ART IN NORTHERN ITALY ARS UNA : SPECIES MILLE GENERAL HISTORY OF ART Uniform with this Volume Already Published: THE HISTORY OF ART IN GREAT BRITAIN AND IRELAND. By Sir Walter Armstrong. For Immediate Publication : THE HISTORY OF ART IN FRANCE. By Louis Hourricq. THE HISTORY OF ART IN FLANDERS. By Max Rooses. (Director of Plantin Moretus Museum, Antwerp.) THE HISTORY OF ART IN EGYPT. By G. Maspero. (Director of Ghizeh Museum.) In Preparation : BYZANTINE ART. THE ART OF INDIA. GERMAN ART. THE ART OF GREECE. ART IN HOLLAND. THE ART OF CHINA AND JAPAN. ART IN NORTH AMERICA. ROMAN ART. THE ART OF SOUTHERN ITALY. SPANISH AND PORTUGUESE ART. ARS UNA: SPECIES MILLE GENERAL HISTORY OF ART ART 1 NORTHERN ITAL\ , . ,hn1 srli \o d^urD -.- NER'S SONS IRON AND Giovanni Bellini (Church of the Fran, Venice ARS UNA: SPECIES MILLE GENERAL HISTORY OF ART ART IN NORTHERN ITALY CORRADO RICCI DIRECTOR GENERAL OF FINE ARTS AND ANTIQUITIES OF ITALY NEW YORK CHARLES SCRIBNER'S SONS MCMXI COPYRIGHT, 1911, BY CHARLES SCRIBNER'S SONS This volume is published simultaneously in America by CHARLES SCRIBNER'S SONS, New York ; in England by WILLIAM HEINEMANN, London; also in French by HACHETTE ET CIE, Paris; in German by JULIUS HOFFMANN, Stuttgart; in Italian by the ISTITUTO ITALIANO D'ARTi GRAFICHE, Bergamo; in Spanish by the LIDRERIA GUTENBERG DE Jos6 Ruiz, Madrid. Bit Library N. CONTENTS CHAPTER I PAGE RAVENNA AND BYZANTINE ART 1 CHAPTER II VENICE ARCHITECTURE AND SCULPTURE, FROM THE FIRST BEGINNINGS TO THE END OF THE FIFTEENTH CENTURY . 12 CHAPTER III VENICE-ARCHITECTURE AND SCULPTURE FROM THE SIXTEENTH TO THE EIGHTEENTH CENTURY 29 CHAPTER IV VENICE-PAINTING : THE SCHOOLS OF VENICE AND MURANO . . 38 CHAPTER V VENICE THE BELLINI AND THEIR SCHOOL 50 CHAPTER VI VENICE THE PAINTING OF THE SIXTEENTH CENTURY FROM CJORGIONE TO JACOPO TINTORETTO 60 CHAPTER VII VENICE-PAINTING FROM THE SEVENTEENTH TO THE NINE- TEENTH CENTURY . . . .'.;.... _ .. . . .78 CHAPTER VIII PADUA AND MANTUA 98 CHAPTER IX VERONA. VICENZA. BRESCIA. AND BERGAMO 110 v CONTENTS PAGE CHAPTER X MILAN AND LOMBARDY 128 CHAPTER XI LEONARDO DA VINCI 144 CHAPTER XII PAINTING IN LOMBARDY 152 CHAPTER XIII ARCHITECTURE AND SCULPTURE IN MILAN FROM THE SIX- TEENTH TO THE NINETEENTH CENTURY ... . . 164 CHAPTER XIV PAINTING IN MILAN AFTER THE SCHOOL OF LEONARDO . . .179 CHAPTER XV ART IN LOMBARDY 188 CHAPTER XVI ART IN PIEDMONT UP TO THE END OF THE RENAISSANCE . . 203 CHAPTER XVII ART IN PIEDMONT FROM THE REVIVAL OF THE SAVOYARD MONARCHY TO THE CLOSE OF THE NINETEENTH CENTURY 217 CHAPTER XVIII SCULPTURE AND ARCHITECTURE IN LJGURIA 229 CHAPTER XIX PAINTING IN LIGUR1A 245 CHAPTER XX EMILIA ARCHITECTURE AND SCULPTURE TO THE TIME OF THE RENAISSANCE . ...... 260 VI CONTENTS CHAPTER XXI EMILIA ARCHITECTURE OF THE RENAISSANCE-SCULPTURE UP TO THE NINETEENTH CENTURY 273 CHAPTER XXII EMILIA ARCHITECTURE FROM THE TIME OF VIGNOLA TO THE NINETEENTH CENTURY 291 CHAPTER XXIII EMILIA-THE PAINTING OF THE FOURTEENTH AND FIFTEENTH CENTURIES 302 CHAPTER XXIV EMILIA THE PAINTING OF THE SIXTEENTH CENTURY. COR- REGG1O 320 CHAPTER XXV EMILIA PAINTING FROM THE SEVENTEENTH TO THE NINE- TEENTH CENTURY THE SCHOOL OF THE CARRACCI . 334 FIG. I. PALACE OP THEODORIC. MOSAIC IN S. APOLLINARE NUOVO, RAVENNA. (Photo. Alinari.) CHAPTER I RAVENNA AND BYZANTINE ART Ravenna under Romans and Goths. Churches in Ravenna. Chapel of Galla Placidia. Baptistery. Mosaics. Tomb ofTheodoric. Bell-towers. Crypts. Palace of Theodoric. THE most beautiful, the most complete and the most unimpaired monuments of so-called Byzantine art are preserved in Ravenna, a city of Northern Italy. This city had already achieved a notable development under the Roman Empire, for Augustus had recognised its suitability for the chief station of the Roman fleet on the Adriatic, and Tiberius had strengthened it with walls, and adorned it with public buildings. The Emperor Honorius accordingly deemed it worthy to be the capital of the Empire of the West, a position which it maintained for seventy-five years, up to the time when Odoacer, leader of the Heruli and the Turingi, had occupied the town and overthrown the Roman rule. That wise and modest barbarian established himself at Ravenna