Emulation seems to have been his chief motive of writing: he longed to break a lance with Vasari, whom, from whatever cause, as appears from the postils tacked to the _Vite_, he disliked. They have been sometimes, especially in the Life of Taddeo, quoted and treated as effusions of envy and malignity by the annotator of the Roman edition. To prove his superiority over the Tuscan, he chose a style as obscure and inflated as that of Giorgio is diffuse and plain; the whole of the treatise printed at Torino reels in a round of internal and external design, and contains less precept than peripatetic speculation, which rendered the schools of that day more loquacious than learned. His language runs over in intellective[100] and formative conceits, in substantial substances and formal forms; even the t.i.tles of his chapters are larded with equal fulsomeness of phrase, like that of the XIIth., that "philosophy and to philosophize, is metaphoric and similitudinarious design." These are the bait of fools--for none but fools can hope to gather meaning from the bubbles of sophistry, or stoop to disentangle etymologies which derive _disegno_ from "Dei signum," the sign of G.o.d!

This treatise was probably the offspring of his presidency in the Academy of St. Luke; for office gives insolence. The Academy dates its origin from the Pontificate of Gregorio XIII., who granted the brief of its foundation[101] to Muziano. It had not, however, its full effect till after the return of Zuccari from Spain, who put it in force and was unanimously declared "Principe," or President. That was his day of triumph; he returned from the inauguration in the church of S. Martino at the foot of the Campidoglio, accompanied by a great concourse of artists and litterators to his own house, where shortly after he built a saloon for the accommodation of the Academy, in whose praise he overflowed in prose and poems, more than once quoted in his larger treatise; and to seal his extreme affection, bequeathed like Muziano, in case his own line should fail, the bulk of his fortune to the establishment.

Giuseppe Cesari, sometimes distinguished by the name of Il Cavaliere d'Arpino,[102] his native place, was in art what Marino was in poetry--brilliancy without substance is the characteristic of both, and either proved the ancient observation, that Arts and Republics receive the greatest damage from the greatest capacities. The talent of Cesari bubbled up from his infancy, made him an object of admiration, procured him through F. Danti, the protection of Gregorio XIII., and in a short time the reputation of the first master at Rome. Less than the felicity with which he is said to have executed some pictures from certain designs of M. Agnolo, in the possession of Giacomo Rocca, his exuberance alone was sufficient to establish supremacy of name among a race who measured genius by quant.i.ty, and science by confidence of method. If his numbers were rabble, he arranged them with the skill of a general; if common-place furnished him with features, arrogance of touch brushed them into notice; and the horses which he drew with equal truth and fire, supplied the incorrectness or imbecility of the rider. The excellence of his colour in fresco, the gaiety which he spread over a vast surface, hid from the common eye monotony of manner, poverty of character, and want of finish in the detail of parts.

They were observed, reprobated and opposed by M.A. Caravaggio, A.

Caracci, and the few who saw and thought with them. Quarrels arose, and challenges were given: that of Caravaggio, Cesari refused to accept, because he had not yet been knighted, and Annibale rejected that of Cesari, because, said he, "I know no other weapon than my pencil." They both experienced the difference of the difficulties that attend legislation and reform of taste, and were left ineffectually to struggle with an empiric, who outlived either upwards of thirty years, and then left a race worse than himself behind him.

FOOTNOTES:

[89] Bramante.

[90] Lett. Perug. V.

[91] "Cervello di porfido."

[92] See Vasari on Michael Angelo's observations on Tizian.

[93] "Fece li Schizzi e i Cartoni di tutte le Istorie."

_Vita di Pinturicchio._

"Fece alcuni de' disegni e Cartoni di quell' opera."

_Vita di Raffaello._

[94] In the picture on the facciata, Bottari says, "Si vede non solo il disegno, ma in molte teste anche il colore di Raffaello."

