-. ;v, 



PAIXT1XO. 



ill 



. WM a aoholar of Palm* ; he U known 

 intin*:. prind|lty on Uw etyle and 



BVachml. painter and 



tor an uncritical work'on painting . pnnd|lly 



work* -f the VctwUan painter* of hi. own and former time*. 



entitled " U Carte del Navetjar Ptttoraaco.- The following painten 

 rincipal twrtwnporanw. of Palma. who painted aomewhat in 

 : Leonardo Corona, Andrea VicenUno. Santo Peranda, 



. oalled L'AMinn : Pietro Malombra,and Oirolamo 

 Uiname PorU, called SalriaU, Matte-, Ponione. the acholar 

 of Peranda. and PWtro Dauiini aobular of Gio. Battirta Novell!, WOT 

 i three of the bnt painters of thi* time. 



10 and 131 many painter* were carried off by the plague, 

 which viaited Venice in those yean ; and trace, of the excellenco* 

 ..f UM great maeten were after that lime still more rare in the 

 wurk. of UM surviving painter* of Venice. In the middle of the 

 17th century the etyU ..f Si A. Cararaggio and the Xaturallsti began 

 to prevail there, and teveral fonfanen wipplanted the VenetUn 

 painter* in publio " in Venice iteelf. The followers of 

 Kravmnno in Venice wore, on account of their dark shadows, called 

 by the Venetian painten the Tenebrod : the picture, of the master* 

 <*! tnw tenool an dark from two oaue* from their rtyle of colour- 

 ing and frucn their practice of painting upon dark grounds, upon 

 wnkk UM middle Una never stand. The picture, painted on such 

 ground* darken after a time, and high light, and deep shadows are all 

 that appmr. Of three Naturalutf and Tenebrwri. Pietro Ricchi of 

 Luna, calM II Luccheee, was one of the bert; others were Carlo 

 Banerni. Francesco Rusoa, Stefan.. Pauluixi, Matteo da' Pitoccht, and 

 BMlMno Manoni. Of tranger. dirtiuguUhed in other styles the 

 following were the mort suooeoful : Antonio Triva of Reggio, a 

 obolar of Ouereino; Bernardo Strom, hi* schoUr Langetti, and 

 lo Guiana, of Genoa ; Antonio Bavareiue, of Bavaria ; and Fede- 

 rigo Ccmlli, of Milan, the matter of Sebastiano Ricci. The painters 

 of thi. period who still followed the rtyle of the great leader of the 

 Venetian tchool were Giovanni Contarino and his scholar Tiberio 

 TJnefli. celebrated portrait painten; also Girolamo Forabosco, I'ietro 

 Bellotti, and Carlo Ridolfi, well known for hi* Lives of the Venetian 

 painter*, ' Le Maraviglie dell* Arte, ovrero le Vite degli illustri Pittori 

 Veneti dello Stato,' 2 voU. 4to., Venice, 1648, which is one of the 

 be* of the Italian works of this kind. HidolH was a native of 

 Verona, where, of all the cities of the Venetian state, what is more 

 utupeilr the Venetian style still prevailed with least deterioration. 

 Dano \ arotari, the father of Alemandro, called Padovanino, Alessan- 

 dro Turcbi, calle.1 l.'i >rl>etto, and Pasquale Ottini, all amongst the 

 beet painter* of their time, were native, of Verona. 



Padovanino (born at Padua, 1590, died 1650) went young to Venice 

 to study UM work, of Titian, and became the mort distinguished 

 painter of thi. school of the 17th century, and is one of the best of 

 Titian', imitaton : hi. masterpiece i. the Marriage at Cana, in the 

 Academy at Venice. Scaligero, hi. principal scholar, alto acquired 



Another great painter of Padua of this time was Pietro Liberi, 

 sometimes called Libertino, from the chara Her of his naked Venuses, 

 of which he painted many. At Vicenza the beauties of this school 

 were (till preserved to a considerable degree by Alessandro Mag. nra 

 an imitator of Paul VeronnM and Zelotti ; Francesco Maffei, scholar 

 of Peranda; Uiulio Carpioni, scholar of Padovanino; and Bartolomeo 

 ChtedelU, UM scholar of Caq.i ,,ni. 