after his conquest of Italy, and here in 493 he died, treacherously slain by Theodoric, who had taken the city after a siege of three years, and had pretended to accept Odoacer as his coadjutor. Left as sole ruler, Theodoric in his turn confirmed the position of Ravenna as capital of his kingdom. The rule of the Goths lasted for sixty-three years and gave rise to a splendid development of the life and of the monu- ments of the town. However, on the death of Theodoric, the power of the Goths declined, and before long was finally annihilated by Belisarius and Narses; administered by these generals under Justinian, the city attained to yet greater magnificence. But this was the final expression of its glory, for under the harsh rule of the ART IN NORTHERN ITALY Exarchs despatched from Constantinople, a rule that lasted for little less than two centuries, the city was gradually reduced to a state of abject decay. None the less, the fact that it had maintained its position as a capital for several centuries sufficed to retain for Ravenna a dominant position in art and letters throughout the darkness of the Middle Ages, as well as a certain political pride, tnanks to which the city was able to hold its own against the claims, first of the Roman Curia and then of the rising republic of Venice. Each of these periods has bequeathed to Ravenna monuments of supreme importance; so much so, that in the history of art, the city, as regards the Byzantine and proto-Romanesque periods, maintains its place as a capital. Every artistic form is richly dis- played here: churches both with the central space and of the basil- ican type, baptisteries, mausoleums rich in sculpture and mosaics, tow- ers, crypts ; carvings in ivory, gold- smith's work and textiles. As to the origin of the art of Ravenna, or rather as to its imme- diate sources, various opinions have been held, opinions essentially dis- cordant and in no case final. We may fairly conclude that each theory is partly true and partly false, and that the truth, as is nearly always the case, lies between them. For my own part, though I recognise a strong Oriental influence, none the less (as far as regards the fourth and fifth centuries) the continuity of certain classical types and designs a continuity which, I venture to say, was inevitable seems to me obvious. It is much to be regretted that in the eighteenth century a foolish architect was permitted to rob the town of the Ecclesia Ursiana, founded at the close of the fourth century, and to destroy nearly all the ornamental details of the building. The solemn church with its double aisles would have served as a useful example of the de- cline of the Roman methods of design, and of the merging of these into Byzantine forms. In any case, the rare fragments and the drawings that have survived, though indeed little studied as yet, in the case of certain characteristic forms of the art of Ravenna, attest FIG. 2. APSE OF S. GIOVANNI EVANGELISTA, RAVENNA. (Photo. Chiusoli.) RAVENNA AND BYZANTINE ART FIG. 3. CHAPEL OF GALLA PLACIDIA, RAVENNA. {Photo. Alinari.) an earlier date than has been allowed by our writers of art history. In the original church, which stood east and west, dosseret or impost blocks were to be found, above the capitals; these must have been nearly half a century older than those in the votive church of Galla Placidia, which have hitherto been regarded as the oldest known. Unfortunately, we have failed to find any drawings of the exterior of the great basilica, so that we are unable to say whether its walls displayed that arrangement of pilas- ters or "wall-strips" and blind arcades which were among the principal characteristics of the architecture of Ravenna. The earliest drawings of the monuments of Ravenna date from the sixteenth century, and their number increases gradually in the following centuries, at a time when the rude bareness of the exteriors must have been peculiarly distasteful. The architects of the day accordingly confined their drawings to the interiors. The sentiment of the early Christian church was forgotten : " Thou shall not behold beauty unless thou enterest within me; thou shall not enjoy felicity un- less thou enterest