[95] Essendo con Pinturicchio a Siena--messo da parte quell' opera, e ogni utile e commodo suo, se ne venne a Fiorenza. Morta la Madre, part e and a Urbino, e accomodate le cose sue, ritorn a Perugia. Prima che partisse, &c.--Cos venuto a Firenze, fece il cartone per il quadro di Madonna Atalanta Baglioni; dipinse per A. Doni e Dom. Canigiani; studi le cose vecchie di Masaccio; acquist miglioramento dai lavori di Lionardo e di Michelagnolo; ebbe stretta domestichezza con Fra Bartolomeo di S. Marco; ma in su la maggior frequenza di questa pratica fu richiamato a Perugia, dove fin l'opera della gia detta Madonna Atalanta Baglioni, &c.--Finito questo lavoro e tornato a Fiorenza, gli fu dai Dei cittadini Fiorentini allegata una tavola, &c. ma chiamato da Bramante si trasfer a Roma.--Vasari, Vita di Raffaello da Urbino, ed.

Firenze, 1771. p. 163, 167, 172.

According to this account of Vasari, Raffaelle went three times to Florence; the first time, when roused by the fame of Lionardo and Michael Angelo, he left Pinturicchio 1504, and continued at Florence till he was called away by the death of his mother to Urbino, from whence, having settled his affairs, and painted certain things, he went to Perugia, and after some public works there, returned again to Florence with a commission from A. Baglioni. This is the period fixed by Vasari of his acquaintance with Bartolomeo di S. Marco, the progressive improvements of his style, and his pictures for A. Doni and D.

Canigiani, and must have been his longest stay in that capital, though interrupted by a new call to Perugia, during which he finished the picture of the Burial of Christ, now in the Borghese Palace, for the Chapel Baglioni, and then returned for the third time to Florence.

[96] From the "Annalen der bildenden Kunste fur die Osterreichischen Staaten, Von Hans Rudolph Fuessli." Erster theil. Wien. 1801. Annals of the Plastic Arts in Austria.

[97] 1515. Raffah.e.l.l di Urbin, who was so highly esteemed by the Pope, has made these naked figures, and has sent them to Albrecht Durer at Nornberg, to show him his hand.

[98] This observation is founded on close inspection of this picture, in the room of the "Restoration," in 1802. The face of Christ not only appeared no longer that which all thought it to be who had seen it at S.

Pietro in Montorio, but even inferior to that in the print of Dorigny, had a.s.sumed an expression nearer allied to meanness than to dignity, without sublimity austere, and forbidding. It is probable, however, that these changes originated under the sacrilegious hands of the restorers, who had before destroyed the better part of the Madonna di Foligno.

[99] "S smisurata, che fa parere le altre, figure di Bambini," &c. Idea de' Pittori, Scultori, e Architetti, inserted among the Lettere Pittoriche, t. vi. p. 147.

[100] Disegno interiore ed esteriore; concetti intellettivi e formativi; sostanze sostanziali, forme formali.--t.i.tolo del capitolo XII. che la filosofia e il filosofare e disegno metaforico similitudinario.--Disegno, Segno di Dio.

[101] Baglioni, Vita di Muziano.

[102] 1560-1640.

THE SCHOOL OF NAPLES.

Social refinements and elegance of taste in arts had shed their splendour over the Hesperian colonies of Greece long before Rome had learnt to value more than the ploughshare and the sword; Herculaneum, Stabiae, Pompeii, with their still remaining mult.i.tude and variety of legitimate monuments, prove that a technic school of eminence flourished in the Neapolitan states after they had been incorporated with the Roman empire; and what time has spared or tradition recorded of the attempts made by Goths, Greeks, Longobards, Saracens, and Normans, to repair their waste of desolation, sufficiently shows, that though the art itself at intervals vanished, the craft still subsisted during the gloom of the middle ages.

But not to soil these pages with too much legend, we date the revival of Neapolitan art from the name of Tommaso de' Stefani, born 1230, the contemporary of Cimabue and Charles of Anjou, who, though on his pa.s.sage through Florence he had been led to visit that object of Tuscan dotage, on his establishment at Naples employed Tommaso in his new-founded church; a questionable honour, of which a native writer[103] avails himself to insinuate the superiority of his countryman over Cimabue, as if the suffrage of a prince could defeat the evidence of works, or stand against the verdict of Marco da Siena,[104] who from them, judged him inferior to the Florentine in grandeur of style and breadth.

