci's style, and in some measure rendered it more popular; and hence, those who at Rome are not familiar with the features and contrasts characteristic of Cortona's sect, would easily confound them with the more modern artists of Bologna.
Luigi Quaini, cousin to Carlo Cignani, and brother-in-law to Franceschini, was one of the most animated characters of his time; equally well versed in history, in architecture, and in poetry. The pupil, first of Guercino, next of Cignani, he was employed by the last as an assistant, and with such success, that, in painting, his hand could not be distinguished from that of his master. In distributing their labours to Franceschini and to Quaini, he ordered the former to paint the fleshes for the roundness and softness he gave to them; while to the latter he committed certain gay and spirited countenances, and a certain finishing of parts, in which, from his peculiar talent, he admirably succeeded. Later in life, he united with Franceschini, and leaving to him the inventive parts, he followed him in the style of the figures; inferior, doubtless, to that of Cignani, in force of chiaroscuro and colouring, but more attractive from its peculiar beauty and felicity. Hewould, afterwards, wholly ornament the composition by himself, with flowers, armour, beautiful landscape, and noble perspective; an art acquired from Francesco, his own father, a fine pupil of Mitelli. In this way did these two artists continue to paint, conjointly, at Bologna, at Modena, Piacenza, Genoa, and Rome; at which last place they composed some cartoons for the cupola ofSt.Peter's, which were afterwards executed in mosaic. Quaini also painted many historical pictures of his own invention. They decorate private houses; his only composition in public being hisSt.Nicholas visited in prison by our Lady, a beautiful altar-piece, occupying the best place in the church of that name.
Marcantonio's school, from which he also derived those assistants who followed Quaini, dates its commencement from his son, the Canon Jacopo Franceschini. The Bolognese historians only represent him in the character of an honorary academician; so that, by their account, I ought here to omit him. The Cav. Ratti, however, informs us that Marcantonio, coming to Genoa to adorn the church of S. Filippo, brought with him his son as his assistant, together with Giacomo Boni. In the same city, too, I saw a large history, in the hall of the Marchese Durazzo, as well as other pieces by him, well worthy commendation. At Bologna, also, are several paintings in public, all conducted in the style, and with the assistance of his father.
Boni was employed by Franceschini in many of his works, more particularly in that at Rome. He had been pupil also to Cignani, along with a few more, to be mentioned in the same school; under whose care he chiefly had in view works of a more difficult cast. Such was the ceiling of S. Maria della Costa, at S. Remo, and of S. Pier Celestino, at Bologna; besides several paintings at Genoa, where he became established. Two of his pictures, at the church of the Magdalen, met with great applause; namely, a Preaching at Gethsemane, and a Pietà . He more particularly distinguished himself in fresco; and in a chamber of his Excel. Pallavicini is an infant Jove, in the act of receiving nutriment from a goat, executed in the most elegant style. He was much employed in that capital, where, says Crespi, "there is neither palace, nor church, nor monastery, nor house, in which his works are not met with; all striking and commendable." Nor did he produce little at Brescia, at Parma, and at Remo; besides being honoured with commissions from Prince Eugene of Savoy, and the King of Spain, for whose chapel he forwarded an altar-piece. This artist sometimes betrays the haste of a mere mechanist, not completing fully, or polishing his work; besides colouring with a degree of lightness of hand which easily yields to age. Yet he always retains a delicacy and a precision in his contours, with a certain open spirit and joyousness which delight the eye.
Antonio Rossi never conducted works on solarge a scale as Boni, but he surpassed him in diligence; which induced his master, when entrusting commissions to his pupils, to prefer him to any other. He exercised himself in painting pictures for churches, and greatly added to his reputation by his Martyrdom of S. Andrea, placed at S. Domenico. He was much occupied, also, with architectural pictures and landscape, to which he added small figures, so well adapted as to appear by the same hand. On this account he was an artist much liked by the artificers of similar representations, particularly by Orlandi and Brizzi. Girolamo Gatti was less employed for churches than Rossi, but is distinguished for small figure pieces, with one of which he decorated the hall of the Anziani. It exhibited the coronation of Charles V. in S. Petronio, and shewed the artist to be as good a figurist as a painter of perspective. Although educated by Franceschini, as we learn from the newGuide, he did not imitate his colouring: this he sought to attain from Cignani. Giuseppe Pedretti long resided in Poland; and on his return to Bologna executed a number of works in a good style. Giacinto Garofolini, a pupil and kinsman of Marcantonio, displayed very middling ability when employed alone; but in conjunction with his relative, and with Boni, he conducted various works in fresco, from which he is entitled to what reputation he obtained. To these Bolognese artists and academicians various foreigners might be added, as one Gaetano Frattini, known at Ravennaby some altar-pieces at theCorpus Domini, and a few others whom we have referred to different schools. We shall now return to that of Cignani.
Giuseppe Maria Crespi, whom for his neatness of attire his fellow pupils surnamed Lo Spagnuolo, was instructed first by Canuti, next by Cignani; being early grounded in the best principles of taste. With unwearied assiduity he copied the Caracci paintings at Bologna; and at his leisure studied those of the first Venetians in that capital. He examined, too, Coreggio's at Modena and Parma, and long sojourned in Urbino and Pesaro to consult the works of Baroccio. Some of these he copied, and sold at Bologna for the originals. His object invariably was, to form a new manner out of many others, which he accomplished; at some times Baroccio would be his most admired model; at another, when he wished to employ more shade, he chose Guercino; nor did he dislike Cortona in respect to taste of composition. To the examples, too, of the dead, he added the observation of the living; and was averse, if we may credit his son, to the labours of a mere mechanist. He drew every thing from nature, and even had a camera optica in his house, from which he copied the objects that offered themselves to view, and remarked the various play and picturesque reflections of the vivid light. His compositions, indeed, teem with these novelties, and his shortenings also are as singular; so that he often places a number of figures in a small space, while the conceptionswhich he interweaves in his pictures, are more peculiarly fanciful.
