It must have occurred, however, much earlier, as in 1609 Giulio was a renowned painter, while Annibal was in his decline. Giulio Cesare's studies were directed to the models of Coreggio, and it is the opinion of many, that no one approached nearer to the grand style of that artist. In his small pictures, with few figures, in which imitation is more easy, he has often been mistaken for his original, though his elegance cannot boast the same clear and native tone, nor his colours the same rich and vigorous handling. One of his Madonnas, at S. Luigi de' Francesi, at Rome, was, in fact, engraved not long since for a work of Allegri, by an excellent artist; and there are other equally fine imitations at the Sanvitali Palace, in Parma; in that of the Careghi, in Genoa, and other places. Among his numerous altar-pieces, the one I have seen, which displays most of the Coreggio manner, is at S. Afra, in Brescia. It represents the Virgin and Child, surrounded with some figures of Angels and Saints, which are seen gazing and smiling upon him. He has perhaps, indeed, gone somewhat beyond the limits of propriety, in order to attain more grace, which is the case with his Nunziata, at S. Antonio, in Milan; in which the Holy Virgin and Angel are seen smiling at each other; a circ.u.mstance hardly compatible either with the time or the mystery. In his att.i.tudes, also, he was occasionally guilty of extravagance, as in his Martyrdom of S. Nazario, in the church of that name, a picture attractive by its harmony and its grace, though the figure of the executioner is in too forced a position. Giulio left many very large histories, such as his Pa.s.sage of the Red Sea, at S.

Vittore, in Milan; and more in Genoa, where Soprani has pointed them out.

What is surprising, in so vast a number of his pieces, is the accuracy of his design, the variety of his ideas, and his diligence both in his naked and dressed parts, combined at the same time with a grandeur, which, if I mistake not, he derived from the Caracci. In the Sacristy of S. Maria, at Sarono, is his picture of Saints Andrea, Carlo, and Ambrogio, displaying the most dignified character of their school; if, indeed, we are not to suppose, that in common with the Caracci, he acquired it from those magnificent models of the art at Parma.

To these two may be added Carlantonio Procaccini, not as a figure, but a good landscape painter, and a tolerable hand in drawing fruits and flowers.

He produced a variety of pieces for the Milanese gallery, which happening to please the court, then one of the branches of Spain, he had frequent commissions from that country, insomuch that he rose, though the weakest of the family, into the highest repute.

The Procaccini opened school at Milan, where they obtained the reputation of kind and able masters, educating, both for the city and state, so great a number of artists, that it would be neither possible nor useful to comprise them all in a history. They could boast among them some inventors of a new style, the same as the disciples of the Caracci; though most of them aimed at observing the manner of their masters; some maintaining it by their accuracy, and others injuring it by their over haste. We reserve the series of them, however, to the last epoch, in order not to disperse the same school through different parts.

The last of the foreigners who then gave instructions at Milan, was Panfilo Nuvolone, a n.o.ble Cremonese, of whose style we treated at length in the list of the Cav. Trotti's disciples. He was a diligent rather than an imaginative artist, and produced no works of any extent at Milan, except for the nunneries of Saints Domenico and Lazzaro, where he painted in the ceiling the history of Lazarus and the Rich Man, with true pictoric splendour; which is no less apparent in his a.s.sumption of the Virgin, in the cupola of the Pa.s.sione. In his altar-pieces, and histories executed for the ducal gallery at Parma, he aimed rather at perfecting than at multiplying his figures. He instructed his four sons, two of whom are unknown in the history of the art, and the two others are frequently mentioned by different ill.u.s.trators of the paintings of Milan, of Piacenza, of Parma, and of Brescia; where they are also surnamed, from their father, the Panfili. We shall, however, treat of them more particularly in the age during which they flourished.

Fede Galizia introduced another foreign style into Milan, a female artist, who, according to Orlandi, was a native of Trent. Her father, Annunzio, was a celebrated miniaturist, born at the same place, and a resident at Milan, and from him perhaps she acquired that taste for accuracy and finish of hand, no less remarkable in her figures than in her landscapes; in other points, more similar to the Bolognese predecessors of the Caracci, than to any other school. There are some specimens of her style in foreign collections. One of her best studied pictures is seen at S. Maria Maddalena, where she painted the t.i.tular saint, with the figure of Christ in the dress of a gardener. This lady has been criticised by the excellent author of the Guide, for her too great study of the ideal, which she aimed at introducing both into her design and colouring, at the expense of nature and of truth, a practice pretty much in vogue at that period in Italy.

About the same time, one Orazio Vaiano was employed a good deal at Milan, where he long resided, called Il Fiorentino from his extraction. He, in some way, came to be confounded, in some of his pictures, with the elder Palma, as we are informed by Orlandi; but how, it is difficult to say. The specimens of his composition at S. Carlo and at S. Antonio Abate, are judicious and diligent, though somewhat feeble in point of colouring; and in the distribution of their lights much resembling the tone of Roncalli.

He likewise visited Genoa; but neither he nor Galizia, as I am aware, left any pupils at Milan. The same may be said of the two Carloni, n.o.ble fresco painters belonging to Genoa, and of Valerio Profondavalle, from Lovanio, who painted gla.s.s, as well as in oil and in fresco, for all which he had frequent commissions at court.