The favours of Charles were continued to Tommaso by his successor, and emulated by the princ.i.p.al families of the city; the chapel de' Minutoli, named by Boccaccio, was storied by him with subjects drawn from the Saviour's pa.s.sion; and others from the life of S. Gennaro, and some sainted bishops, by his hand, are said still to exist in a roomy chapel of the ancient Episcopio. Some semblance of the same saint in S. Angelo a Nido, formerly S. Michele, is considered as his work, and some fragments have survived of others, with dates of 1270 and 1275. He was the master of Filippo Tesauro, who painted in the church of S. Rest.i.tuta the life of S. Nicholas the Hermit, the only fresco of his which has reached our time.[105]

About 1325, Giotto was invited by King Robert to Naples, for the purpose of painting the church of Sta. Chiara; he came and filled it with Gospel history, and apocalyptic mysteries, from inventions, said in the time of Vasari to have been formerly communicated to him by Dante. These works, because they darkened the church, were whitewashed in the beginning of the last century, with the exception of a Madonna called della Grazia, and some other sainted image, preserved by female piety.

Giotto conducted other works in Sta. Maria Coronata, and still others, which no longer exist in the Castle dell' Uovo. Maestro Simone, a Cremonese, according to some, but more probably a native of Naples, was the chosen partner of these works, and from so distinguished a choice, acquired some celebrity himself: from the resemblance of his style to Tesauro and to Giotto, he might have been the pupil of either, and was perhaps of both. Certain it is, that after the departure of Giotto, he received from Robert and Queen Sancia, many important commissions for various churches, and especially that of S. Lorenzo; there he painted Robert receiving the crown from his brother Lewis, Bishop of Toulouse, but died before he could finish the compartment of the chapel dedicated to that prelate after his demise and canonization. Though confessedly inferior in invention, character, and suavity of tone, he has nearly reached Giotto in some of his works: such as the dead Christ supported by his mother, in the church dell' Incoronata, and the Madonna with the Infant, on a gold-ground, now in the convent of the church della Croce, supposed by some to have been painted in oil.[106]

Simone had a son, Francesco di Simone, who died in 1360. His works are not numerous, but what has reached our days in the Capitolo di S.

Lorenzo, is distinguished by an air of superior dignity and grace. Two other pupils of Simone, Gennaro di Cola and Stefanone, a similarity of manner a.s.sociated in several public works, such as the chapel of S.

Lewis, begun by Simone, and what still exists in S. Giovanni da Carbonara of subjects relative to our Lady. They are similar, however, without monotony. Gennaro, impressed by the difficulties of his art, and bent to overcome each obstacle by labour, appears precise, studied, and hard. Stefanone, guided by a spirit which in better days might have been called genius, boldly executed what he had conceived with warmth.

The pretended improvements of Colantonio del Fiore, (born 1352, died 1444,) a pupil of Francesco, neither appear to have been considerable enough in themselves, nor sufficiently authenticated, to place him at the head of a new epoch in style. Those barbarous relics of the middle ages, that meagerness of contour, dryness of colour, and want of perspective, which he is said to have abolished, had in a great measure vanished before, at the glance of Giotto. The gold grounds continued after both;[107] and if in enumerating some of his works his encomiast is in doubt whether they may not rather belong to M. Simone, what is it but a tacit confession, that the art had made no considerable progress during the course of a century?

The life of Colantonio grasped nearly the half of two centuries, and the refinements for which he has been extolled must be looked for in those of his works, on whose authenticity there is no hesitation, produced on the verge of life. Such is the Madonna, &c. in Sta. Maria Nuova, a compound of harmonious hues, though painted on a gold ground; and still more in S. Lorenzo, Saint Jerome drawing a thorn from the lion's foot, the date 1436, a picture full of truth, in high esteem with foreigners, and for its better preservation removed by the fathers of the convent from the church itself to the sacristy. He had a scholar in Angiolo Franco, who has obtained the praise of Marco di Siena, for having invigorated the most successful imitation of Giotto by the tone and chiaroscuro of his master.

