ITALY (ART.) 



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on mannerism. Gaudenzio Ferrari, and many others, 

 are the ornaments of the Milanese school. In land- 

 scape painting, Lavizzario was called the Titian 

 of Milan. The famous Sofonisba Angosciola (born 

 1530), of Cremona, was highly distinguished in music 

 and painting. As an excellent portrait-painter, she 

 was invited to Madrid, where she painted don Carlos 

 and the whole royal family, and gave instruction to 

 queen Elizabeth. Van Dyke declared that he had 

 learned more from the conversation of this woman, 

 when she was blind from age, than he had from the 

 study of the masters. She died in 1620. Lavinia 

 Fontana, Artemisia Gentileschi, Maria Robusti, and 

 Elis. Sirani were celebrated female artists of this 

 time. Camillo and Giulio Procaccino were distin- 

 guished for strength of imagination and excellent 

 colouring. In Bologna, we find Bagnacavallo, a 

 distinguished artist of this period, whom we have 

 already mentioned as one of Raphael's scholars. He 

 flourished about 1542. Francesco Primaticcio (born 

 1490, died 1570), Niccolo dell'Abbate, Pellegrino 

 Tibaldi, Passarotti, and Fontana were very able 

 Bolognese artists. 



Third Period. It begins with the age of the three 

 Carracci. These excellent artists endeavoured to 

 restore a pure style, and, by the combined study of 

 the ancient masters of nature and science, to give a 

 new splendour to the degraded art. Their influence 

 was powerful. The division into the four principal 

 schools now ceases, and we find but two principal 

 divisions the followers of the Carracci, who are 

 called eclectics, and the followers of Michael Angelo 

 Caravaggio, who are called naturalists. Lodovico 

 Carracci (born 1555, died 1619) was the uncle of the 

 two brothers Agostino (born 1558, died 1601) and 

 Annibale (born 1S60, died 1609). Lodovico was 

 quiet, contemplative, soft, and serious. H is passionate 

 teachers, Fontana and Tintoretto, at first denied him 

 any talent : he studied therefore more zealously, and 

 acquired the deepest views as an artist. Agostino 

 united uncommon sagacity and the most extensive 

 knowledge with a noble character. His brother 

 Annibale, who made extraordinary progress in the 

 art, under Lodovico's direction, became jealous of 

 Agostino. The disputes between the two brothers 

 never ceased, and the offended Agostino devoted 

 himself chiefly to the art of engraving. The attacks 

 of their enemies first united them, and they founded 

 together a great academy. The brothers were 

 invited to Rome to paint the gallery of the duke of 

 Farnese. They soon disagreed, and Agostino retired, 

 and left the work to his fiery brother. Annibale 

 completed the undertaking with honour, but was 

 shamefully cheated of the greatest part of his pay. 

 Deeply mortified, he sought to divert his mind by 

 new labours and a journey to Naples ; but the hostility 

 which .he there experienced, hastened his death. 