We ought here to add the name of Federigo Zuccari, an artist invited by the Card. Federigo Borromeo to take up his residence at Milan, where, as well as at Pavia, he painted, as we have mentioned, (at p. 139, vol. ii). I am indebted to the polite and kind attention of Sig. Bernardo Gattoni, chaplain and rector of the other Borromean college at Pavia, for correcting an error into which I had fallen, from following the local tradition rather than the written authority of the same Zuccheri, in his "Pa.s.saggio per l'Italia," a very rare work, and which I had not seen at that time. In it are described the pictures of the Borromean college at Pavia; and it appears, that Zuccari produced no other besides the princ.i.p.al picture, that of S. Carlo, who is seen in the Consistory in the act of receiving the cardinal's hat; the rest being from the hand of Cesare Nebbia, who flourished at the same period. In order to have them retouched at leisure, while they were left to dry, the cardinal Federigo despatched the two artists to visit the sacred mount of Varallo, whence they pa.s.sed to Arona, and next to the Isola Bella, situated upon the Lago Maggiore, where the cardinal joined them, and where each of them left a work in fresco, upon two pilasters of the chapel at that place. There has since been found in the archives of the college, an original letter of the cardinal, in which he recommends to the then rector, that Nebbia should be received into the college, and the sums of money disbursed to both, entered in the books of account.

Proceeding next to those artists who studied at other places, I shall briefly mention Ricci of Novara, with Paroni and Nappi of Milan, not omitting others of the same place, commemorated in the lives of Baglioni.

Residing at Rome, they in no way contributed to the fame of their native school, neither by their pupils, nor their example; and even at Rome, they may be said to have added rather to the number of paintings than to the decoration of the city. Ricci was a fresco painter, very well adapted to the hasty temper of Sixtus V., whose works he superintended, and promoted the effeminate taste then so prevalent; he possessed much facility and beauty of forms. Paroni pursued the manner of Caravaggio, but his career was short. Nappi displays great variety; and when he painted in his Lombard manner, such as in his a.s.sumption, at the cloister of the Minerva, with other pieces at the Umilta, he shewed himself a naturalist far more pleasing than the mannerists of his time.

There flourished likewise, for a few years, at Rome, the Cav. Pier Francesco Mazzuch.e.l.li, called from his birthplace Morazzone. After practising there for a period, from all the best models, which influenced both his mind and his productions, he directed his attention to the Milanese School, in which he taught, and succeeded beyond all example, in improving his own style. It will be sufficient to compare his picture of the Epiphany which he painted in fresco for one of the chapels of S.

Silvestro _in capite_, which boasts no beauty beyond that of colouring; and his other Epiphany, placed at S. Antonio Abate, at Milan, which appears like the production of another hand; such is the superiority of the design, the effect, and the display of drapery, in the manner of the Venetians. He is said to have studied t.i.tian and Paul Veronese; and some of his angels are painted with arms and legs, in those long proportions that are not the best characteristics of Tintoretto. In general, the genius of Morazzone was not adapted for the graceful, but for the strong and magnificent; as appears in his S. Michael's Conquest over the bad Angels, at S. Gio. di Como, and in the chapel of the Flagellazione, at Varese. In 1626 he was invited to Piacenza, to paint the grand cupola of the cathedral, a work which was left very incomplete by his death, and bestowed upon Guercino. He had drawn the figures of two prophets, which, in any other place, would have appeared to the greatest advantage; but there they are thrown into the shade by those of his successor, that magician of his art, who threw into it the whole enchantment of which he was capable. Morazzone was employed for different collections, no less than for churches; and received a number of commissions from Cardinal Federigo, and the king of Sardinia, from which last he received his t.i.tle of cavalier.

Contemporary with him flourished Gio. Batista Crespi, better known by the name of Cerano, his native place, a small town in the Novarese. Sprung from a family of artists, which left specimens of its genius at S. Maria di Busto, where his grandfather Gio. Piero, and Raffaello, his father or uncle, (I am not certain which,) had been employed. He studied at Rome, and at Venice, uniting to that of painting great knowledge in the art of modelling, as well as in architecture; being, moreover distinguished for good taste in literature and for polite accomplishments. With such qualifications he took the lead at the court of Milan, from which he received a salary; no less than in the great undertakings of the Card.

Federigo, and in the direction of the academy. Not to dwell upon the buildings, statues, and ba.s.si-relievi, which he either designed or executed, but which are less connected with my subject, he painted a great number of altar-pieces, in which he at once exhibited, if I mistake not, great excellences and great defects. He is invariably free, spirited, and harmonious; but he frequently, from too great affectation of grace or of magnificence, falls into a degree of mannerism, as in some of his histories at the Pace, where his naked figures are heavy, and the att.i.tudes of others too extravagant. In his other subjects these defects are less apparent; but here he has also overloaded his shadows. In the greater part of his works, notwithstanding, the correct and the beautiful so far abounds, as to shew that he was one of the first masters of his school. Thus in his Baptism of S. Agostino, painted for S. Marco, he rivals Giulio Cesare Procaccini, whose productions are placed opposite, and in the opinion of some he surpa.s.ses him. Another instance occurs in his altar-piece of saints Carlo and Ambrogio, at Santo Paolo, where, in taste of colouring at least he surpa.s.ses the Campi; and a third in his celebrated picture of the Rosario, at S. Lazzaro, which casts into shade the fine fresco painting of Nuvoloni.