This turn for novelty at length led his fine genius astray; insomuch that Mengs is brought to lament that the Bolognese School should approach its close in the capricious Crespi, (vol.ii.p.124). In his heroic pieces, and even in scriptural subjects, he left room occasionally for caricature. Wishing to exhibit novelty in his shadows and in his draperies he fell into mannerism; and varying his first method of colouring similar to the old painters, he adopted another more lucrative but less excellent. It consists of few colours, selected chiefly for effect, and very common and oily; gums applied by him to colouring, as other artists use them for a veil, or varnish; few strokes, employed indeed with judgment, but too superficial and without strength or body. Such was the method which we see pursued in so many of his pictures; or to speak more correctly, which are no longer to be seen, the tints having decayed or disappeared, so as to require them to be newly copied by another hand. His son did not attempt to conceal this fault, though he wished to excuse it. The reader may peruse the defence in hisFelsina Pittrice,p.225; and should he feel convinced by it, with similar benignity he may apologize for Piazzetta, who acquired his method of colouring from Crespi; with others who more or less pursued the same practice, at this period extinct.
As a specimen of his more solid style, the pictureof the BB. Fondatori, at the church of the Servi, appears to much advantage; our Lord's Supper, also, in Casa Sampieri; a few pieces in the royal Pitti palace, where he was long employed by the great Prince Ferdinando; besides a few other of his first productions. In his other style are various pictures conducted for the galleries of the Roman nobility; the SS. Paolo and Antonio as eremites, for the Princes Albani; the Magdalen for the Chigi palace; the Seven Sacraments for the Card. Ottoboni, of which I have seen copies in the Albani palace at Urbino. The whole of these seven pictures display certain bold coruscations and contrasts which dazzle the eye; all shew novelty of idea; in particular that of the Spousals between a young girl and an octogenarian, to the visible mirth of the spectators. Spagnuolo lived to advanced age, honoured by the pope with the insignia of cavaliere, esteemed among the first of his age, while his paintings everywhere abounded. Different houses, both in and beyond Bologna, possess them in great number; histories, fables, and familiar pieces. He received most part of his commissions from the Signori Belloni, who decorated various chambers with his historical pieces, remunerating him with one hundred crowns each, though they contained but few figures, and all of an ell's length.
Spagnuolo's manner was not one that could be pursued by every pupil with applause. Those artists who were unable to direct it with equal imagination,power of design, spirit and facility, produced very trifling results. Even his own sons, D. Luigi the canon, and Antonio, who painted for various churches, did not wholly follow their father's style, but appear invariably more studied. The canon wrote much upon the art, as the lives of the Bolognese artists, or the third volume of theFelsina Pittrice, edited in 1769; notices of the painters of Ferrara and Romagna, still unpublished; various treatises; with numerous letters inserted by Bottari in the pictoric collection. To few of his age is the history of painting so much indebted, although in certain national subjects he failed to satisfy the whole of his fellow citizens. The authors of the new Guide of Bologna require from him more diligence in examining documents; greater fidelity as a public instructor; more justice to the real merit of Ercole Lelli. The four dialogues in defence of hisFelsina Pittrice, written by a friend, were published by Bottari in the seventh volume of the work just cited, and are worth perusal. In the same volume ((p.143) we also meet with a letter of Crespi, in which he confesses his different errors, declaring that he would correct them in the fourth volume of hisFelsina, which he was then composing, and which I am uncertain whether he ever completed. From these notices we gather, that, notwithstanding his violent temper, he was not wanting in fidelity as an historian, and in that readiness to retract his own errors, without which none can pretendto maintain the true literary or historical character.
For the rest, he must have afforded occasion for those clamours against hisFelsinaand other writings by some satirical strokes, which are assuredly severe, accompanied by many personal reflections on his contemporaries. Concerning that very respectable academy he relates some observations of his deceased father, which had better have been consigned to oblivion. He disapproves the methods introduced into his school, and laments, that owing to the failure of good masters, Bologna was no longer frequented as formerly by students. He detects, too, certain little impositions introduced into the art; such for instance as displaying in the studio a number of pictures prepared for colouring, to convey an idea of possessing abundance of commissions; pronouncing in a breath a number of anatomical terms on the bones and muscles, to inspire a high opinion of the artist's learning; publishing eulogiums on some particular painting in an article of the day, which only the artist himself could have conceived, and written, paid for, and believed to be true. Such, or similar details, which must have sufficed to recognize particular individuals, doubtless provoked many replies from persons not publicly known, as the author gave no contemporary names, but deeply offended and provoked to retaliate upon him.
Among the pupils of Crespi was Gionima, whosurvived only, as I have stated, to his thirty-fifth year. Nor did Cristoforo Terzi reach a much more advanced age, the pupil also of different masters. From his outset he boasted a decision of hand, able to sketch at few strokes very spirited heads, which, however, by dint of excessive retouching, he deprived of much of their expression. This defect he remedied under Crespi, and improved himself by residing several years at Rome. Many collections at Bologna possess some of his half-length figures and heads of old men, which are mistaken by less experienced judges for those of Lana. In the list of Crespi's pupils, too, are Giacomo Pavia of Bologna, who flourished in Spain; Gio. Morini d'Imola; Pier Guarienti, a Veronese, who flourished at Venice, and was afterwards appointed director of the Dresden gallery; and the same who wrote the additions to Orlandi's dictionary. Francesco l'Ange of Savoy, a pupil of Crespi, became a Philippine monk at Bologna. His chief merit lay in small scriptural pictures, some of which I saw in Vercelli, in possession of his Eminence Martiniana, bearing the author's name, and quite deserving, by their design and colouring, of a place in that collection.
