Luigi Lanzi

“ The artist, therefore, described by Mengs, and to whose qualifications he also aspired, and was anxious that all should do the same, ought to unite in himself the design and beauty of the Greeks, the expression and composition of Raffaello, the chiaroscuro and grace of Coreggio, and, to complete all, the colouring of Titian. This union of qualities Mengs has analyzed with equal elegance and perspicuity, teaching the artist how to form himself on that ideal beauty, which is itself never realised. ”

“ It is delightful to behold in his pictures, and in his frescos which remain in Perugia and Rome, the bright azure ground which affords such high relief to his figures; the green, purple, and violet tints so chastely harmonized, the beautiful and well drawn landscape and edifices, which, as Vasari says, was a thing until that time never seen in Florence. In his altarpieces he is not sufficiently varied. There is a remarkable painting executed for the church of S. Simone, at Perugia, of a Holy Family, one of the first specimens of a well designed and well composed altarpiece. ”

“ His backgrounds are always dark, and the actors are all placed in the same line, so that there is little perspective in his pictures; yet they enchant us, from the powerful effect which results from the strong contrast of light and shade. We must not look in him for correct design, or elegant proportion, as he ridiculed all artists who attempted a noble expression of countenance, or graceful foldings of drapery, or who imitated the forms of the antique, as exhibited in sculpture, his sense of the beautiful being all derived from visible nature. ”

“ Notwithstanding this extreme passion for grace and beauty, it is the opinion of many, that there is not a greater name amongst landscape painters. His genius had a natural fervour, and as we may say, a language, that suggests more than it expresses. To give an example, in some of his larger landscapes, similar to those in the Panfili palace, we may occasionally observe an artful winding of the road, which in part discovers itself to the eye, but in other parts, leaves itself to be followed by the mind. Every thing that Gaspar expresses, is founded in nature. ”

“ The painter, on the contrary, has but the space of a moment to make himself understood, and his talent consists in describing not only what is passing, and what is likely to ensue, but that which has already occurred. It is here that the genius of Raffaello triumphs. He embraces the whole subject. From a thousand circumstances he selects those alone which can interest us; he arranges the actors in the most expressive manner; he invents the most novel modes of conveying much meaning by a few touches ”

“ The bent of his genius, which was not less voluptuous and graceful than it was noble and elevated, led him to that ideal beauty, grace, and expression, which is the most refined and difficult province of painting. To insure success in this department neither study nor art is sufficient. A natural taste for the beautiful, an intellectual faculty of combining the several excellences of many individuals in one perfect whole, a vivid apprehension, and a sort of fervour in seizing the sudden and momentary expressions of passion, a facility of touch, obedient to the conceptions of the imagination ”

“ On this propitious commencement was founded the school which we call Roman, rather from the city of Rome itself, than from the people, as I have before observed. For as the inhabitants of Rome are a mixture of many tongues, and many different nations, of whom the descendants of Romulus form the least proportion; so the school of painting has been increased in its numbers by foreigners whom she has received and united to her own, and who are considered in her academy of S. Luke, as if they had been born in Rome, and enjoyed the ancient rights of Romans. ”

“ Bernardino Pinturicchio, his scholar and assistant in Perugia and in Rome, was a painter little valued by Vasari, who has not allowed him his full share of merit. He has not the style of design of his master, and retains more than consistent with his age, the ornaments of gold in his drapery; but he is magnificent in his edifices, spirited in his countenances, and extremely natural in every thing he introduces into his composition. ”

“ Raffaello is by common consent placed at the head of his art; not because he excelled all others in every department of painting, but because no other artist has ever possessed the various parts of the art united in so high a degree. Lazzarini even asserts, that he was guilty of errors, and that he is only the first, because he did not commit so many as others. He ought, however, to have allowed, that his defects would be excellences in any other artist, being nothing more in him than the neglect of that higher degree of perfection to which he was capable of attaining. ”