He was particularly skilled in drawing birds and quadrupeds, of which he composed pictures for private ornament, as we gather from Soprani in his life of Sinibaldo Scorza. He educated many pupils, whom we shall reserve for an inferior epoch, excepting Daniele Crespi of Milan, who, on account of his worth, and the period in which he flourished, ought not to be separated from his master.

Daniele is one among those distinguished Italians who are hardly known beyond their native place. He possessed, however, rare genius, and, instructed by Cerano, and afterwards by the best of the Procaccini, undoubtedly surpa.s.sed the first, and in the opinion of many likewise the second, though he did not live to reach the age of forty. He had great penetration in learning, and equal facility in executing, selecting the best part of every master he studied, and knowing how to reject the worst.

Familiar with the maxims of the Caracci school, even without frequenting it, he adopted and practised them with success. He shews this in his distribution of colours, and in the varied expression of his countenances; select and careful in disposing them according to the prevailing pa.s.sions of the mind; and above all, admirable in catching the beautiful and devotional spirit that ought to inspire the heads of saints. In the distribution of his figures he at once observes a natural and well judged order, so that no one would wish to behold them placed otherwise than they are. Their drapery is finely varied, and very splendid in the more imposing characters of the piece. His colouring is extremely powerful, no less in oil than in fresco; and in the highly ornamented church of La Pa.s.sione, for which he painted his grand Descent from the Cross, he left many portraits of distinguished cardinals, all composed in the best t.i.tian taste. He is indeed one of those rare geniuses who delight in being constant rivals of themselves, calling forth their highest energies in each production, in order that they may in some way surpa.s.s the last; geniuses, who know how to correct in their later paintings the errors they committed in their first, exhibiting in them the full maturity of those excellences which they discovered in their early attempts. His last pieces, consisting of acts from the life of S. Brunone, at the Certosa, in Milan, are of all the most admired. That of the Dottor Parigino is more particularly celebrated, in which, having raised himself on his bier, he declares his state of reprobation. What desperation he exhibits! what horror in the faces of the beholders! Nor is that of the Duke of Calabria less excellent, where, in going to the chase, he meets with the holy hermit, a picture upon which the artist inscribed, _Daniel Crispus Mediolanensis pinxit hoc templum_. _An.

1629._ This was the year before his death, as he was unhappily cut off by the plague of 1630, together with his whole family.

We may here add, as a sort of corollary to the foregoing, the names of some other artists who displayed great merit, though it is uncertain of what school. Such is Gio. Batista Tarillio, by whom there was an altar-piece with the date of 1575, painted for the now suppressed church of S. Martino in Compito. There are some pictures by another native of Milan, named Ranuzio Prata, at Pavia. These I have not seen; they are, however, greatly commended by others. He flourished about 1635. The Novarese also boasted at that period two artists who were brothers, both of whom coloured in pretty good taste. These were Antonio and Gio. Melchiore Tanzi, the former a very able designer, who competed with Carloni at Milan, distinguished himself at Varallo, and painted at S. Gaudenzio di Novara the Battle of Senacherib, a work full of spirit and intelligence. There are likewise other of his works preserved in the galleries of Vienna, of Venice, and of Naples, representing both histories and perspectives; but of his brother there is nothing remaining of any great degree of merit.

SCHOOL OF MILAN.

EPOCH IV.

_The Art continues to decline after the time of Daniele Crespi. A third Academy is founded with a view of improving it._

We now approach the last epoch, which may be truly ent.i.tled the decline of this school. I recollect hearing the opinion of a good judge, that Daniele Crespi might be called the last of the Milanese, just as in another sense Cato was p.r.o.nounced _ultimus Romanorum_. The observation is correct, so far as it applies to certain geniuses superior to the common lot, but false if we should extend it to the exclusion of every artist of merit from the period which it embraces. It would be injustice to the names of Nuvoloni and Cairo, and several others who flourished in an age nearer our own. But in the same way as Ca.s.siodorus and some other writers are insufficient to remove the stain of barbarism from their age, so the artists we treat of cannot redeem theirs from the stigma of its decline. It is the majority which invariably gives a tone to the times; and he who may have seen Milan and its state would be at no loss to remark, that after the introduction of the Procaccini School, design was more than ever neglected, and mechanical practice succeeded to reason and taste. Artists, after the visitation of the plague, had become more rare; and subsequent to the death of the Cardinal Borromeo, in 1631, they became less united, insomuch that the academy founded by him remained closed during twenty years; and if by the exertions of Antonio Busca it was then re-opened, still it never afterwards produced works similar to those of other times. Whether owing to the manner of teaching, to the want of its great patron, or to the abundance of commissions and the kindness of those who gave them, which urged young artists prematurely to make abortive efforts; no school, perhaps, on the loss of its great masters, was filled with so great a number of inferior and bad ones. I shall not give much account of them, yet must not omit such names as have attained to some consideration. In general it may be remarked of the artists of this epoch, that though the pupils of different schools, they display a mutual resemblance, as much as if they had been instructed by the same master. They possess no character that strikes the eye, no beauty of proportions, no vivacity of countenance, no grace in their colouring. Their whole composition appears languid, even their imitation of the head of the school does not please, as it is either deficient, or overdone, or falls into insignificance. In their choice of colours we detect a certain resemblance to the Bolognese School, to which their guides were not very much opposed, though we often perceive that sombre cast which then prevailed in nearly all the other schools.