Besides Franceschini and Crespi, many others were educated by Cignani. Their names have been given by Zannelli, who published their lives; a book I have vainly endeavoured to obtain while engaged in writing the present work. By Crespiwe have an account of some pupils whom he instructed in perspective and landscape, as well as in flowers; this skilful preceptor being accustomed to ascertain the young artists' talents, and confine them to the inferior, when not competent to the higher branches of art, and even to direct them to other professions when unequal to these. Such pupils as he retained, ought not, then, to be lightly contemned, although little celebrated, either because they died young, were dispersed abroad, or obscured by brighter names. Among such are Baldassare Bigatti, Domenico Galeazzi, Pietro Minelli, known in history by a few altar-pieces. Matteo Zamboni died young, leaving in some private houses a few specimens of his works, as much in Cignani's style as those of any artist. I am uncertain what public works he conducted in Bologna; but he acquitted himself well, for his age, in two histories at S. Niccolo in Rimini; the one representingSt.Benedict, the other S. Pier Celestino. Antonio Castellani is included by Guarienti in the school of Cignani, though I think by mistake, as he belongs to that of the Caracci. Not so Giulio Benzi, also mentioned in the Guide of Bologna, and to be distinguished from the Genoese of that name. I may observe the same of Guido Signorini, recorded by Crespi, and not to be confounded with another Guido Signorini, heir to Guido Reni. So far of the artists of Bologna.
Federigo Bencovich was a foreigner of a Dalmatian family, and I give his name as he himself wrote it.[51]In the Dictionaries it is spelt Boncorich and Bendonich; and by Zannelli, Benconich; so that foreigners may be well excused for often mistaking the names of Italian painters. Federigo, commonly called in his own time, Federighetto, acquired more of Cignani's solidity than amenity of style; correct in his design, strong in his execution, and well informed in the best principles of his art. Some of his altar-pieces are at Milan, Bologna, and Venice; though most of his productions adorn collections, even in Germany, where he resided many years. In that of the Signori Vianelli of Chioggia, mention is made of his S. Jacopo Sedente; and in another collection, of Count Algarotti, at Venice, his landscape, with a village girl, to which Piazzetta added another figure. Occasionally, his manner is somewhat too much loaded with shadows, but by no means to be pronounced contemptible, as asserted by Zanetti, (p.450) in opposition to the opinion of Guarienti.
Girolamo Donnini also resided out of his country; born at Coreggio, he lived at Bologna; andbeing inclined to that school, was first treated of by Crespi, next by Tiraboschi. He had studied under Stringa at Modena, and under Giangioseffo dal Sole at Bologna. Thence he went to Forli, at the instigation of Cignani, not so much to become a machinist and a painter in fresco, as in order to treat less difficult subjects in oil. His chief merit lay in painting for private ornament, and Orlandi, then living, bore testimony that his pictures were held in high request for the decoration of houses. He excelled also on a larger scale; one of his altar-pieces of S. Antonio, at the Filippini in Bologna, being conducted in a very masterly style; as well as others, dispersed about Romagna, at Turin, in his native place, and elsewhere, the manner of which, as is remarked by Crespi, clearly displays the hand of Cignani's disciple. A favourite pupil of Donnini, and whom he assisted in a variety of circumstances, was Francesco Boni, termed also il Gobbino[52]de' Sinibaldi, from being in the service of those lords. He was from Faenza, and left several good pictures in his native place; among others, a S. Teresa, with S. Gio. della Croce, at the Carmelitani; aNoli me tangere, and the Meeting of S. Domenico and S. Francesco, in the church which formerly belonged to the Domenicans. Pietro Donzelli, of Mantua, placed an altar-piece in the cathedral of Pescia, in which he represented S. Carlo administeringto the sick of the plague, displaying the style of a pupil of Cignani; and this constitutes all the information I could obtain respecting him.
The other foreign pupils of the Cav. Carlo, who diffused his manner through the Italian schools, are commemorated in the places where they flourished; as Lamberti, for instance, at Rome, and Parolini at Ferrara. Here I shall add a brief sketch of the artists of Romagna, whom I unite to those of Bologna. Antonio Santi was an Ariminese, whose school only is mentioned by Crespi; but in the Guide of Rimini, where a few of his works remain, he is extolled as one of its best pupils, though he died young. The same Guide makes mention of some paintings in oil and fresco, particularly in the church of the Angioli, attributed to Angiolo Sarzetti, pupil to Cignani; from whom, also, he obtained a design for an altar-piece at S. Colomba. Innocenzio Monti is included by Crespi among the Bolognese, and by Orlandi among the painters of Imola, where he left some works. One, of the Circumcision of our Lord, at the Gesù of Mirandola, executed in 1690, is extolled in a little book of poems. He was more industrious than ingenious, and more successful in Germany and in Poland than in Italy. Gioseffo Maria Bartolini, also of Imola, is esteemed, in his native place, for a Miracle of S. Biagio, and for other works at S. Domenico, and in other churches. He was employed a good deal at Imola, where he opened school, and throughout Romagna; an artist ofgreat facility, and partaking, in some degree, of the manner of Pasinelli, his first master.
The artists of Forli, among whom Cignani lived during some years, are not a few. Filippo Pasquali was colleague to Franceschini, whose grand altar-piece at Rimini he surrounded with a very pleasing ornament. Some of his earliest efforts are met with in Bologna, at the portico of the Serviti; but not equal to the altar-piece in the church of S. Vittore at Ravenna, which he painted at a more advanced age, and which does him great credit. Andrea and Francesco Bondi, two brothers, are recorded by Guarienti; though, in the Guides of Pesaro and Ravenna only one is alluded to, whose name is not given; and what pieces I saw at Forli itself would seem to have proceeded from one hand; such as the chapel of S. Antonio, at the Carmelites, the Crucifixion at S. Filippo, besides others. He boasts the fine execution of Cignani; but the forms and expressions are not equally select. Among other artists of Forli, instructed by Cignani, was the priest Sebastiano Savorelli, employed in some church paintings even in the adjacent cities. To him we may add Mauro Malducci, and Francesco Fiorentini, both priests, too, of Forli; of all of whom there is found some account in the life of Cignani.
