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ITALY (MUSIC.) 



defaced by time. Among the Romans, Pompeo Bat- 

 toni (born 1708, died 1787) was principally distin- 

 guished, and was a rival of the celebrated Mengs. 

 Angelica Kaufmann deserves to be mentioned. We 

 must not forget the Neapolitan and the Genoese 

 schools. Of the Neapolitans, we name Tommaso de' 

 Stefani (born 1230), FiL Tesauro, Simone, Colantonio 

 de' Fiori (born 1352), Solario il Zingaro, Sabatino 

 (born 1480), Belisario, Caracciolo, Giuseppe Ribera 

 Spagnoletto (born 1593), Spadaro, Francesco di 

 Maria (born 1623), Andrea Vaccaro, the spirited 

 landscape-painter Salvator Rosa (born 1615), Preti, 

 called t7 Calabrese (born 1613), and Luca Giordano 

 (born 1632, died 1705), who was called, from the 

 rapidity of his execution, Luca fa Presto. Solimena 

 (born 1657) and Conca belong to the modern masters 

 of this school. The Genoese can name among their 

 artists Semino (born 1485), Luca Cambiasi (born 

 1527), Paggi Strozzi, called il Prete Genovese, Cas- 

 tiglione (born 1616), Biscaino, Gaulli, and Parodi. 

 Perhaps the most distinguished of the living painters 

 of Italy is Camoccini. This reputation, however, is 

 not allowed him without dispute by foreign countries, 

 and even by many artists of his native land. His style 

 is grand, and purely historical ; his drawings are even 

 more highly esteemed than his paintings. His pieces, 

 however, are cold, and their estimation seems to have 

 diminished. Landi is a distinguished portrait pain- 

 ter, though his colouring is rather cold. The pencil 

 of Grassi possesses an inimitable grace, and a true en- 

 chantment. Benvenuti, director of the academy in 

 Florence, is the first artist there. A French artist 

 (Fabre) in Florence is the competitor of Benvenuti ; 

 his landscapes and his pastoral scenes are equally 

 excellent. Colignon is also a very able artist, in the 

 same place. Appiani, who died a few years ago at 

 Milan, was particularly celebrated for the grace of 

 his female figures ; and Bossi had equal reputation, 

 in a more serious and severe style. The Florentine 

 Sabbatelli's sketches with the pen are highly esteem- 

 ed. Ennini, in Florence, is a charming miniature 

 painter, in Isabey's manner. Alvarez, a Spaniard, 

 and Ayez, a young Venetian, are in high repute at 

 Rome. The young artist Agricola is particularly 

 distinguished among the artists of Rome. He is a 

 native of Urbino. In purity of style, he is thought 

 to surpass all modern artists. (For the history of 

 Italian painters, see Lanzi's Storia Pittorica.) In 

 the art of engraving, the Italians have acquired 

 great eminence. Tommaso Finiguerra, who flourish- 

 ed 1460, was the first celebrated master of this art, 

 which he taught to Baccio Bandini. They were 

 succeeded by Mantegna ; but Marco Antonio Rai- 

 mondi, of Bologna, who lived in 1500, was the first 

 to introduce greater freedom into his engravings. 

 His copies of Raphael have always been highly valu- 

 ed, on account of their correctness. His manner 

 was imitated by Bonasone, Marco di Ravenna, Di 

 Ghisi, and others. Agostino Carracci, Parmeggiano, 

 Carlo Maratti and Pietro Testa etched some excel- 

 lent works. Stefano della Bella was distinguished 

 for his small, spirited, and elegant pieces. Among 

 the moderns, Bartolozzi deserves mention in stippled 

 engraving. Cunego, Volpato, and Bettelini are also 

 distinguished ; but, above all, the Florentine Ra- 

 phael Morghen, who has carried the art of engrav- 

 ing to a degree of perfection never before anticipated. 