To this uniformity of style in Milan, Ercole Procaccini the younger most probably contributed, an artist in whom an unprejudiced critic will be at no loss to detect the character we have described. But in his more studied works, as we find in an a.s.sumption, at S. M. Maggiore, in Bergamo, he exhibits dignity, spirit, and a happy imitation of the Coreggio manner. He received his first instructions from his father Carlantonio, and next from Giulio Cesare, his paternal uncle. It is known that by public report, by his insinuating manners, and by the family reputation, he arrived at a degree of consideration beyond his merit, and lived till he reached the age of eighty. Hence he induced many to follow his maxims, and the more as he kept an open academy for the study of the naked figure at his own house, and succeeded his uncles in their instructions; equal to them perhaps in rapidity, but not so well grounded in the art. He painted much; and in the best collections in Milan, if he is not in as much request as many others, he yet maintains his place.

Two young artists educated in his school reflected credit upon it; Carlo Vimercati, who owed his success to the most pertinacious study of Daniele's works at the Certosa, which he daily visited for a long period while at Milan, and Antonio Busca, who likewise employed his talents upon the best models both at Milan and Rome. Vimercati exhibited few of his pictures in public at Milan; he painted more at Codogno, and in his best manner, as well as in a new one in which he was greatly inferior. Busca a.s.sisted his master, and at S. Marco also was employed in compet.i.tion with him. There, placed opposite to some histories by Procaccini, is seen his picture of the Crucifixion full of pious beauty, surrounded with figures of the Virgin, of Mary Magdalen, and S. John, who are all weeping, and almost draw tears from the eyes of the spectator. But he did not always succeed as in this specimen; the gout deprived him of the use of his feet, and he fell into a weak and abject style, the result of mere mechanic practice. In this state of health, I imagine, he must have conducted two holy histories, placed opposite each other, in the chapel of S. Siro at the Certosa in Pavia, in which he idly repeated in the second the same features as distinguished the first, so greatly is an artist sometimes in contradiction with himself. A similar complaint might be alleged for a different reason, in regard to the style of Cristoforo Storer, a native of Constance. A pupil to the same Ercole, he also produced works of solid taste, as in the instance of his S.

Martino, which I saw in possession of the Ab. Bianconi, a picture much valued by its intelligent owner. Subsequently he became a mannerist, and not unfrequently adopted gross or common ideas. In other points he displays much spirit, and is one of the few belonging to that age who may lay claim to the t.i.tle of a good colourist. I am uncertain whether Gio. Ens, of Milan, sprung from the same school, as well as at what precise time he nourished; I know that he was an artist of less talent, whose delicacy often bordered upon weakness, as we may perceive at S. Marco in Milan.

Lodovico Antonio David of Lugano, a scholar of Ercole, of Cairo, and of Cignani, resided at Rome. There he produced some portraits, and at one period made the tour of Italy. The city of Venice possesses one of his Nativities at S. Silvestro, conducted in a minute manner, that betrays a disciple of Camillo more than of any other of the Procaccini. He wrote too upon painting, and compiled some account of Coreggio, for which the reader may consult Orlandi under the head of that artist,[59] or perhaps in preference, Tirasboschi, in his life of him.

Footnote 59: In the additions to the Dictionary, made by Guarienti, following the article Orlandi, we find Lodovico David of Lugano, of whose pencil he could only trace the picture at S. Silvestro in Venice. This is one of the mistakes committed by this continuator.

Next to the nephew of the best Procaccini, I may place the son-in-law of one of the others. This is the Cav. Federigo Bianchi, on whom, after affording him his instructions, Giulio Cesare bestowed the hand of one of his daughters. He derived from his father-in-law his maxims, rather than his forms and att.i.tudes, which display an original air in Bianchi, and are at once graceful and beautiful without affectation. Some of his Holy Families at S. Stefano and at the Pa.s.sione are held in much esteem, besides some of his other pictures exhibiting few, but well conceived figures. Such is that of a Visitazione at S. Lorenzo, every way creditable to one of the favourite pupils of Giulio Cesare. He was not distinguished in compositions of a grander character; but he was full of ideas, united to harmony and good keeping, and altogether one of the first Milanese artists in the present age. He was much employed in Piedmont, and we are indebted to him for notices of many artists which he communicated to P. Orlandi, by whom they were made public. This artist is not to be confounded with one Frances...o...b..anchi, a friend and almost inseparable companion of Antonmaria Ruggieri. They painted together for the most part in fresco, and without the least dispute consented to share all the emolument, all the praise and blame they might receive. They belong to the present age, to which they have bequeathed a more n.o.ble example of mutual attachment than of the art they professed.