Under the Roman School we treated of Francesco Mancini, from S. Angelo in Vado, who, along with Agostino Castellacci, from Pesaro, was instructed by Cignani; both nearly contiguousto Romagna, but of unequal powers. Agostino is little known, even in his own state; but Mancini was celebrated throughout Lower, as much as Franceschini in Upper Italy; and he also educated several artists for the countries adjacent to Romagna. Sebastian Ceccarini was Mancini's pupil, born at Urbino, and often mentioned in the Guide of Rome, where, in the time of Clement XII., he painted the altar-piece for the Swiss chapel at the Quirinal. He is more known, however, at Fano, where he was established, and long continued to live, with a handsome salary from that city. There he appears an artist of various styles, who would have shone little inferior to his master, had he always adhered to his best manner. His S. Lucia, at the Agostiniani, and different sacred histories, in the public palace at Fano, display many fine imitations, strong chiaroscuro, and well-varied tints.
The Canon Gio. Andrea Lazzarini, from Pesaro, also acquired his knowledge from Mancini. He was both a good poet and prose writer, and truly well informed in sacred and profane literature. Few Italian writers can compare with him in treating pictoric subjects. His "Account of the Paintings in the Cathedral at Osimo,"[53]and particularly,his "Catalogue of the Pictures in the Churches at Pesaro," cited by us elsewhere, afford ample proofs of his superiority, no less than those brief "Observations" on the best works there met with, and that very full "Dissertation upon the Art of Painting," that has been often republished. It relates wholly to the branch of "invention;" and he has other unedited works of equal merit, on "Composition," on "Design," on "Colouring," and on "Costume," which were read in the academy of Pesaro, as early as 1753. These embrace a true course of painting, an art which he taught gratuitously in his native place.[54]Count Algarotti, in drawing up his Essay on Painting, both read and profited by them, as I heard, at least, from Lazzarini; and as the Count, indeed, candidly himself confessed, in a letter which he forwarded to him with the work. He also evinced his high regard for his pictoric talents, by giving him a commission for two paintings to adorn his select gallery, which were afterwards inserted in the catalogue. The subjects consist of Cincinnatus called to the Dictatorship, and Archimedes absorbed in his scientific studies, during the stormingof Syracuse. These two histories are well executed, inasmuch as Lazzarini was perfectly master of good painting, as well as good writing; easy, yet always studied in every part; at once noble and graceful, with depth of learning to throw an air of antiquity round his productions, but, at the same time, free from all affectation and parade. His first colouring was of a strong character, as appears from a Pietà , at the hospital of Pesaro, conducted, I believe, after having studied the Venetian and the Lombard Schools, in the course of a pictoric tour. Subsequently, he imbibed a certain sweetness, which I may call more like Maratta's, in which his rivals discover a want of vigour. Though he enjoyed long life, he did not leave many works, as he applied himself with assiduity to his clerical duties. Frequently he had occasion to paint for private families, and succeeded admirably in his Madonnas; one of which, seen weeping, in the Varani collection at Ferrara, is among his most studied pieces. His native place possesses three altar-pieces at the Magdalen, three at S. Caterina, others in different churches, and in general upon a small scale. But his genius is more clearly apparent in some larger pictures, which are to be seen in the cathedrals of Osimo and of Foligno; at S. Agostino, of Ancona; and the two at S. Domenico, in Fano. One of these contains various saints of the order, placed around the Virgin, whose portraits, positions, and action, exhibit singular variety and grace. The other representsS. Vincenzio, seen in the act of healing the sick, before the people assembled by sound of bell; nor is it easy, in this immense throng, to find any one figure resembling another, or superfluous, or less happy in expressing what it ought. But the work in which he appears, as I have been informed, to surpass himself, adorns the chapel of the Counts Fantuzzi, in Gualdo, a diocese of Rimini. He had spent several years at Rome, at the house of Monsig. Gaetano, afterwards Cardinal Fantuzzi; for whom he made that fine collection of pictures, from each school, which afterwards went to his heirs, one of whom, Count Marco, is well known to the public by his "Monuments of Ravenna," edited and illustrated in several volumes, with much research and erudition; and to whose courtesy I owe much of my information respecting Lazzarini. In this collection are several of the canon's paintings, of various kinds; landscape, a branch in which he appears to perfection; instruments and books of music, porcelain, and fruits that deceive the eye; and, in particular, two pictures, on imperial canvass, one exhibiting the Baptism of Christ; the other, the Flight out of Egypt; where, in the Egyptian plants and monuments we seem to recognize that ancient land itself. Still the altar-piece at Gualdo shews a greater degree of originality, as he here displayed his utmost care in imitating Raffaello, whom he had accurately studied, so as to derive from his forms and composition all that could go to adorn a picture ofthe Virgin and Holy Child, seen betweenSt.Catherine the martyr, and the B. Marco Fantuzzi, a Franciscan, who will, perhaps, obtain the honours of a solemn canonization. The place is decorated with architecture, the pavement variegated with marbles of different colours. The Holy Child, placed with the Divine Mother, upon a pedestal, is seen putting a crown onSt.Catherine's head; while the Mother holds another in her hand, in order that the B. Marco may be crowned by her in his turn. Two angels form the train, one of whom points to the wheel, a symbol used by the saint, and indeed touches with his finger a sharp point, the better to give an idea of the sufferings of her martyrdom. The other is an Angel of the Apocalypse, with book and sword; a figure well suited to the last judgment, whose terrors the B. Marco inculcated in his sermons. There are two other beautiful cherubs, which add to the interest; one standing nearSt.Catherine, holds a roll of Egyptian papyrus, with some Coptic characters, in which were described the acts of her passion; while his companion points the attention of the spectator to a maxim continually repeated by the B. Marco, "Nolite diligere mundum," inscribed upon marble. How widely different, in point of invention, appears an artist versed in literature, and one with no taste for letters! This, however, is not the whole merit of such a painting: the saint and one of the angels are truly Raffaellesque figures; the Beato in extasy, brings to mind the B. Michelinaof Baroccio; the other figures are all exceedingly well studied, and seem intended to display the artist's refined gratitude towards his patrons.
