In the time of Giordano and Solimene, Niccola Ma.s.saro was considered a good landscape painter. He was a scholar of Salvator Rosa, but rather imitated him in design than in colour. In the latter he was insipid, nor even added the accompaniment of figures to his landscapes, but was a.s.sisted in that respect by Antonio di Simone, not a finished artist, but of some merit in battle pieces.[125] Ma.s.saro instructed Gaetano Martoriello, who was a landscape painter of a free style, but often sketching, and his colouring not true to nature. In the opinion of connoisseurs a better style was displayed by Bernardo Dominici, the historiographer, and the scholar of Beych in landscape, a careful and minute painter of Flemish subjects and _bambocciate_. There were two Neapolitans, Ferraiuoli and Sammartino, who settled in Romagna, and were good landscape painters. In perspective views Moscatiello was distinguished, as we observed, when we spoke of Giordano. In the life of Solimene, Arcangelo Guglielmelli is mentioned as skilled in the same art. Domenico Brandi of Naples, and Giuseppe Ta.s.soni of Rome, were rivals in animal painting. In this branch, and also in flowers and fruits, one Paoluccio Cattamara, who flourished in the time of Orlandi, was celebrated. Lionardo Coccorante, and Gabriele Ricciardelli, the scholar of Orizzonte, were distinguished in seaviews and landscapes, and were employed at the court of King Charles of Bourbon.[126]

By the accession of this prince, a munificent patron of the fine arts, wherever he reigned, the Neapolitan School was regenerated and invigorated; employment and rewards awaited the artists; the specimens of other schools were multiplied, and Mengs, who was invited to paint the Royal Family, and a large cabinet picture, laid the foundations of a more solid style, at the same time improving his own fortune, and giving a considerable impulse to art. But the greatest benefit this monarch has conferred on the arts is to be found at Ercolano, where under his orders so many specimens of sculpture and ancient paintings, buried for a long lapse of ages, have been brought to light, and by his direction accurately drawn and engraved, and ill.u.s.trated with learned notes, and communicated to all countries. Lastly, in order that the benefits which he had conferred on his own age, might be continued to the future masters of his country, he turned his attention to the education of youthful artists. Of this fact I was ignorant at the time of my first edition, but now write on the information afforded me at the request of the Marchese D. Francesco Taccone, treasurer of the kingdom, by the very learned Sig. Daniele, Regio Antiquario, both of whom, with truly patriotic feelings, have devoted themselves to the preservation of the antiquities of their country, and are equally polite in communicating to others that information for which they are themselves so distinguished.

There formerly existed at Naples the academy of S. Luke, founded at the Gesu Nuovo, in the time of Francesco di Maria, who was one of the masters, and taught in it anatomy and design. This inst.i.tution continued for some years. King Charles in some measure revived this establishment by a school for painting, which he opened in the Laboratory of mosaics and tapestry. Six masters of the School of Solimene were placed there as directors, and some good models being provided in the place, young artists were permitted to attend and study there. Bonito was engaged as the acting professor, and after some time Mura was a.s.sociated with him, but died before the professor. Ferdinand IV. treading in the steps of his august father, has, by repeated instances of protection to these honorable pursuits, conferred fresh honours on the Bourbon name, and rendered it dearer than ever to the fine arts. He transferred the academy to the new royal Museum, and supplied it with all requisites for the instruction of young artists. On the death of Bonito he bestowed the direction of it on the first masters, and having established pensions for the maintenance in Rome of a certain number of young men, students in the three sister arts, he a.s.signed four of these to those students who were intended for painters; thus confirming by his suffrage to the city of Rome, that proud appellation which the world at large had long conceded to her, the Athens of Modern Art.

[Footnote 121: Cortona had in Sicily a good scholar in Gio. Quagliata, who, in the _Memorie Messinesi_, is said to have been favored and distinguished by his master; and to have afterwards returned to his native country to paint in compet.i.tion with Rodriguez, and what surprises me still more, with Barbalunga. If we may be allowed to judge of these two artists by their works which remain in Rome, Barbalunga in S. Silvestro at Monte Cavallo, appears a great master; Quagliata at the Madonna di C. P. a respectable scholar. The former is celebrated and known to every painter in Rome, the latter has not an admirer. In Messina he perhaps painted better. His biographer commends him as a graceful and sober painter, as long as his rivals lived; and adds, that after their death he devoted himself to frescos, when the exuberance of his imagination is evident in the strong expression of character, and in the superfluity of architectural and other ornaments. Andrea, his brother, was not in Rome; he is, however, in Messina, considered a good artist.]