The greater part of the Procaccini disciples sprung from the school of Camillo. He had likewise taught at Bologna, though his only pupil known there is Lorenzo Franco, who, with his instructions, afterwards became an excellent imitator of the Caracci. In the opinion of P. Resta, however, his style was somewhat too minute; this artist resided and died at Reggio. The school of Camillo at Milan was always full, and no one reflected upon it greater credit than Andrea Salmeggia of Bergamo, of whom we treated in the preceding book. Becoming a follower of Raffaello at Rome, he occasionally returned to his native place, where he attracted admiration by his productions. Like the rest Gio. Batista Discepoli, called Zoppo di Lugnano, was at one time the disciple of Camillo, but afterwards added much of other styles, and was one of the most natural, powerful, and rich colourists of his time. For the rest he is to be included in the rank of the naturalists, rather than among the lovers of the ideal. Several of his pictures are at Milan, in particular that of his Purgatorio at S. Carlo, executed with much skill; and he painted a good deal for his native place and its confines, as well as at Como, where he ornamented Santa Teresa with a picture of the t.i.tular saint, with lateral squares, esteemed one of the best altar-pieces belonging to the city. Carlo Cornara acquired equal reputation, though in an opposite style. He produced few works, but all conducted with an exquisite degree of taste, peculiarly his own, which renders them valuable in collections. One of his best altar-pieces was painted for S. Benedetto, at the Certosa, in Pavia, a picture now much defaced by time, and there are a few others completed by one of his daughters after his death, who added to them some original pieces of her own.

Giovanni Mauro Rovere, an artist who exchanged the manner of Camillo for that of Giulio Cesare, was among the earliest followers of the Procaccini, and might be referred to their epoch from the period in which he flourished, did not his inferior character, arising from too great rapidity of hand, prevent his admission into the same rank. He had all that fire, which, when directed with judgment, is the soul of painting, but when abused destroys the beauty of the art. It was very seldom that he was able to command it, though, in a Supper of our Lord, at S. Angelo, in which he used great care, he obtained corresponding success. He had two brothers, named Giambatista and Marco, who a.s.sisted him in his labours both for churches and private houses, both of whom were inaccurate but spirited.

They have left works in fresco, besides some histories in oil, perspectives, battle-pieces, and landscapes, to be met with in almost every corner of the city. I find that they were also surnamed Rossetti, and still better known under the name of Fiamminghini, derived from their father Riccardo, who came from Flanders to establish himself at Milan.

To these three Rossetti, succeeded the three Santagostini, of whom the first, named Giacomo Antonio, was pupil to Carlo Procaccini. He gave few pieces to the public, though his sons Agostino and Giacinto were more indefatigable, both conjointly, as we may gather from their two grand histories at S. Fedele, and separately. They were distinguished above most of their contemporaries, more especially Agostino. He was the first who wrote a little work upon the paintings of Milan; it was ent.i.tled _L'Immortalita e Glorie del Pennello_, and published in 1671. Whatever rank a book with such a t.i.tle ought to a.s.sume among the writers of the age, it is certain that his pictures exhibit him in the light of a good painter for his time, in particular a Holy Family, painted for S. Alessandro, and a few others among the more highly finished, in which he displays expression, beauty, and harmony, although somewhat too minute. The names of Ossana, Bissi, Ciocca, Ciniselli, with others still less celebrated at Milan, I may venture to pa.s.s over without much loss to this history.

The two Nuvoloni, not long since mentioned, though instructed by their father, may be said, in some way, to belong to the Procaccini. Thus Carlo Francesco, the elder, early adopted the manner of Giulio Cesare; and in Giuseppe we every where trace a composition and colouring derived from that school. The former, however, impelled by his genius, became a follower of Guido, and so far succeeded as to deserve the name, which he still enjoys, of the Guido of Lombardy. He does not abound in figures, but in these he is pleasing and graceful, elegant in his forms and the turn and air of his heads, united to a sweetness and harmony of tints which are seldom met with. I saw one of his heads at S. Vittore, where he drew the Miracle of St. Peter over the Porta Speciosa, and many other pieces at Milan, Parma, Cremona, Piacenza, and Como, in the same excellent taste. This artist was selected to take the portrait of the Queen of Spain when she visited Milan; and there still appear in private houses those of many n.o.ble individuals who employed him. The faces of his Madonnas are in high request for collections, one of which is in the possession of the Conti del Verme, displaying all the grace and beauty so peculiar to him, and which he has here perhaps indulged at the expense of that dignity which should never be lost sight of. Orlandi gives an account of his devotional exercises, which he always performed previous to his painting the portraits of the Virgin. I know not what opinion may be formed upon this point, either by his or my readers. For my own part I indulge the same peculiar admiration of this artist in the rank of painters, as I do of Justus Lipsius among literary men, who, though both seculars, always observed great filial piety towards our Holy Lady; a piety that has descended from the earliest fathers of the church, in a regular line, down to the elect of our own times. His younger brother painted on a much larger scale; boasted more pictoric fire and more fancy; but he did not always display equal taste, nor was exempt from harsh and sombre shadows that detract from his worth. He was more indefatigable than Carlo, painting not only for the cities of Lombardy above mentioned, but for the state of Venice, and many churches in Brescia. His pictures at S. Domenico in Cremona, in particular his grand piece of the Dead Man raised by the saint, adorned with beautiful architecture, and animated with the most natural expression, are among some of his best works. They were apparently executed in the vigour of life, inasmuch as there are others bearing traces of infirmity, he having pursued the art until his eightieth year, in which his death occurred.

I cannot learn that he left any pupils of note. His brother, Carlo Francesco, however, instructed Gioseffo Zanata, extremely well versed in the art, according to the opinion of Orlandi. Under him, and subsequently under the Venetian artists, studied likewise Federigo Panza, an artist who began with using strong shadows, which he improved as his genius grew more mature. He was well employed and remunerated by the court of Turin. Filippo Abbiati frequented the same school, a man of wonderful talent, adapted for works on an immense scale; rich in ideas, and resolute in executing them.