At the end of the 17th century no particular rtyle prevailed in 

 Venice, and all the various claate. of painting had their votaries : 

 landscape, architecture, battle, and marine painten were alike nurne- 

 ruu*. Zanetti atete* that then wen a* many rtyle* as painten in 

 Venie* at the end of the 1 7th century. In historical painting however 

 UM work* of the Bologneae painter, a. in almost every other city at 

 Uu* time, were likewue in Venice the chief object* of attraction. Still, 

 MV. Una, UM old matter, were not on thi* account underrated, but 

 re tputun of a. UM aocienU of a golden age, whose customs were to 

 be praued, but not imitated. The colouring of the painten of this period 

 in Venice wa. more brilliant than that of the great marten, but what 

 UMJ gained in brilliancy they lort in truth : in drawing, however, and 

 in cuetunM tunw of UMM painter* had the advantage of their pro- 

 d*CM*nr, but in UMM recpecte UM Venetian, were never very dis- 

 UnguMhed. Of UMM painter. UM following may be mentioned : 

 Andrea Cclerti, who painted sometime, in the rtyle of Caravaggio, but 

 mar* genermllv in UM style of Paul Veronese than of any other matter; 

 and Antonio Zanohi of Kite, better known for the number than erteemed 

 for UM merit of hi. work*, painted likewise sometime* in the rtyle of 

 Canvaggio and sometime, in that of Tintoretto. In the Scuola )i s , 

 Boeeo UMT to a etltbrtted picture by him of the Plague 

 1830, and opposite to it in that place there i. a picture of the Libera- 

 Uon from UM Plague, by hi. ntnonV Pietro Xegri. Franoewo Trevisani 

 WM alto one of hw tchoUn, but he tettled early in Rome. To these 

 may be added UM name, of Antonio Molinari, Antonio Itellu. !. 

 Giovanni Hegala, Gio. Antoniu Fuuiuni, and Niocolo Bamoiui. Thr 

 latt wa* UM tcnular of Carlo Maratta in Home, and many of his pictures 

 an painted entirely in UM Roman style. But a mort di.tingui.hed 

 painter and a bettor draughteman than any of UIOM wa. Gregorio Laoa- 

 rini, .who painted in the rtyle of the bett fiologneM and Roman painten 

 rf the period, though he never left Vtnice. Antonio Pellegrini acquired 

 i in rariott* couutrie* of Europe. Jacopo Amigoni also attained 



(Treat celebrity, lea* in Venice, however, than in England, in Germany, 

 and in Spain ; hi* picture* are extremely bright and brilliant. Other 

 nuhed painter* of this age entiUed to be mentioned were 

 Giambattista Pittoni and Giambattirta Piacette : the former was cele- 

 brated for his powerful effect, of light and shade in the mair 

 Guercino, but through a bad method of colouring, his pictures in a 

 short time lurtall their beauty in thi* respect; hi. execution was rapid 

 and carelea*. He was a good caricaturist, and he was remarkably 

 popular in his time. One of the scholars of Piazetta, Giambattiste 

 Ti< | >lo, was the hut of the Venetians who acquired a great name II" 

 was one of the bert painters of the 18th century, and acquired a great 

 reputation in Italy, in Germany, and in Spain, where he died at 

 Madrid about 1770. He excelled chiefly in fresco, and he painted more 

 in the rtyle of Paul Veronese than that of Piazetta. [TIEPOLO, in 

 Bioo. r>ivj He had a distinguished scholar in Fabio Canale. 

 Although Tiepolo may be termed the last of the great Venetian 

 painters, there were still several perhaps of equal ability in the state. 

 Before mentioning these however, we have yet to notice one of the 

 greatest painter* of the 18th century, who, though not a Venetian, was 

 first educated at Venice by Ccrvelli, Sebastiano Ricci, or Rizzi, born at 

 Cividal di Belluno in 1660, and died in 1734. He travelled over Italy, 

 and visited Germany, England, and Flanders, and earned the i 

 tion of a great painter wherever he went. He had a great facility in 

 imitating the styles of other marten : he painted in fresco and in oil. 