The best professors that Romagna could boast at this period have already been recounted in different Bolognese Schools; for which reason, without treating them separately, I shall proceed to the painters of landscape. Among these, excelling as well in drawing as in figuring, Orlandi gives us the name of Maria Elena Panzacchi, instructed in the art by Taruffi; but her landscapes are now little known, even in Bologna; and Crespi has indicated not more than two. Those of Paolo Alboni, her contemporary, are recognized in Naples and Rome itself, and in Germany, where he passed many years. Those which are seen in the Pepoli palace, at the March. Fabri's, and in other noble galleries, might be mistaken, according to Crespi, for the productions of Holland or Flanders, on whose models he was almost incessantly employed. Angiol Monticelli formed a style under Franceschini and the younger Viani, which the same biographer highly extols. No artist, at this period, better knew how to dispose his colours; none tinged his leaves, his earths, his buildings, and his figures, with more nature and variety. But he was cut short in mid-career: he became blind when his talents were in their perfection.
Nunzio Ferraiuoli, called also Degli Afflitti, was born at Nocera de' Pagani, not a Bolognese. From the studio of Giordano, he went to that ofGiuseppe dal Sole, in Bologna, in which city he was established. He incessantly employed himself in taking rural views, both in oil and fresco, and succeeded to admiration, equal, says P. Orlandi, to Claude and Poussin; an opinion to be attributed to the friendship subsisting between them. He had a mixed style, half foreign and half Albanesque, if we except his colouring, which is not so natural. Cavazzone provided him with two pupils, who, urged by their own genius, assisted by Ferraiuoli, became tolerably good landscape painters; namely, Carlo Lodi and Bernardo Minozzi. The first was an excellent disciple of his master; the second formed a manner peculiar to himself. Besides his ability in frescos, he was distinguished for his landscape in water-colours, which he illuminated on pasteboard, and it met with much admiration both at home and abroad. Gaetano Cittadini, nephew to Pier Francesco, excelled in the same manner, his rural views displaying singular taste, fine effect of the lights, and spirited figures. I have met with them throughout Romagna, as well as in Bologna. In Romagna, however, Marco Sanmartino, a Neapolitan, or Venetian, is more generally met with; and, in particular, at Rimini, where he some time fixed his residence. His pieces are ornamented with beautiful little figures, in which he excelled. He also attempted more extensive works, such as the Baptism of Constantine, in the cathedral of Rimini, and the Saint preaching in the Desert,[TN11]in the college of S. Vincenzio, at Venice;though there, too, he is distinguished by his landscape, which formed, indeed, his profession. In the Guide of Rimini, he is named Sammartino, as well as by Zanetti and Guarienti. This last declares that he remained at Venice most part of his life; and, in the next article, gives the name of one Marco Sanmarchi, a Venetian, both a landscape and a figure painter, on a small scale, much extolled by Malvasia, and flourishing about the time of Sammartino. On the authority of Melchiori, who names him Sammartino, or Sanmarchi, I believe that these two landscape-painters of Guarienti resolve themselves into one; and that the mistake arose from the resemblance of the two names, by which one and the same person was popularly known; as we have had occasion to observe in other instances. Moreover, what could be the reason that this Sanmarchi, a Venetian, is not known in Venice itself, but only in Bologna, where it does not appear that he ever had a permanent abode?
The elder Cittadini, who excelled in flowers, and fruits, and animals, is commended in the preceding epoch. In the present, we shall make mention of his three sons, Carlo, Gio. Bastista, and Angiol Michele, who, however able in figures, at least the two first, are known to have assisted their father, and imitated him in the subjects most familiar to him; hence they were termed by Albano, syndic to the Bolognese professors,[55]the fruiterers and florists. From Carlo sprung Gaetano, the landscapepainter, and Gio. Girolamo, who down to our own days, though without attempting figures, excelled in painting different animals, fruits, and vases of flowers. But this family was successfully rivalled by Domenico Bettini, a Florentine professor in the same line; who, after remaining a long time at Modena, where we have mentioned him, came to establish himself at Bologna, towards the end of the sixteenth century. He had learnt design under Vignali, and next continued to improve himself in the school of Nuzzi, at Rome. He was among the first, says Orlandi, who dismissing those obscure and dismal grounds, painted more clear and openly; adding attractions to such paintings, by the invention of situations, and by the introduction of perspective: he was frequently invited to different Italian cities, to decorate halls and cabinets. But the favourite artist in this kind, of his day, was Candido Vitali, who, taught by Cignani, always attentive to the peculiarities of his pupils, made rapid progress in these attractive branches of the art. The freshness which appears in his flowers and fruits, the beauty of his quadrupeds and birds, are farther recommended by a taste of composition, and a delicacy of hand, which are prized both in Italy and abroad. Baimondo Manzini, a miniaturist rather than a painter, painted less in oil; but with such a degree of nature, that his animals, exhibited in cartoons, and placed by him in a certain light, have deceived even painters themselves; for which he has been extolled by Zanotti as a modernZeuxis. An assemblage of his fishes, birds, and flowers, is to be seen in the fine gallery of the Casa Ercolani.