[Footnote 122: Giordano is said at this period to have copied the Chambers and the Gallery of Raffaello no less than twelve times, and perhaps twenty times the Battle of Constantine, painted by Giulio Romano, without reckoning his designs after the works of Michelangiolo, Polidoro, and other great masters. See _Vite del Bellori_, edited in Rome in 1728, with the addition of the life of Giordano, page 307.]

[Footnote 123: It may be observed, that if he had followers, some of them did not copy him implicitly. Palomino, although much attached to Giordano, forsaking letters for painting, when his style was so much in vogue, did not imitate him servilely, but in conjunction with the style of other distinguished painters of his age; a good artist, and appointed by Charles II. painter to himself. This is the same Palamino who has merited the appellation of the _Vasari of Spain_, and whom I have so often cited. They who are acquainted with that n.o.ble language highly commend his style, which is perhaps the reason that copies of his _Teorica e Pratica della Pittura_ (2 vol. fol.) are so rare out of Spain. But in point of accuracy, like Vasari himself, he often errs. I fancy that he frequently adopted traditions, without sufficiently weighing them, which I am led to suspect from the circ.u.mstance that in the scholars a.s.signed to masters, he is guilty of many anachronisms.]

[Footnote 124: The _Memorie de' Messinesi Pittori_ mentions a Gio.

Porcello, who, after studying under Solimene, returned, it is said, to his native country, where he found the art at an extremely low ebb; and he attempted to revive it by opening an academy in his house, and diffusing the taste of his master, which he fully possessed. A still better style of painting was brought from Rome by Antonio and Paolo, two brothers, who, fresh from the school of Maratta, also opened an academy in Messina, which was greatly frequented. They worked in conjunction in many churches, and excelled in fresco, but in oil Antonio was much superior to his brother. There was also a third brother, Gaetano, who executed the ornamental parts. Their works on the walls and on canva.s.s are to be seen in S. Caterina di Valverde, in S. Gregorio delle Monache, and elsewhere. There flourished at the same time with the Filocami, Litterio Paladino, and Placido Campolo, a scholar of Conca in Rome, where he derived more benefit from the antique marbles than from the instructions of his master. Both these artists executed works on a very large scale; and of the first they particularly commend the vault of the church of Monte Vergine, and, of the second, the vault of the gallery of the Senate. Both are esteemed for their correct design; but the taste of the second is more solid and more free from mannerism. The above named five artists all died in the fatal year of 1743. Luciano Foti survived them, an excellent copyist of every master, but particularly of Polidoro, whose style he adopted in his own composition. But his characteristic merit consisted in his penetration into the secrets of the art, which enabled him to detect every style, every peculiar varnish, and the various methods of colouring, so that he not only ascertained many doubtful masters, but restored pictures, damaged by time, in so happy a manner as to deceive the most experienced. A man of such talents outweighs a host of common artists.

To these we may add other artists of the island itself, born in different places. Marcantonio Bellavia, a Sicilian, who painted in Rome, at S. Andrea delle Fratte, is conjectured, though not ascertained, to be a scholar of Cortona. Calandrucci, of Palermo, is named among the scholars of Maratta. Gaetano Sottino painted the vault of the oratory at the Madonna di C. P., a respectable artist. Giovacchino Martorana, of Palermo, was a machinist, and in his native city they boast of the Chapel de' Crociferi, and at S. Rosalia, four large pictures from the life of S. Benedict. Olivio Sozzi, of Catania, painted much in Palermo; particularly at S. Giacomo, where all the altars have pictures by him, and the tribune three large subjects from the infancy of Christ. Another Sozzi, of the name of Francesco, I find praised for a picture of Five Saints, Bishops of Agrigentum, in the Duomo of that city. Of Onofrio Lipari, of Palermo, there are two pictures of the Martyrdom of S. Oliva in the Church de' Paolotti. Of Filippo Randazzo, there are to be seen in Palermo some vast works in fresco, as well as of Tommaso Sciacca, who was an a.s.sistant of Cavalucci in Rome, and who left some large compositions at the Duomo and at the Olivetani of Rovigo.]

[Footnote 125: Gio. Tuccari of Messina, the son of an Antonio, a feeble scholar of Barbalunga, although he painted much in other branches of the art, owes the celebrity of his name to his battle pieces, which, by the despatch of his pencil, were multiplied beyond number. They were frequently sent into Germany where they were engraved. He had a fruitful and spirited genius, but was not a correct designer.]

[Footnote 126: Among the painters of Messina is mentioned Niccolo Cartissani, who died in Rome with the name of a good landscape painter, and Filippo Giannetti, a scholar of Casembrot, who in the vastness of his landscapes and his views surpa.s.sed his master; but he will not bear a comparison in the correctness of his figures and in finishing; though he was, from his facility and rapidity of pencil, denominated the Giordano of landscape painters. He was esteemed and protected by the Viceroy Co. di S. Stefano, and painted in Palermo and Naples.]