“ The ceiling of the church of S. Ignatius is his greatest work, and which would serve to show his powers, if he had left nothing else, as it exhibits a novelty of images, an amenity of colour, and a picturesque spirit, which attracted even the admiration of Maratta and Ciro Ferri; the last of whom, amazed that Andrea had in so few years, and in so masterly a manner, peopled, as he called it, this Piazza Navona, concluded that the horses of other artists went at a common pace, but those of Pozzo on the gallop. ”

“ Whoever, too, wishes to see how far he carried it in his altarpieces, must inspect the Conversion of S. Paul at the Capucins in Rome, which, placed opposite the S. Michael of Guido, is, nevertheless, the admiration of those who do not object to a variety of style in art: nor am I aware that we should reject this principle in what we designate the fine arts; as it is invariably acknowledged in eloquence, in poetry, and history, where we find Demosthenes and Isocrates, Sophocles and Euripides, and Thucydides and Xenophon, equally esteemed, though all dissimilar in style. ”

“ The art, indeed, comprehends so many and such difficult parts, that no individual artist has been alike distinguished in all; even Apelles was said to yield to Amphion in disposition and harmony, to Asclepiadorus [Pg 90] in proportion, and to Protogenes in application.
The style of design of Raffaello, as seen in those drawings, divested of colours, which now form the chief ornaments of cabinets, presents us, if we may use the term, with the pure transcript of his imagination, and we stand in amaze at the contours, grace, precision, diligence, and genius, which they exhibit. ”

“ But though envy for a time, by her insidious suggestions and subterfuges, may derive a mean pleasure in persecuting a man of genius, she can never hope to succeed in blinding the public, who ever decide impartially on the merits of individuals, and whose judgment is not disregarded even by princes. The Farnese gallery was opened, and Rome beheld in it a grandeur of style, which might claim a place after the Sistine chapel, and the chambers of the Vatican. ”

“ In the sky is a band of angels, whose sympathizing sorrow is vividly depicted. In extent and spirit of design it partakes of the style of Memmi, and in one of the sufferers on the cross he has shewn that he justly appreciated and successfully followed his guide. The colours are well preserved, particularly the blue, which there, and in other parts of the church, presents to our admiring gaze, to use the language of our poets, a heaven of oriental sapphire.
Vasari does not appear to have been acquainted with any scholar of Pietro Cavallini, except it be Giovanni da Pistoja ”

“ Under these pontiffs the painters of Italy, and even the oltramontani, inundated Rome with their works, in the same manner that the poets and philosophers had filled that city with their writings in the time of Domitian and Marcus Aurelius. Every one indulged his own taste; and the style of many was deteriorated through rapidity of execution. Thus the art, particularly in fresco, became the employment of a mechanic, not founded in the just imitation of nature, but in the capricious ideas of the artist. ”

“ But although it be a matter of difficulty to account for this developement and union of rare talent at one particular period, we may however hope to trace the steps of a single individual to excellence; and I would wish to do so of Raffaello. Nature and fortune seemed to unite in lavishing their favours on this artist; the first in investing him with the rarest gifts of genius, the other in adding to these a singular combination of propitious circumstances. ”

“ He was born in Saxony, and brought to Rome by his father while yet a boy, and was at that time skilled in miniature, and was a careful and correct draughtsman. On his arrival in Rome, his father employed him in copying the works of Raffaello, and chastised the young artist for every fault in his work, with an incredible severity, or rather inhumanity, inflicting on him even corporeal punishment, and reducing his allowance of food. Being thus compelled to study perfection, and endowed with a genius to appreciate it and perceive it, he acquired a consummate taste in art ”

“ In these figures we see nothing of the stiffness of the drapery, the dryness of execution, and the peculiar style of Pietro, which sometimes approaches to harshness: all is action, and an animating spirit breathes in every gesture and in every countenance. The landscapes are not represented with sterile and impoverished trees, as in the backgrounds of Pietro; but are drawn from nature, and finished with care. ”