At the same period the art was indebted to the judgment of Cignani for a good painter of battle-pieces in Antonio Calza, a Veronese, mentioned in the third volume; where it is observed that, being subsequently assisted by Borgognone, he became master of that branch of art at Bologna. Contemporary with him was another pupil of Cortese, who resided during several years in the same city, named Cornelio Verhuik, of Rotterdam. Besides his battle-pieces in his master's manner, displaying strong and vivid colouring, he painted in the Flemish style markets, fairs, and landscape, which he enlivened with small figures, like those of Callot. From Cignani also the Bolognese School received an excellent portrait painter in Sante Vandi, more commonly called Santino da' Ritratti. Few of his age were qualified to compete with him in point of talent, grace, and correctness in the characteristic features, particularly when drawn in small proportions, such as were calculated even to decorate boxes and rings. For these he had constant commissions, both from private persons and from princes, most of all from the Grand Duke Ferdinando of Tuscany, and Ferdinando, Duke of Mantua, who gave him a salary at his court, until his return to Bologna on the duke's death. But he remained there only a short time, being still invited to different cities, so that he educated nopupils for his native place, and died abroad. With him, observes Crespi, "disappeared the manner of producing portraits at once so soft and powerful, combined with such natural expression."
Above every other branch of inferior painting, however, the ornamental and perspective then flourished at Bologna. This art, as we have stated, after the solid foundations on which it had been placed by Dentone and Mitelli, aimed too much at a pleasing and beautiful, without consulting a natural effect. But the school did not all at once deteriorate, being some time maintained by imitators of some of the most correct models. In this number Zanotti extols Jacopo Mannini, a most accurate artist, who decorated a chapel at Colorno for the Duke of Parma, in which the Cav. Draghi was employed as figurist, whose genius was at once as eager and rapid as Mannini's was slow. Much like two steeds of opposite temper yoked to the same vehicle, their sole occupation seemed that of biting and kicking each other; and it became necessary to separate them, the slow one being sent back to his native Bologna, where owing to this blemish he never met with any encouragement. Arrigo Haffner, a lieutenant, with Antonio his brother, who died a Philippine friar in Genoa, were also followers of Mitelli in delicacy and harmony of colour. They had been much employed at Rome under Canuti, their master in figures, and the former was chosen by Franceschini to paint the perspectives in the church of Corpus Domini. They produced also a good dealat Genoa and its state, sometimes with one, sometimes with another of the more eminent figurists. Antonio acquired most reputation, superior perhaps in all but invention to his brother, particularly in the sweet union of his tints, as well as in the estimation of distinguished personages. He was called by the Grand Duke Gio. Gastone to Florence, to consult him respecting the altar ofpietre dure, intended for the chapel of the Depositi at S. Lorenzo.
A still higher station in this profession was attained by Marcantonio Chiarini, an excellent architect as well as writer in that department. He had frequent invitations from Italian princes and lords, and even from Germany, where he painted along with Lanzani in the palace of Prince Eugene of Savoy. Many of his pictures, conducted in perspective for noble Bolognese families, still remain, and are held as models of a sound and true taste, imitating the ancient colouring and design, without giving admission to certain marbles, which appear like gems, but please only the inexperienced. From Chiarini's manner was derived that of Pietro Paltronieri, universally known under the name of theMirandolese dalle prospettive. He was the Viviano of this latter age, and his architectural pieces on the ancient model are met with, not only in Bologna, where he resided, but in Rome, where he long continued, and in a number of other cities. They consist of arches, fountains, aqueducts, temples, ruins, tinged with a certain reddish colour, which serves to distinguish themamong many others. To these he adds skies, fields, and waters, which appear real; nor do they want appropriate figures, introduced by Graziani and other select young artists at Bologna. We must not confound Mirandolese with Perracini, also known in Bologna by the name of Mirandolese, who flourished at the same period, but with no sort of reputation beyond that of a tolerable figurist.
The school of Cignani increased that of the perspective painters. It first presented them with Tommaso Aldrovandini, nephew to Mauro; both of whom accompanied Cignani's figures in the public palace of Forli. Tommaso was employed with Cignani himself at Bologna and Parma. Conforming himself, under the eye of this celebrated master, to his best style, he so far succeeded, that the whole appears the work of Carlo alone, more especially in the chiaroscuro. His ornamental portion, too, is there conducted so that neither the precise extent of the light, nor of the shade, is apparent, but only an effect resulting from them, as we see it in nature. He executed the architectural ornaments in the grand hall of Genoa, painted, as we have said, by Franceschini; and he left other works in that capital. It was his invariable custom to modify his style, alternately soft or strong, in the manner of the figurist. He instructed in the art Pompeo, son of Mauro, and his cousin, who, after having displayed some specimens at Turin, Vienna, Dresden, and in many other foreign cities, resided, and died at Rome, with the reputationof a very elegant artist. From the school of Pompeo sprung two ornamental painters, Gioseffo Orsoni, and Stefano Orlandi, who, in conjunction, painted some able frescos in various Italian cities, besides many theatrical pieces for the same places.