within me ! " The wall -strips had, however, a great develop- ment in the fifth century, and many beautiful exam- ples of them remain in Ravenna, in the first place those of S. Giovanni Lvan- gelista, the votive church promised to the saint by Galla Placidia in 424 during a furious storm at sea. In spite of its ruthless treatment in 1 747, some original work of the greatest importance is still to be 3 B 2 FIG. 4. THE GOOD SHEPHERD. MOSAIC IN THE CHAPEL OF GALLA PLACIDIA, RAVENNA. (Photo. Alinari.) ART IN NORTHERN ITALY found in this church, for example the double colonnade, parts of the quadriporticus and of the facade, the lateral windows, and finally the arcades of the apse, the germ of the Romanesque apses that became common at a much later time (Fig. 2). On the other hand the sepulchral chapel of the above mentioned Galla Placidia (Fig. 3) as well as the Bap- tistery of the Cathedral, apart from some trifling alterations, still retain their primitive aspect: in these buildings, moreover, may be found the oldest mosaics of Ravenna, with a ground work of deep blue; those with a gold ground belong to the following century. As in some other cases, this baptist- ery had its origin in a Roman building. It is in fact the calidarium that formed part of a nymphc&wn built in the second or third century. In early days the point of importance in the bap- tismal office was the ceremony itself, might FIG. 5. BAPTISTERY AND BELFRY OF THE CATHEDRAL, RAVENNA. (Photo. Zoli.) not the place : the convert receive the initial sacrament either upon the bank of a river or in the public baths. It was the Arch- bishop Neone who about the middle of the fifth century transformed the building and decorated it with sub- jects bearing upon its new purpose ; the plan was altered, and of the original Roman decoration only the capitals and the veneering of marble were preserved. But the mosaics also, although of the fifth century, have an unmistakable Roman gran- deur and simplicity; the figures, too, are Roman in character ; they are calm and correct, and have the small heads of antique statues. That the early mosaicists at Ravenna worked under Roman influence is to me a matter of absolute certainty. It is revealed in 4 FIG. 6. THE BAPTISTERY OF THE CATHE- DRAL, RAVENNA. (Photo. Alinari.) RAVENNA AND BYZANTINE ART FIG. 7. S. APOLLINARE NUOVO, RAVENNA. (Photo. Ricci.) the design, the technique, and the sentiment of the mosaics in the Baptistery as in those in the chapel of Galla Placidia (Fig. 4) and the older examples in S. Apollinare Nuovo (Figs. 1 , 10), when we compare these with the sumptuous mosaics of unmistakable Byzantine style that were executed after the fall of the Gothic kingdom. Thus it may be unhesitatingly affirmed that for the long period during which Ravenna was the capital, first of the Roman Empire of the West, then of Odoacer and of the Gothic kingdom (402-540), the Oriental influence was kept within narrow limits, while on the other hand the force of Roman tradition was predominant. The plan of the chapel of Galla Placidia was a Latin cross ; close by was a church dedicated to the Holy Cross similarly planned, which led to the general adoption of this arrangement in churches with transepts. In the mosaics of the sepulchral chapel there are many singular points of resemblance both to those in the church of S. Giovanni in Fonte at Naples and to those at Casaranello: Roman motives recur in them, such as the vase with doves of the Villa Adriana, and the poly- chrome Greek key pattern in perspective of the Baths of Otricoli. Similarly, in S. Apollinare Nuovo, the aulic church of Theodoric (Figs. 7, 8), the parts that date from his reign show Roman influence. The figures of the prophets, seen full face, wrapped in their mantles, with a book or a scroll in their hands, look like exact reproductions of statues (Fig. 1 0). The monochrome is scarcely interrupted by the rosy tints of the flesh or the red 5 FIG. 8. S. APOLI.INARE NUOVO. RAVENNA. INTERIOR. (Photo. Ricci.) ART IN NORTHERN ITALY bindings of the books. To these figures, firmly planted upon a base that is seen in diminishing perspective, the position of the hands and the arrangement of the