“ I would willingly, however, flatter myself, that a congeniality of mind and an affinity of genius, emulous in the pursuit of perfection, must have produced a knowledge of each other, if it did not conciliate a mutual attachment. No one certainly was more capable than Da Vinci, of communicating to Raffaello a degree of refinement and knowledge, which he could not have received from Pietro; and to introduce him into the more subtle views of art. As to Michelangiolo, his pictures were rare, and less analogous to the genius of Raffaello. ”

“ In a word, he is truly the painter, who in depicting the three regions of air, earth, and water, has embraced the whole universe. His atmosphere almost always bears the impress of the sky of Rome, whose horizon is, from its situation, rosy, dewy, and warm. ”

“ He was born in Urbino in 1483; and if climate, as seems not improbable, have any influence on the genius of an artist, I know not a happier spot that could have been chosen for his birth, than that part of Italy which gave to architecture a Bramante, supplied the art of painting with a successor to Raffaello in Baroccio, and bestowed on sculpture the plastic hand of a Brandani, without referring to many less celebrated, but still deserving artists, who are the boast of Urbino and her state. ”

“ Polidoro da Caravaggio, from a manual labourer in the works of the Vatican, became an artist of the first celebrity, and distinguished himself in the imitation of antique bassirelievi, painting both sacred and profane subjects in a most beautiful chiaroscuro. Nothing of this kind was ever seen more perfect, whether we consider the composition, the mechanism, or the design; and Raffaello and he, of all artists, are considered in this respect to have approached nearest to the style of the ancients. ”

“ Agostino, his brother, for a longer period; and he had his scholars with him, amongst whom we may enumerate Domenichino, Guido, Albano, and Lanfranc. They came thither at different periods, matured in their talents, and able to assist their master not only in execution but design.
Rome had for some years seen only the two extreme styles of painting. Caravaggio and his followers were mere naturalists; Arpino and his scholars pure idealists. Annibale introduced a style founded in nature, yet ennobled by the ideal, and supported his ideal by his knowledge of nature. ”

“ Whilst still young he went to Rome, where under the direction of a Frenchman, and by the more valuable aid of Bernino, he formed himself on the style of the great machinists. As he was endowed by nature with a ready genius and a dexterity of hand, he could not [Pg 299] have chosen any branch of the art more adapted to his talent. The vault of the Gesù is his most conspicuous work. The knowledge of the sotto in su, the unity, harmony, and correct perspective of its objects, the brilliancy and skilful gradation of the light, rank it among the best, if indeed it be not his best picture in Rome. ”

“ It is not easy to conjecture why Vasari should here overlook many eminent painters, and even Andrea da Salerno himself, so illustrious an artist, and whose name would have conferred a greater honour on his book, than it could possibly have derived from it. Whether self love prompted him to pass over that painter and other Neapolitan artists, in the hope that he should himself be considered the restorer of taste in Naples ”

“ These principles change through the instability of all human affairs, and the age partakes in the change. I may add, nevertheless, that these happy periods never occur without the circumstance of a number of princes and influential individuals rivalling each other in the encouragement of works of taste; and amidst these there always arise some persons of commanding genius, who give a bias and tone to art. The history of sculpture in Athens, a city where munificence and taste went hand in hand, favours my opinion, and it is further confirmed by this golden period of Italian art. ”

“ I will only add that it appears to me not improbable, that Pietro, when he arrived at Florence, attached himself to this most celebrated artist, and was instructed by him in design, and in the plastic art particularly, and in that fine style of painting with which Verrocchio, without much practising it himself, imbued both Vinci and Credi. Traditions are seldom wholly groundless; they have generally some foundation in truth. ”

“ There is not a movement of the soul, there is not a character of passion known to the ancients, and capable of being expressed by art, that he has not caught, expressed, and varied, in a thousand different ways, and always within the bounds of propriety. We have no tradition of his having, like Da Vinci, frequented the public streets to seek for subjects for his pencil; and his numerous pictures prove that he could not have devoted so much time to this study, while his drawings clearly evince, that he had not equal occasion for such assistance. ”