He painted with a certain freedom, amounting to audacity, which, however imperfect, does not fail to please, and would have pleased much more had he been better versed in the principles of his art. He was placed in compet.i.tion with Federigo Bianchi, in the grand ceiling of S. Alessandro Martire, and with other fine fresco painters; and he every where left evidence of a n.o.ble genius. He appears to singular advantage in his Preaching of S. John the Baptist at Sarono, a picture to which is affixed his name. It has few figures, but they are fine and varied, with strong tints, and very appropriate shadows, which produce a good effect. Pietro Maggi, his disciple, was not equal to him in genius, nor did he observe his moderation and care. Giuseppe Rivola, employed for private persons more than for the public, is also deserving of mention, his fellow citizens esteeming him among the best of Abbiati's pupils.

Cerano, though engaged in a variety of other labours, instructed many pupils, and more particularly Melchiorre Giraldini, with success. He very happily caught the manner of his teacher, easy, agreeable, and harmonious, but still inferior to him in the more masterly power of his pencil. At the Madonna at S. Celso is seen a picture of S. Caterina da Siena by his hand, that has been greatly commended. Cerano gave him his daughter in marriage, and left him the whole of his studio. He engraved in acqua forte some minute histories and battle-pieces in the manner of Callot, and he instructed his son in the same branch, whose battle-pieces have been much prized in collections. He also taught a young artist of Gallarate, named Carlo Cane, who, devoting himself at a more advanced age to the manner of Morazzone, became a great proficient in it. He imitated with some success his strength of colouring and his relief; in other points he was common both in his forms and conceptions. He painted some altars, and in the larger one of the cathedral at Monza, there is one representing different saints, at the feet of whom is seen the figure of a dog, which he inserted in all his pieces, even that of Paradise, to express his name. He observed an excellent method in his frescos, his histories of Saints Ambrogio and Ugo, which he painted for the grand church of the Certosa at Pavia, as well as others, still retaining all their original freshness. He opened school at Milan, and we may form an idea of the character of his pupils from his own mediocrity. Cesare Fiori, indeed, acquired some degree of reputation, several of whose ornamental works on a great scale, have been made public.

He too had a scholar named Andrea Porta, who aimed at catching the manner of Legnanino. There are others who approach the two best of the Cerani, namely, Giuliano Pozzobonelli, an artist of good credit, and Bartolommeo Genovesini,[60] by whom there remain works possessing some degree of grandeur; besides Gio. Batista Secchi, surnamed from his country Caravaggio, who painted for S. Pietro in Gessato, an altar-piece of the Epiphany with his name.

Footnote 60: I thus named him in the former edition, because all other writers had so done before me, but his family name was Roverio and his surname Genovesino. See the first index.

Morazzone had to boast a numerous list of pupils, imitators, and copyists, both at Milan and elsewhere. The Cav. Francesco Cairo reflected honour upon this school, who, having commenced his career, as is usual, by pursuing his master's footsteps, afterwards changed his manner on meeting with better models, which he studied at Rome and Venice. He also worked on a great scale, and coloured with effect, united, however, to a delicacy of hand and grace of expression, altogether forming a style that surprises us by its novelty. His pictures of the four saints, founders of the church at S.

Vittore, of his S. Teresa swooning with celestial love at S. Carlo, his S.

Saverio at Brera, various portraits in the t.i.tian manner, and other pieces, public and private, at Milan, at Turin, and elsewhere, ent.i.tle him to rank high in the art, though he is not always free from the reproach of sombre colouring. Morazzone derived some credit from the two brothers Gioseffo and Stefano Danedi, more commonly called the Montalti. The first, after being instructed by him in the art, became more refined in his taste under Guido Reni, of whose style he sufficiently partakes, as we may perceive in his Slaughter of the Innocents at S. Sebastiano, and in his Nunziata its companion. Stefano frequented no foreign schools that I know of, though he did not wholly confine himself to Morazzone's manner, rather aiming at refining it upon the example of his brother, and painting with a degree of accuracy and study that he did not find recommended by the taste of his times. His martyrdom of S. Giustina, which he produced for S. Maria in Pedone, forms a specimen of this refinement, while it is moreover exempt from that cold and languid tone which diminishes the value of his other works. One of those artists most attached to Morazzone's style, and who nearest approaches him in the boldness of his pencil, is the Cav. Isidoro Bianchi, otherwise called Isidoro da Campione, a better fresco than oil painter, from what we gather at the church of S. Ambrosio at Milan, and in others at Como. He was selected by the Duke of Savoy, to complete a large hall at Rivoli, left imperfect by the decease of Pier Francesco. There he was declared painter to the ducal court in 1631.

About the same period flourished at Como, besides the Bustini,[61] the two brothers Gio. Paolo and Gio. Batista Recchi, whose chief merit was in painting frescos, disciples likewise of Morazzone. These artists decorated S. Giovanni, and other churches of their native place, two chapels at Varese, with others in the same vicinity. The second of them also became eminent beyond the state, particularly at S. Carlo in Turin, where he is placed near his master. His style is solid and strong, his colouring forcible, and in the skill of his foreshortening on ceilings, he yields to very few of his day. Pasta in his Guide for Bergamo has deservedly praised him on this score, when speaking of a Santa Grata, seen rising into heaven, a work, he observes, that is admirably delightful. In some of the chambers of the Veneria, at Turin, he was a.s.sisted by one Gio. Antonio his nephew.