mantles take a variety of forms, all of which may be found in classical statues. After the reconquest of Ravenna by the generals of Justinian, the mosaic decoration of buildings reveals an absolutely different sentiment and technique: and in the marble work new forms, such as the cubic or the basket-shaped capital, make their appearance. The buildings at Ravenna which might have given evidence of the change were legion, but, unhappily, the ravages of time and of man have sadly reduced their number. Some few still remain, but as we do not propose to give a de- tailed list here, it will suffice to mention that the most important and the best examples of this artistic revo- lution at Ravenna are the churches of S. Vitale (Figs. 12-13), of S. Apollinare in Classe (Fig. 15), and, taking into account the two long friezes of Martyrs and Virgins (Fig. 1 1 ), that of S. Apollinare Nuovo. In the mosaics of these churches all desire for the expres- sion of form appears to be subordi- nated to the decorative effect. The figures succeed one another with little variety; the feeling for relief has almost disappeared ; the folds of the drapery have become narrower, longer, and more angular, without any fusion of the tints, so that they do not appear to surround the limbs they cover. On the other hand there is increased splendour in the draperies which are rich with gold and flowered designs, the diadems, the necklaces and the girdles, embroidered with gold and with jewels; in the representation of these objects the brilliant colours of the enamels alternate with applications of mother-of-pearl, which last finds its way even into the marble. It may be said that just as the Italian artists were influenced by the severe classical school in the treatment of their figures, so the Byzantines were influenced by the glittering textiles of the East (Fig. 14). While, for the flesh tints, FIG. 9. TOMB OF THEODORIC, RAVENNA. (Photo. Ricci.) RAVENNA AND BYZANTINE ART FIG. 10. PROPHETS. MOSAIC IN S. APOLLINARE NUOVO, RAVENNA. (Photo. Ricci.) two or three gradations of tone sufficed to lead from red to white, a hundred lively colours and a general profusion of discs of mother- of-pearl were deemed insufficient to reproduce the jewels and em- broideries of the garments. It must, however, be acknowledged that if, in matter of design, and of substance, so to speak, the mosaic work of the Roman tradition is more solid and beautiful, that of Byzantine origin, with its unbridled luxury, is more sumptuous and therefore more decorative. As regards the architecture, if we except the church of S. Vitale, which is octagonal in plan, with chapels surrounding a central space (Figs. 1 2, 1 3), and that of S. Croce already mentioned, all the others, both those which survive and those that have been destroyed, are basilican in plan with three aisles, the Cathedral alone having five. A form that differs somewhat from the other sixth century buildings of Ravenna is represented by the mausoleum of Theodoric (Fig. 91 constructed in two orders, with blocks of freestone carefully squared and put together without mortar. The lower storey is decagonal, and has on each side a deep niche, over which is carried an arch formed of eleven stepped voussoirs, and supported by- massive pilasters. In the niche facing the west is the door by which entrance is effected into a cruci- form passage. With re- gard to the upper storey it is held by some that corresponding to the eighteen lunettes that pro- ject from the building and recur on each side of the lower storey in pairs, save in the space occupied by the door, there originally existed an equal number of arched vaults sup- ported by small columns arranged around the edge of the parapet, and 7 FIG. II. VIRGINS. MOSAIC IN S. APOLLINARE NUOVO, RAVENNA. (Pholo. Alinari.) ART IN NORTHERN ITALY FIG. 12. S. VITALE AND TOMB OF GALLA PLACIDIA, RAVENNA. forming an exterior gallery surrounding the edifice. I, on the other hand, am of opinion that the arches and the mouldings supported, not an ambulatory, but rather a simple decorative facing adhering to the wall but projecting from it after the fashion of the wall-strips and shallow blind arcades of the other