Whatever splendor of ornament may have been conferred upon the theatre by the Aldrovandini family, so greatly devoted to it; that of the Galli, in the present age, sprung from Gio. Maria, pupil to Albani, surnamed, from his country, Bibiena, has acquired still greater celebrity. By the same surname were distinguished Ferdinando and Francesco, his sons, with their posterity; nor has any pictoric family, either in this or any other age, advanced higher claims to public notice. There was hardly any court that invited not some of the Bibieni into its service; nor was any sphere more eligible for that family than the great courts, whose sovereign dignity was equalled by the elevation of their ideas, which only princely power could carry into execution. The festivals which they directed on the occasion of victories, of nuptials, or of royal entrances, were the most sumptuous that Europe ever witnessed. The genius of Ferdinando, formed for architecture, and for this reason wholly directed to it by Cignani, attained such excellence, that he was enabled to teach it, in a volume which he printed at Parma. He afterwards corrected some parts of it, in two little volumes published at Bologna; the one upon civil architecture, the other on the theory of perspective. Indeed,his genius and works gave new form and character to the theatres. He was the real inventor of those magnificent scenes which we now witness, and of that rapid mechanic motion with which they are seen to move and change. He spent great part of his life in the Duke of Parma's service; a good deal at Milan, and at Vienna, in the court of Charles VI.; always more esteemed as an architect than as a painter. But here, too, he shone, not only in colouring scenes, and similar productions for public festivals; but in perspectives for palaces and temples, more particularly for the state of Parma. Francesco, less learned, but an equally prompt and elevated designer, pursued the same line, and extended it in different cities, being invited to Genoa, Naples, Mantua, Verona, and Rome, at which last he remained three years. He entered the service of the Emperors Leopold and Joseph, who changed his resolution of proceeding to England, and subsequently to Spain, where Philip V. had already declared him his architect. In different collections the perspective pieces of the two brothers appear; and they are occasionally enlivened with figures by the hand of Francesco, who acquired his knowledge from Pasinelli and Cignani, instances of which I have seen in different collections at Bologna.
Ferdinando had a numerous family, of whose members we shall mention Alessandro, Antonio, and Giuseppe; not because equal to their predecessors, but as being versed in the practice oftheir manner, both in oil and fresco; and on this account eagerly sought after by the different courts of Europe. The first entered into the service of the Elector Palatine, in which he terminated his days. The second was much employed at Vienna and in Hungary. On returning into Italy, too, he still removed from place to place, being retained by all the first cities in Tuscany; and still more in Lombardy, until the period of his death, which occurred at Milan. He was an artist more admired for his facility of genius than for his correctness. Giuseppe, who, on his father's departure from Vienna on account of illness, was substituted architect and painter of court festivals in his twentieth year, afterwards left that city for Dresden, where he enjoyed the same office, and, after the lapse of many years, also at Berlin. He was invariably patronised by princes, who gave him regular salaries; and by other members of the empire, who engaged him, at the moment, to adorn their festivals and theatres. His son Carlo pursued the same career, being pensioned first by the Margrave of Bareith, and afterwards by the King of Prussia, as successor to his father; but he acquired greater reputation in foreign countries. For, Germany becoming involved in war, he took occasion to make the tour of France, proceeding through Flanders and Holland, and visiting Rome on his return into Italy. Last of all he made a voyage into England, and at the court of London rejected veryadvantageous offers to take up his residence in that city. Many of the decorations invented by Giuseppe and Carlo, on occasion of public festivals, have been engraved from their designs, in the production of which they were equally rapid, masterly, and refined.
Where the Bibieni had failed in introducing their novel inventions for grand spectacles, their disciples finally succeeded. In this list, according to the history of Zanotti and of Crespi, the most eminent rank is held by Domenico Francia, once the assistant of Ferdinando at Vienna, afterwards architect and painter to the King of Sweden. After his term with that court had elapsed, he visited Portugal, and again proceeded to Italy and Germany, till his arrival in his native place, where he died. To him we may add the name of Vittorio Bigari, mentioned in high terms by Zanotti, an artist employed by different sovereigns of Europe, and the father of three sons, who pursued the same career. He also displayed singular merit in his figures. Nor must we omit Serafino Brizzi, who obtained equal reputation for his perspectives in oil interspersed both throughout foreign and native cities. It would form, however, an undertaking no way adapted to a compendious history, to collect the names of all the professors of so extended an art; and the more so as, in the course of the present age, it was becoming the general opinion that in many respects such artwas greatly on the decline, owing to the prevalence of only middling and inferior artificers.
Not many years ago, however, it seemed to revive, and a new epoch opened upon the public, the praise of which is due to Mauro Tesi, to whom his friends raised a marble monument in S. Petronio, with a bust and the following inscription: "Mauro Tesi elegantiæ veteris in pingendo ornatu et architectura restitutori." He belonged to the state of Modena, and, when young, was put to the school of a very poor painter of arms in Bologna. Thus it was his lot, writes Algarotti, to have had not a single master of architecture among the moderns. By means of a peculiar natural genius, and studying the designs of Mitelli and Colonna, examining at the same time their models throughout the city, he re-conducted the art to a style, solid in architecture, sparing in decoration, as it had formerly been, and in some parts still more philosophical and learned. His patron, the excellent Count Algarotti, assisted in perfecting his taste, and made him his companion on his tours, encouraging him to make very excellent observations on the works of the ancients. Whoever has perused his life and publications, a fine edition of which appeared at Venice, edited by the learned Aglietti, will have perceived that he was as much attached to Tesi as if he had been his own son. Nor did Tesi shew less respect to Algarotti than to a father; and when the latter went to Pisa for hishealth, his young friend devoted himself so assiduously to him, as to contract the same disease, of which he died two years afterwards, still very young, at Bologna. Here he left various works, the most conspicuous consisting of a gallery belonging to the deceased Marquis Zambeccari, with marbles, camei, and figures, very well executed; a picture displaying grand relief combined with the most finished exactness. In Tuscany also are some remains of his taste, at S. Spirito in Pistoia, and in the hall of the Marquis Gerini at Florence. I saw, too, in possession of the count's heirs at Venice, two pictures, conceived by Algarotti and painted by Mauro. One of these, which he has described (vol.vi.p.92) represents a temple of Serapis, decorated in the Egyptian manner, with bassi-relievi and pyramids in the distance; fit to adorn the choicest cabinet. It is enriched with figures by Zuccherelli, in the same way as Tiepolo added them to Tesi's other pieces. There are engravings of some of Mauro's works in possession of the same nobles, as well as his whole studio of designs, landscapes, views of architecture, capitals, friezes, figures; a rich and copious assemblage of materials, almost superfluous in so short but bright a career. After Mauro, no greater proofs of esteem in this art were shewn by Algarotti to any one than to Gaspero Pesci, to whom he directed a number of his letters; of him too Algarotti's heirs possess two pictures, consisting ofancient architecture, with slight sketches of figures, scarcely indicated.