The Milanese Guide mentions several other artists, apparently, judging from their style, instructed by the preceding, such as Paolo Caccianiga, Tommaso Formenti, and Giambatista Pozzi.

Footnote 61: Benedetto Crespi, who possessed, according to Orlandi, a manner at once strong and elegant, with Antonio Maria, his son and pupil, and Pietro Bianchi, to whom he left his designs, all three called Bustini.

Whilst the Milanese School was thus hastening to its close, and no longer afforded masters of equal promise, either to the first or second of its series, its youth were compelled to have recourse to richer and more genuine sources, and at this period began to disperse in search of new styles. I omit the family of the Cittadini, which established itself at Bologna, or to say truth, I reserve it to its own school. Stefano Legnani, called Il Legnanino, in order to distinguish him from his father Cristoforo, a portrait-painter, became one of the most celebrated artists in Lombardy towards the beginning of this century, having studied the schools of Cignani at Bologna, and Maratta at Rome. In either of these cities he would have been esteemed one of the best disciples of these two masters, had he left there any of his productions; although in course of time he fell into a degree of mannerism. He is tasteful, sober, and judicious in his compositions, with a certain strength and clearness of colouring, not common among the disciples of Maratta. He became famous for his fresco histories, which are seen at S. Marco and at S. Angiolo, where there is also one of his battles, which is won by the protection of St.

James the Apostle, which shews a pictoric fire equal to handling the most difficult themes. He left too a variety of works in Genoa, Turin, and Piedmont, besides his painting of the cupola at Novara, in the church of S.

Gaudenzio, than which he produced nothing more truly beautiful.

Andrea Lanzani, after receiving the instructions of Scaramuccia, pupil to Guido, who remained for some period at Milan, pa.s.sed into the school of Maratta at Rome. But his genius finally decided him to adopt a less placid style, and he began to imitate Lanfranco. His best productions, as it has been observed of others, are those which on his first return from Rome he executed in his native place, while still fresh from the Roman maxims and the Roman models. A proof of this is seen in his S. Carlo Beatified, which on certain days is exhibited along with other pictures in the capital. He painted also a fine piece for the Ambrosian library, representing the actions of Cardinal Federigo, in which there is a rich display of imagination, of drapery, and good effect of chiaroscuro. He is for the most part praised on account of his facility, and the boldness of his hand. He died in Germany, after being honoured with the t.i.tle of Cavalier, and left no better pupil behind him in Italy than Ottavio Parodi, who resided for a long period at Rome, and is mentioned with commendation by Orlandi. From Rome also, and from the school of Ciro Ferri, Ambrogio Besozzi returned to Milan, in order to study the Cortona manner as a counterpoise to that of Maratta. But he chiefly employed himself in ornamental, rather than historic painting, though very able in the last, as far as we may judge from his S. Sebastian, at S. Ambrogio. He studied Pagani at Venice, and likewise taught there, boasting the celebrated Pellegrini as one of his disciples. Zanetti remarks that he introduced into the academies of that city a new taste of design for the naked figure, somewhat overstrained, indeed, but of good effect. He left there a few pieces in public, and returned to close his days in Lombardy. The churches and collections of Milan abound with his pictures, and there are others in the Dresden gallery.

Pietro Gilardi pa.s.sed from his native school into that of Bologna, and there, under Franceschini and Giangioseffo del Sole, greatly improved himself. His style is clear, easy, harmonious, and adapted to adorn cupolas, ceilings, and magnificent walls, as appears in the refectory of S.

Vittore, at Milan, where his works do him credit. At Varese he completed the chapel of the a.s.sumption, after the cartoons of Legnanino, who died before it was finished; and a few of his own works left imperfect by death were, in their turn, continued and finished by the Cav. Gio. Batista Sa.s.si.

The style of this artist, who had a.s.siduously employed himself under Solimene in Naples, is tolerable in regard to design. Though he painted for several churches in Pavia, and at Milan, he acquired most reputation from his small pictures, intended for private ornament. I am not certain whether he introduced into these parts those greenish tints in colouring, which, from Naples, spread through different schools, or whether it came by way of Turin, where one Corrado Giaquinto was employed in drawing figures, and in painting. Such method, however, did not here displease. Gioseffo Petrini da Carono, pupil to Prete of Genoa, has carried it to its highest point, while Piero Magatti of Varese is not wholly free from it, who flourished very recently: both were reputed good artists according to their time. Nor could so great a city be in want of some Venetian disciples, who have distinguished themselves in our own times; we behold some imitations of Piazzetta, and some of Tiepolo, in a few of the churches, it being usual with young artists to follow living masters in lucrative practice, in preference to the deceased whose emoluments are past. We ought here to insert the name of an eminent Milanese, who reflected honour on his native state in foreign parts. This was Francesco Caccianiga, well known at Rome, though little among his own countrymen. Having treated of him, however, in the Roman School, I shall merely recall his memory and merits to my readers. Neither must I omit his contemporary, Antonio Cucchi, who remained at Milan, not as his equal, but because he became eminent in the footsteps of the Romans, for the diligence, if not for the spirit of his pencil. Nor shall I pa.s.s over Ferdinando Porta, distinguished for a number of pictures, conducted in imitation of Coreggio; an artist, however, too inconstant and unequal to himself. These names will suffice for the present epoch, which produced, indeed, others of some note, but not known beyond the confines of their own state. Such works as the _Pitture d' Italia_, and the _Nuova Guida di Milano_, will furnish the curious with information respecting them, until some further accounts of them be presented to the public.