monuments of Ravenna. And this raises a doubt whether we can accept the hypothesis that the " Rotonda " is, archi- tecturally, to be classed with the sepulchral monu- ments of Syria. For here, too, we find evidence of Roman influence. In fact, the interior of the lower storey calls to mind the Roman building at Cassino which was converted into the Church of the Holy Cross (Capella del Crocifisso), some of the tombs on the Via Appia, and still more the building that, about the year 1517, Giuliano da Sangallo saw and drew "a Capua vecchia." It is not, however, the Christian art of the fifth and sixth centuries alone that we have to study in Ravenna, but also that of the fol- lowing centuries up to the twelfth, as represented in a series of re- markable buildings which show how Byzantine art, losing some of its characteristics and acquiring others, was merged gradually in Roman- esque. In direct contradiction to received opinion, I must point out that the campanili, the crypts, and the so- called Palace of Theodoric, are buildings of a later day, and belong to the period comprised between the eighth and the twelfth centuries. 8 FIG. 13. S. VITALE, RAVENNA (Photo. Alinari.) RAVENNA AND BYZANTINE ART Seeing that the churches of Ravenna belonged to the fifth and sixth centuries, it was formerly taken for granted that their respective campanili were of the same period. However, of late years the question has been raised whether these bell-towers may not have been subsequent additions at a considerably later date. Alterations of various kinds coincided with the erection of these towers, and their position varies in different churches, from which we cannot but conclude that they formed no part of the original plan, but were added later, in any space that happened to be free. This hypothesis is confirmed by the facts that they differ in construction from the churches to which they are attached, that they are not rep- resented in the mo- saics, and that they do not figure in the most ancient records or drawings. Nor do the crypts at Ravenna date back to the founda- tion of the churches. In all cases they are adapted more or less successfully to the older parts, and they are generally constructed with material derived from older buildings. The crypt of the Cathedral dates probably from the time of the reconstruction of the apse in 1112, that of the Church of S. Apollinare in Classe from about I 1 70, and if the crypt of S. Francesco is of somewhat older date, it cannot be put further back than the tenth century. Nor can the magnificent ruin that still survives under the title of the Palace of Theodoric (Fig. 16) be of an earlier date than the eighth century. Internal evidences forbid us to accept it as a relic of the Gothic king. In the purely decorative arcading, supported by columns, of the facade, in the treatment of the voussoirs surmounting the double openings, in the ribs of the vaulting, in the wall-strips, and in the arches that support the vaulting, the various elements of Romanesque architecture are already conspicuous; these elements, indeed, combine to build up an edifice of the most 9 . THEODORA. MOSAIC IN S. VITALE, RAVENNA. (Photo. Alinari.) ART IN NORTHERN ITALY FIG. 15. S. APOLLINARE IN CLAGSE, RAVENNA. INTERIOR. (Photo. Ricci.) original character, a monument of transition and of development. These constituent elements of the latest Byzantine, or, better, of the proto-Romanesque art of Ravenna, are spread over a wider field than was ever covered by the art of the fifth and sixth centuries, to which, indeed, in other districts very few buildings, apart from the Church of S. Pietro in Silvis near Bagnacavallo andthe Euphrasian basilica at Parenzo, can be assigned. In the prosperous city of Milan there has been such a continuous restoration of the churches that nothing remains of this primitive period but the general plan of San Lorenzo and a few mosaics in Sant* Ambrogio. The early decline of Ravenna has had at least the effect of , - . leaving her monuments intact, but Milan may say with Ovid : " In- opem me copia fecit." BIBLIOGRAPHY OF CHAPTER I Raffaele Garrucci, Sloria delfArte Cristiana net primi otto secoli della Chiesa, Prato. 