 The labours of Morghen, and yet more those vof 

 Longhi, perhaps the most admirable of all modern 

 engravers, of Toschi, of Anderloni, of Folo, of Pal- 

 merini, of Lasinio, of Garavaglia, Lapi, Schiavonetti, 

 evince an activity, to which new employment and 

 new excitement liave been afforded by the eager- 

 ness of travellers, and the number of splendid works 

 ou buildings (such as those on the cathedral of Milan, 



the Carthusian monastery of Pavia, the sacristy of 

 Sienna, the Campo Santo of Pisa, the Monument! 

 sepolcralt of Tuscany, the principal edifices of Venice, 

 the Chiese principali di Europa). One of the latest 

 and best is the work of the brothers, Durelli, La 

 Certosa di Pavia. The painter Francesco Pirovano, 

 whose description of .Milan exceeds all others in 

 exactness, has also given us a description of this 

 celebrated Carthusian monastery. As a medium 

 between painting and sculpture (see Sculpture), we 

 must mention mosaic, in which many paintings have 

 been imitated in Italy, from the wish to render tha 

 master works imperishable. There is a distinction 

 made between the Roman mosaic executed by Tafi, 

 Giotto, and Cavallini, and the Florentine. (See 

 Mosaic.) Mosaic painting seems to have flourished 

 as well in France, whither it was transplanted, as in 

 Rome. The art of working in scagliola (see Sca- 

 gliola) has flourished for two centuries in Tuscany. 

 In later times, Lamberto Gori has distinguished 

 himself in this branch. Rome is still the metropolis 

 of the arts. Pope Pius VII. generously supported 

 the plans of that lover of the arts, cardinal Gonsalvi; 

 and the Chiaramonti museum, by every account the 

 most superb part of the long galleries of the Vatican, 

 will be a lasting monument of his noble patronage. 

 All friends of the sublime and beautiful deeply felt 

 the accident that befell St Paul's church, near Rome, 

 in the conflagration of 1823. To restore it would 

 hardly be possible. The loss of this noble Basilica 

 is not adequately compensated by the church of St 

 Peter and Paul, built opposite the castle of Naples, 

 nor by the temple of Possagno, which, before it was 

 finished, received the ashes of its founder, the great 

 Canova. As a monument, to the embellishment of 

 which that distinguished man contributed the last ef- 

 forts of his genius, this church is a legacy highly to 

 be esteemed by Italian artists. Sculpture and paint- 

 ing here again meet architecture in a sisterly em- 

 brace. Canova' s death was the cause of its first sol- 

 emn consecration. (For a particular account of 

 Canova, see the article.) Notwithstanding the excel- 

 lence of their master, little is to be expected from the 

 Italians of Canova's school. The monuments which 

 were executed or planned by Ricci for the present 

 grand-duke of Tuscany at Arezzo, by Pisani for the 

 princesses of the house of Este at Reggio, and by 

 Antonio Bosa to the memory of Winckelmann, 

 rather depress our hopes than exalt them. The 

 principal ground of hope of future excellence is in 

 the love which has been generally awakened for the 

 plastic arts. Gem engraving has been carried to a 

 very high degree of perfection ; and Berini's labours 

 well merit the wide reputation which they have ac- 

 quired. As medalists, Manfredini in Milan, Pulinati 

 and Mercandelli have produced works with which 

 other countries present little that can compare. In 

 Rome, Girometti and Cerbara are highly esteemed in 

 this branch of art. 



Italian Music. The style of music now prevalent 

 in Italy is characterized by the predominance of 

 melody and song to the neglect of harmony, and is 

 distinguished from the old Italian music. Like other 

 branches of modern art, the music of modern times 

 sprang from religion. The history of the art, after 

 pointing out a few imperfect glimmerings of ancient 

 music, conducts us to Italy, where, in the course of 

 centuries, the ancient was first lost in the modern. 

 Here we first find the proper choral song, the founda- 

 tion of modern church music, which was at first sung 

 in unison, chiefly in melodies derived from the old 

 Greco-Roman music, and adapted to Christian hymns 

 and psalms. (See Music, and Music, Sacred.) It 

 seems to have had its origin when bishop Ambrosius, 

 in the fourth century, introduced into the western 