 Meanwhile, the quiet Lodovico finished, with the aid 

 of his scholars, one of the greatest works the famous 

 portico of St Michael in Bosco, in Bologna, on which 

 are represented seven fine paintings, from the legends 

 of St Benedict and St Cecilia. The last of the 

 labours of this great master was the Annunciation to 

 Mary, represented in two colossal figures, in the 

 cathedral of Bologna. The angel is clothed in a 

 light dress, and, by an unhappy distribution of 

 drapery, his right foot seems to stand where his left 

 belongs^ and vice versa. Near at hand, this is not 

 observed ; but, as soon as the large scaffold was 

 removed, Lodovico saw the fault, which gave occa- 

 sion to the bitterest criticisms from his enemies. The 

 chagrin which he suffered on this occasion brought 

 him to the grave. The scholars of the Carracci 

 are numberless. The most famous endeavoured to 

 unite the grace of Correggio with the grandeur of 



the Roman masters. Cesare Anetusi was distinguished 

 for the most faithful copies of Correggio ana Guido 

 Reni (born at Bologna, 1575, died 1642), especially 

 for the ideal beauty of his heads, the loveliness of his 

 infant figures, and the uncommon facility of his 

 pencil. His fresco representing Aurora, in the 

 palace Borghese, and his oil painting, the Ascension 

 of Mary, in Munich, are well known. Francesco 

 Albani (born 1578 at Bologna, died 1660) lived in 

 constant rivalry with Guido. He produced many 

 large church paintings, but was most celebrated for 

 the indescribable charm with which he represented, 

 on a smaller scale, lovely subjects from mythology, 

 and especially groups of Cupids. His paintings in 

 the Verospi gallery, and his Four Elements, which 

 he painted for the Borghese family, gained him 

 universal reputation. The background of his land- 

 scapes is excellent. All his works breathe serenity, 

 pleasure, and grace. The third great contemporary of 

 those already mentioned, Domenico Zampieri, called 

 Domenichino (born 1581, died 1641), was at first 

 little esteemed by them, on account of his great 

 modesty and timidity. Thrice were prizes awarded 

 by Lodovico to drawings, the author of which no one 

 could discover. At last Agostino made inquiries, and 

 the young Domenichino timidly confessed that the 

 drawings were his. His industry and perseverance 

 rendered him the favourite of his master. His works 

 evince the most thorough knowledge, and are rich in 

 expression of character, in force, and truth. His 

 Communion of St Jerome, his Martyrdom of St 

 Agnes, and his fresco in the Grotta Ferrata, are 

 immortal masterpieces. He was always remarkable 

 for his timidity. He was invited to Naples, but was 

 there persecuted and tormented by the painters ; and 

 it is even suspected that he was poisoned. Giovanni 

 Lanfranco (born at Parma, 1580, died 1647) was 

 especially distinguished for the effect of his light. 

 Bartol. Schidone is one of the bests colourists of this 

 school. The Bibienas, the Molas, Al. Tierini, Pietro 

 di Cortona, Ciro Ferri also deserve mention. At the 

 head of the naturalists, who, with a bold and often 

 rash pencil, imitated nature, without selection, stands 

 Michael Angelo Merigi, or Amerigi da Caravaggio 

 (born 1569). His chief opponent in Rome was 

 D'Arpino, who stood at the head of the idealists, or 

 rather of the mannerists. Caravaggio and his suc- 

 cessors, Manfredi, Leonello Spada, Guercino da 

 Cento, &c., often took common nature for a model, 

 which they servilely imitated, thus profaning the 

 genuine dignity of the art, though they cannot be 

 denied strength and genius. About this time, the 

 beginning of the seventeenth century, the bambocciatc 

 were introduced. (See Peter Laar.) Many artists, 

 especially Michael Ang. Cerquozzi, surnamed delle 

 batta'glie, and delle bambocciate, followed this degene- 

 rate taste. Andrea Sacchi made great efforts to 

 oppose him. His drawing was correct and grand ; 

 Raphael was his model. His most famous scholar 

 was Carlo Maratto (born 1625, at Camerano), whose 

 style was noble and tasteful. The cavaliere Pietro 

 Liberi, Andrea Celesti, the female portrait painter 

 Rosalba Camera (born at Venice, 1675, died 1757), 

 who was distinguished for her drawings in pastel, 

 the graceful Francesco Trevisani, Pinzetta Tiepolo, 

 and Canaletto, a painter in perspective, were the 

 celebrated Venetian painters of this time. Carlo 

 Cignani (born 1628, died at Bologna, 1719) acquired 

 a great reputation by his originality and the strength 

 and agreeableness of his colouring. Of his scholars, 

 Marc. Antonio Franceschini was distinguished (born 

 1648, died 1729), whose works are charming and 

 full of soul. Giuseppe Crespi, called Spagnttoletto, 

 deserves mention for his industry and correct style, 

 but his pictures have unfortunately become very much 