From the period when the capital began to encourage the foreign schools preferably to her own, the cities of the state followed the example, in particular that of Pavia, which, during this last century, has had to boast more professors than any other state. Yet none of these moderns are much known beyond the precincts of their native place. Carlo Soriani,[62]

however, deserved to be better known, an artist who painted for the cathedral his picture of the Rosario, accompanied by fifteen mysteries, an elegant production in the taste of Soiaro. The series of the artists alluded to begins with Carlo Sacchi, who is said by Orlandi to have been taught by Rosso of Pavia, but most probably by Carlantonio Rossi, a Milanese, who painted for the cathedral of Pavia his S. Siro, and two lateral pieces in the best Procaccini taste, and is described in the _Abbeccederio_ as an eccentric man, though well versed in his art. Sacchi continued his studies at Rome and Venice, and when he wished to imitate Paul Veronese, as in his Miracle of the Dead resuscitated by S. Jacopo, which is placed at the Osservanti, he succeeded admirably, shewing himself a good colourist, splendid in ornament, spirited in att.i.tude, except that in these he is somewhat extravagant and affected. He supplied different collections, and I saw an Adam and Eve by him in possession of the Cav.

Brambilla at Pavia, ent.i.tled to a place in that fine collection. It is doubtful whether Gio. Batista Ta.s.sinari ought to be ranked among his fellow disciples, if we only regard the period in which he flourished. But we may with more certainty, upon Orlandi's authority, p.r.o.nounce Carlo Bersotti to have been his pupil, an excellent artist in inferior branches, to which he confined himself. Tommaso Gatti, together with Bernardino Ciceri, were, however, his best pupils, the first of whom pursued his studies at Venice, the second at Rome, and both succeeded at least as practical artists. Gatti instructed Marcantonio Pellini, and then consigned him to the schools of Venice and Bologna, which did not carry him beyond the sphere of his master. Ciceri was succeeded by his disciple Gioseffo Crastona, who, embued with Roman erudition, became a painter of figures and of landscapes in that city, of which a number may be seen at Pavia. Among the latest are Pierantonio Barbieri, pupil to Bastiano Ricci, and Carlantonio Bianchi, a disciple of the Roman manner. The artists whom I have described almost in a series, have filled all the churches of Pavia, though many, with their respective paintings and their frescos, conferring additional novelty perhaps, but little additional splendor upon their native state; and no one visits Pavia altogether on their account.

Footnote 62: He is thus called by Bartoli.

Others also belonging to the state and its vicinity, about the time of Sacchi, quitted their native place, and became celebrated in other quarters; as Mola, of the state of Como, of whom we have treated; and Pietro de' Pietri, who, born in the Novarese, studied and died at Rome, where he has been commended by us in the school of Maratta. Antonio Sacchi, also a native of Como, acquired his knowledge at Rome, whence returning into Lombardy, he undertook to paint a cupola for his native place, but fixing on too high a point of perspective, he made his figures so gigantic that he broke his heart and died. From Como likewise sprung one Fra Emanuele, of the order of the Minori Riformati, whose name is incorrectly inserted by Orlandi in the _Abbeccedario_, as a self-taught painter. The fact is, that on being sent to reside at Messina, he became a pupil to Silla, and improving the feeble manner he had acquired in his native town, he decorated a number of places belonging to his order, both in Rome and Sicily, in a better taste. There are two of his pictures at Como, at the Riformati; a Supper in the refectory, feebly executed in the style of the declining school of Milan, and a Pieta in the church, with different saints, in a better manner; such is the advantage of practice, reflection, and good guidance even at a mature age.

This epoch produced a fine perspective painter, of whom mention is made under the Roman School, in which he studied and left some works. This is Gio. Chisolfi, a pupil of Salvator Rosa, who, on his return to Milan, besides his architectural pieces, which were esteemed among the very first, devoted himself to large histories and altar-pieces, and executed frescos in a good taste for the Certosa of Pavia, and the Santuario of Varese. He was followed with success by one of his nephews, Bernardo Racchetti, whose perspectives, no less than those of Clemente Spera, are frequently met with in collections. Torre makes mention also of a native of Lucca, who succeeded in perspective and in figures, named Paolo Pini. I have seen only of his a history of Rahab, at S. Maria di Campagna, at Piacenza, of which the architecture is very fine, the figures light and touched with a spirited hand. In extensive works of ornamental fresco, Pier Francesco Prina is commended by Orlandi, with the two Mariani, Domenico and his son Gioseffo. The father remained stationary at Milan, and educated, among other pupils, Castellino da Monza; but the son visited Bologna, and there succeeded in improving his paternal manner so as to distinguish himself throughout Italy and Germany. These names will suffice to give a view of a period, not remarkable for the best taste in this species of painting.