 His colouring was rich and agreeable, though he occasionally intro- 

 duced too much azure in his draperies. Hi* composition and design 

 were graceful ; in design he was better than the Venetians : his 

 handling was free and yet not careless. His nephew Marco Ricci was 

 a distinguished landscape painter. Ricci had several scholars : the 

 most distinguished were Gaspero Daziani and Francesco Fontebasso. 



It remains now only to mention the distinguished painters of the 

 Venetian state, in the 18th century, not already noticed. Antonio 

 Zifrondi of Bergamo, a painter of remarkable facility of execution ; 

 and of the same place, Fra Vittore Ghirlandi and Bartolomeo Nazrari, 

 were both excellent portrait painten. In Brescia, Avogadro Bres- 

 ciano was distinguished for rich colour, elegant composition, and good 

 drawing ; likewise Andrea Toresani, but he practised more in Venice 

 and Milan than in Brescia : he was distinguished for landscapes and 

 marine pieces, which he embellished with figures and animals painted 

 in excellent taste. Sinione Brcntana, though a native of Venice, was 

 domiciliated at Verona, and painted many excellent works there. Of 

 Verona also was Antonio Balestra, who studied at Venice, at Bologna, 

 and at Rome with Carlo Maratta : he painted less in the Venetian taste 

 than in the Bolognese and Roman ; he drew well, composed with 

 judgment, and executed many excellent works : Gio. Battirta Mariotti, 

 Giuseppe Nogari, and Pietro Longhi, Venetians, were his scholars. 

 The first was a good imitator of his rtyle ; the second excelled as a 

 portrait painter, but painted also some historical pieces ; the third was 

 distinguiahed for masks, conversations, and landscapes. Carlo Sails of 

 Verona, and Cavalcabo of Roveredo, both painters of gre.it merit, were 

 likewise the scholars of Balestra ; and also another Veronese painter, 

 one of the best of the 18th century, II Conte Pietro Rotari : he excelled 

 in every department of painting except colouring, yet in this respect 

 he was harmonious ; his colouring was ashy and melancholy ; he died 

 at St. Petersburg in 1762, painter to the empress Catherine II. of 

 Russia. The List of the distinguished painters of Verona was Gio. 

 Bettino Cignaroli, likewise instructed by Balestra : he drew also in the 

 style of Maratta ; his masterpiece is perhaps the Flight into Egypt, at 

 St. Antonio Abate at Parma: he died in 1770. The emperor Joseph II. 

 is reported to have said, that he had beheld two very rare things in 

 Verona the amphitheatre, and the first painter of Europe. 



Santo Prunati of Verona, contemporary with Balestra at Verona, 

 waa also a good painter; and there was a Pietro Uberti at Venice, an 

 excellent i>ortrait painter. A very distinguished painter also of this 

 in-riml at Venice, though of a different class, was Antonio Canaletto, 

 known throughout Europe for his views in Venice, and other cities in 

 and out of Italy. 



R'JIIMH School. That style of art which was eventually formed, or 

 prevailed, at Rome during the golden age of painting, in the beginning 

 of the 16th century, is termed the Roman school, whether it was 

 practised by subjects of the papal government, natives of the city of 

 Rome, or stranger* resident there. The simple fact however, of 

 having practised the art of painting in Home, does not constit 

 disciple of that school The works of Raffaelle exhibit this style in its 

 full development or most perfect form, and he is accordingly the head 

 rusontative of the Roman school. 



In retracing the progress of the Roman school, we must go back to 

 that original school of Italian painting, which flourished in the 1 4th cen- 

 tury in various cities of the Roman states, within the limits of ,i> 

 Uuibria, in Gubbio, Fabriano, Maselica, Borgo S. Sepolcro, Url.in... 

 !.. r places, and thence termi-d the Umbrian school. 



i i.l. iuti ..f (iiilil.io, one .. i' the ol.l practitioners of missal-painting, an 

 art which was never quite extinct in Italy, seem, to be the most 

 palatar of this school whose period is ascertained with any 

 degree of certainty ; he died about A.D. 1300. Oderigi appears to have 

 been an active reviver of painting, and he was a man of reputation in 

 his day. He is mentioned honourably by Dante, who terms him 

 " L'onor d' Agobbio, e Toner di quell' arte." 