But at length we approach a conclusion. The Bolognese academy still continues to flourish in pristine vigour; the aids afforded to the pupils have even been extended; and, in addition to the academical prizes, there are dispensed others, which the noble families Marsili and Aldrovandi established at stated meetings, and which still go by their name. I cannot, however, as in other schools, record very splendid remunerations to the masters. But this forms the more rare and distinguished honour of the Bolognese artists—to labour for distinction, and to confer their preceptorial services in the arts and sciences upon their country, not only without reward, but even to their own loss, a subject fully treated of by Crespi (pp. 4, 5) in hisFelsina. Notwithstanding these disadvantages they have continued to maintain, during two centuries, the character of masters in the art. From the time the Caracci first spoke, almost every other school listened and was silent. Their disciples followed, divided into a variety of sects; and these continued, for a long period, to hold sway in Italy. The reputation of the figurists being somewhat on the decline, a substitute sprang up in the decorative and perspective painters, who established laws, and produced examples, still eagerly imitated both in Italy and other parts. Neither the Bibieni, the Tesi, nor the others whomI have mentioned towards the close, are so exclusively entitled to historical consideration, but that the Gandolfi[56]family, with several others,which have either recently become extinct, or still flourish, may claim a share. Doubtless these will not be in want of deserved eulogy from other pens, that will successively follow mine.
[49]Literally, the little baker.
[50]See Lett. Pittor.tom.iv.p.136.
[51]In his two letters, directed to Rosalba Carriera. See Catalogue of the deceased Canon Vianelli's Collection, (p.34). This artist also published aDiary, in 1720 and 1721, written at Paris by the same lady; in which she notices her own works, her remuneration, and honours. It is accompanied by learned notes. I have recently received notice of the work, which causes me to mention it in this school.
[52]Gobbino, the little hunch-back.
[53]These paintings, executed in the abside of the cathedral, with the assistance of his pupils, constitute his most celebrated frescos. In this "Account" there is a Discourse, well worth notice, on Ancient Marbles of different Colours, which he introduced in those paintings, and the method he adopted in uniting them. Such a treatise, not to be found in any other writer, renders this little volume valuable; which shews, too, that he likewise excelled in architecture.
[54]These Treatises were published at Pesaro in 1806; and, although, as the industrious editor well observes, they were drawn up from unfinished sketches, they still gratify us, no less by their extensive information, than by the ingenuity which they display.
[55]Malvasia,vol.ii.p. 265.
[56]Previous to the present edition, Gaetano Gandolfi breathed his last; Ubaldo, his elder brother, having already preceded him to the tomb, at the time he was preparing to decorate the cupola of S. Vitale in Ravenna. Ubaldo had been pupil to Torelli, to Graziani, and in particular under Lelli had exercised his talents in drawing successfully from the naked model, and to such a foundation added dignity of style. Of this, several works in painting conducted with extreme care, as well as some in clay and stucco, at Bologna, and other places in Romagna, are the proof. But to judge more particularly of his merits, we ought to examine his academical designs. In his ideas he was common, and not very natural in his colouring, and generally considered on this account inferior to his brother Gaetano, who was esteemed in Italy one of the most able artists of his day. Bologna, always grateful to its eminent citizens, expressed at his decease the degree of esteem in which he was held while living. His obsequies, of which a separate account was published in folio, equal what we read in Malvasia respecting those of Agostino Caracci; and the oration there recited in his praise by Sig. Grilli, deserves insertion in any of the most select works written on the art. There too, Gandolfi, very judiciously, is not held up as a model in painting; a forbearance which he himself displayed, even refusing to receive pupils, and observing that he was himself in want of instruction. Yet from the influence of his great reputation he was frequently imitated, and, as it happened, with most success in his worst qualities, more particularly in his tints. In this respect he had been ill grounded by his elder brother; but improved himself by studying for the space of a year at the fountain head of colourists, in Venice, and by copying for a Venetian dilettante the finest pieces of the Caracci at Bologna. It is difficult to account for his fine colouring in some paintings, equal at least to the good artists of his time, and his inferior colouring in others, as that of the Death of Socrates, at Monsig. Trenta's, bishop of Foligno. It is feeble and deficient in truth, owing either to caprice or to age. In his preparations of paintings he was more commendable: his first conceptions were sketched on slate with pencil, and more carefully on paper. He next began to select; modelled the figures in chalk, and draped them; afterwards forming the design on a large scale, and by aid of his experiments, and of the living model, he went on completing and retouching his work. He has been accused of borrowing a little too freely from ancient models; but whoever had seen him, aged as he was, devoting himself in the public academy to the practice of modelling, will not unjustly confound him with those plagiarists, so notorious in our own day. Moreover, he may be pronounced inimitable to most artists, in those rare gifts, which nature had lavished upon him: enthusiasm, fertility of invention, sensibility, and skill in depicting the passions; to which he added a correct eye, and ability both to design and compose, in the decoration of friezes for the institute, exotic plants and other rarities of nature, as well as to engrave with much elegance, and skill to paint in oil as well as in fresco. A really impartial biographer must pass his opinion on every man, and let his verdict result from an examination of his masterpieces. Such belonging to Gandolfi are his Assumption, in the ceiling at S. M. della Vita, and the Nuptials of Cana, at the refectory of S. Salvatore in Bologna; not to insist on the Martyrdom of S. Pantaleone, at the church of the Girolimini in Naples, with some other works scattered through various parts of Italy.