But a name of far greater importance to art is that of Antonio Solario, commonly called Lo Zingaro, the reputed son-in-law of Colantonio. His story, still more romantic than that which in Quintin Metsis transformed a blacksmith to a painter, tells that Solario, bred to the forge, became enamoured of a daughter of Colantonio, forsook the anvil, and by successful submission to a ten years' trial of painting, and the mediation of a queen, obtained the idol of his soul. Let those who told the tale vouch for its truth: what is less disputable, and interests this history more, are his travels from Naples to Bologna, where for several years he studied under Lippo Dalmasio, and from thence over Italy, to become acquainted with the principles of other masters; those of Vivarini at Venice; of Bicci at Florence; of Gala.s.so at Ferrara; of Pisanello and Gentile da Fabriano at Rome. These two, it is believed that he a.s.sisted, and Luca Giordano a.s.serted that some heads in their pictures at the Lateran bore the legitimate marks of Solario's pencil.

In heads he excelled; he inspired them, according to Marco da Siena, with the air of life. In perspective, if the times be weighed, his skill was considerable; in composition not contemptible. There is variety in his scenery; and if his dresses be not drapery, they are at least naturally folded. In the design of the extremities he was less happy; his att.i.tudes often border on caricature, as his colour on crudeness. On his return to Naples, nine years after his departure, applauded by Colantonio and the public, he enjoyed the patronage of King Alfonso. His greatest work is the Life of S. Benedetto, in the compartments of the cloister of S. Severino,--frescoes filled with an incredible variety of objects. Other churches possess some altarpieces by him: he left many portraits and some very attractive Madonnas; but in the Dead Christ of S. Domenico Maggiore, and the S. Vincent of S. Pier Martire, including some stories of that Saint's life, he is said to have excelled himself.

Zingaro reared a school, which with more or less felicity disseminated his principles for nearly half a century, and retained his name. Of its pupils, Niccola di Vito, long forgot in his works, is barely remembered as a buffoon; Simone Papa and Angiotillo di Roccadirame, scarcely emerged to mediocrity; Pietro and Ippolito (Polito) del Donzello deserve less transient attention. Sons-in-law of Angiolo Franco, and pupils of Giuliano da Majano in architecture, they were, according to Vasari,[108]

employed by him to decorate with paintings the fabric of Poggio Reale, which he had constructed for King Alfonso, where, continuing to operate under his son and successor Ferdinand, they represented the story of the Conspiracy formed in against him, a work celebrated by Jacopo Sannazaro.[109] Ippolito, alone or with his brother, filled the refectory of Sta. Maria Nuova with a number of subjects for the same prince, and then retired to Florence, where, not long after, he died.

Piero remained at Naples distinguished and followed. Their style is that of their master, but with more suavity of colour. The first successful imitation of friezes, trophies, and storied ba.s.so-relievoes in chiaroscuro, may with probability be dated from them. That Pietro excelled in portraits, is evident from some animated heads saved among the ruins of certain frescoes of his on a wall of the Palace Matalona.

Both were, however, surpa.s.sed in tone, and force of light and shade, and mellowness of outline, by Silvestro de Buoni, their pupil, whose pictures, scattered over the temples of Naples, have been enumerated by Dominici. Silvestro himself yields to Tesauro of questionable name,[110]

whose works approach much nearer to the succeeding epoch than the united labours of his predecessors in vigour of invention, in judgment, propriety of att.i.tude, truth of expression, and general harmony of the whole, with a relief beyond what seems credible in an artist unacquainted with other schools and other works than those of his native place. Such was his power of execution, that it challenged the wonder of Luca Giordano in the vigour of his career, when he contemplated the ceiling of San Giovanni de' Pappacodi, where Tesauro had painted the Seven Sacraments. They have been minutely described, and the portraits of Alfonso II. and of Ippolita Sforza, whom he is said to have represented, for the work itself is no more, in the Sacrament of Matrimony, afford some light as to the time in which it was painted.

Another of his works, equally praised, in the Chapel Tocco of the Episcopal church, which represented a series of subjects from the life of Saint Asprenas, perished under the hands of one of Solimena's pupils.

He was the father or uncle of Raimo Epifanio Tesauro, a considerable Frescante, who, according to Stanzioni, rekindled the evanescent spark of Zingaro's principles. Some few vestiges of his works remain in Sta.

Maria Nuova and Monte Vergine. His dates reach from 1480 to 1501, and he may be considered as the last of this school, for Gio. Antonio d'Amato acquired fame by abandoning its style for that of Pietro Perugino.

Such were the masters that marked the first epoch of the Neapolitan school; neither inconsiderable in number, nor contemptible in progress, for a state nearly always perplexed by war: it derives, however, its greatest l.u.s.tre from having produced within the state the memorable artist whose resolution and perseverance made Italy mistress of the new-discovered method in oil-painting, and changed the face of art.[111]

Antoniello, a Messinese, of the Antonj family, universally known by the name of Antoniello da Messina, educated, according to Vasari, to the art at Rome, returned from that place to Sicily, and after some successful practice at Palermo and Messina, sailed to Naples, where he saw an historical picture painted in oil by John ab Eyk, which had been presented or disposed of to king Alfonso, by some Florentine traders.

Charmed by the method, Antoniello forgot every other concern, pa.s.sed into Flanders, and by close attendance, and some presents of Italian designs, captivated the heart of the old painter, who made him completely master of the secret, and soon after died. Antoniello then left Flanders, and after some months spent at Messina, repaired to Venice, where he practised with general admiration of his new method; communicated it to Domenico there, and he at Florence to the felon Castagna, till by gradual progress it embraced all Italy. What remains to be related of Antoniello, is reserved for the history of the Venetian school, to which by residence and practice he properly belongs, and which alone carried his new discovered method to the height it was capable of.

The second epoch of Neapolitan art was auspicious. P. Perugino had painted for the Cathedral an a.s.sumption of the Virgin, now lost, a work which led to a better taste. Already, Amato, as we observed, had abandoned the manner of Zingaro to follow Pietro, though his style had still too much of the former to form more than the connecting link between the two epochs; when Raffaello and his school came into vogue, Naples was the first of exterior towns to profit by them, and they, about the middle of the century, were followed by some adherents of Michael Angiolo; nor till near 1600, was any attention paid to other masters, if we except Tiziano.

The new series begins with Andrea Sabbatini[112] of Salerno. Smitten with the style of P. Perugino, Andrea set out for Perugia, to enter his school; but hearing some painters at an inn on the road talk of Raffaello and the Vatican, he altered his mind and route, and went to Rome. Though not long under the guidance of Sanzio, being by the death of his father, 1513, obliged to return to Naples, he returned another man. He is said to have painted with Raffaello at the Pace and in the Vatican. A good copyist, and what is rare, a better imitator, if he did not soar with Giulio, he kept pace with the best of that school, and excelled some in correctness, and a style equally remote from affectation and manner, with depth of chiaroscuro, breadth of drapery, and a colour which has defied time. His works in oil and fresco, scattered over the metropolis and the kingdom at large, have been celebrated as miracles of art, though now either lost or greatly impaired.

Of his scholars all persevered not in his manner: thus Cesare Turco, as commendable in oil as unsuccessful in fresco, drew nearer to P.

Perugino. More of Andrea was retained by Francesco Santafede, the father and master of Fabrizio,--painters whom few of that school equal in colour, and so uniform that their works can only be discriminated by the superior tinge and chiaroscuro of the father. But the scholar who most resembled Andrea was one Paolillo, whose works, nearly all ascribed to his master, till restored to their real author by Dominici, leave little doubt of his right to the first honours of that school, had his career not been intercepted by a violent death, occasioned by intrigue.

Polidoro Caldara, of Caravaggio, escaped to Naples in 1527, from the sack of Rome, but not, as Vasari with less information than credulity relates, to starve. Received in the house of Andrea, formerly his fellow scholar, he soon acquired acquaintance, commissions, and even formed pupils before his departure for Sicily. He had been celebrated for his chiaroscuros at Rome: at Naples and Messina he attempted colour. The shadowy and pallid specimens he has left, leave a doubt whether he would ever have arrived at a degree of strength or brilliancy worthy of invention and style, though he has been praised with enthusiasm by Vasari for the colour of the Christ led to Calvary, a numerous composition, and the last before his a.s.sa.s.sination at Messina.

Gian Bernardo Lama left the school of Amato to attach himself to Polidoro, whom he more than once imitated with sufficient success to incur the suspicion of having been a.s.sisted by the master: he had, however, more sweetness than energy, and, in the sequel, was noted for his opposition to the vigorous inroads of the Tuscan style and the prevalence of Marco di Pino.