1873- 1881 ; J. A. Crowe and G. B. Cavalcaselle. His- tory of Painting in Italy, London. 1903, Vol. I ; Adolfo Venturi, Storia Jell' A rte Italiana, Milan, 1901 ; Josef Strzygowski, Orient oder Rom, Leipsic, 1901 ; Tiresio Rivoira, Le origin! Jell' architettura lombarda, Rome, 1901 and 1907; G. Rohault de Fleury, La Mease, Paris ; F. X. Kraus, Qeschichte der christlichen Kunst, I. Frei- burg, j 896 ; Gerspach, La mosat'que, Paris, n. d. ; Andre Pe'rate', L'Archeologie chre'tienne, Paris, 1892; C. Bayet, L 'Art byzantin, Paris, n. d. ; Emma Hoferdt, Ursprung und Enhsickelung der Chorkrupta, Breslau, 1 905 ; Andrea Agnello, Liber pontificalis, Hanover, 1 878 ; Gerolamo Fabri, Sagre memorie di Ravenna antica, Venezia, 1 664 ; Gerolamo Fabri, Ravenna ricer- cata, Bologna, 1678; Antonio Tarlazzi, Mem- orie sacre di Ravenna, Ravenna, 1 852 ; Antonio Zirardini, Degli edifici sacri di Ravenna, Ravenna, 1908; Al. Ferd. von Quasi, Die all- christlichen Bauwerke von Ravenna, Berlin, 1842; Giuseppe Bard, Dei monument! d" archi- tettura bizantina in Ravenna, Ravenna, 1844 ; J. Rud. Rahn. Ein Besuch in Ravenna. Leipsic, 1869; Filippo Lanciani, Cenni intorno ai monumenti e alle cose piu notabili di Ravenna, 10 FIG. l6. THE SO-CALLED PALACE OF THEODORIC, RAVENNA. (Photo. Ricd.) RAVENNA AND BYZANTINE ART Ravenna, 1871 ; Franz Bock, Eine Woche in Ravenna, Munich, 1884; Karl Bronner, Ravenna, Mayence, 1897; E. Melchior de Vogue, Raoenne in Hisloire et Poesie, Paris, 1898; Walter Goetz, Raoenna, Leipsic, 1901 ; Charles Diehl, Ravenne, Paris, 1903; Corrado Ricci, Raoenna, Bergamo, 1907; Ferdinando Gregorovius, Raoenne in the Passeggiate per I'ltalia, HI, Rome, 1 908 ; Corrado Ricci, Guida di Ravenna, Bologna, 1 908 ; Karl Goldmann, Die raoennatischen Sarkophage, Strasburg, 1 906 ; Corrado Ricci, Raccolte artistiche di Raoenna, Bergamo, 1 908 ; J. P. Ricnter, Die Mosaiken von Ravenna, Vienna, 1878; Steph. Beissel, Die Mosaiken oon Raoenna, Freiburg, 1 894 ; G. C. Redin, Mosaics of the Churches of Ravenna, St. Petersburg, 1 896 (in Russian); X. Barbier de Montault, Les mosatques des eglises de Raoenne, Paris, 1897; Julius Kurth, Die mosaiken der christlichen Era, Leipsic, 1 902 ; Odoardo Gardella, / campanili di Raoenna, Milan, 1 902 ; Giuliano Berti, Suliantico Duomo di Raoenna e il Battistero e I'Episcopio e il Tricolo, Ravenna, 1 880 ; Corrado Ricci, // Battislero di S. Giovanni in fonte a Raoenna, Bologna, 1 889 ; Cesare Sangiorgi, // Battistero delta Basilica Urisiana di Ravenna, Ravenna, 1 900 ; Albrecht Haupt, Die dussere Gestalt des Grabmals Theodorichs zu Raoenna and die germanische Kunst in the Zeitschrift fur Geschichte der Architektur, Heidelberg, 1908, I, 1 and 2 and Das Theodorichgrabmal zu Ravenna in the Zeitschrift fur bildende Kunst, Leipsic, 1 908, fasc. 9 ; Josef Durm. Das Grabmal des Theodorich zu Raoenna in the Zeischrift fiir bildende Kunst, Leipsic, 1 906, fasc. 8 and Nochmals das Theodorich zu Raoenna in the same Zeitschrift, 1908, f. 8; Josef Strzygowski Zur fruhgermanischen Baukunstin the Zeitschrift fur Geschichte der Architektur, Heidelberg, 1908, 1, 10; Bruno Schulz, Die Erganzung des Theodorich-Grabmals und die Herkunft seiner Formen in the Zeitschrift fur Geschichte der A re hiteklur, Heidelberg, 1908, I, 8; Dora. Maioli, 5. Vitale in Ravenna. Faenza, 1903; Corrado Ricci, La cappella delta Sancta Sanctorum in S. Vitale di Raoenna, in the Rassegna d'Arte, IV, Milan, 1904; Abside di S. Vitale in Raoenna in the Arte italiana decorativa e industrial, Bergamo, 1 904 ; La chiesa di S. Michele ad Frigiselo in Raoenna in the Rassegna d'Arte, V, Milan, 1905 and Le Cripte di Ravenna in the Note storiche e letterarie, Bologna, 1881; Hans Dutschke, Sonderabdruck aus raoennatische Studien, Leipsic, 1909. II FIO. 17. s. MARK'S CHURCH, VENICE. CHAPTER II VENICE ARCHITECTURE AND SCULPTURE. FROM THE FIRST BEGINNINGS TO THE END OF THE FIFTEENTH CENTURY Origin of Venice. Evolution of the City. Church of S. Mark- Campanile. The Ducal Palace. Venetian Architecture. Palaces. Churches. Fra Giocondo. A. Riccio and the Lombardi. Relation of Sculpture to Architecture. THE heritage of Ravenna, a town already on the decline in the seventh century, was gradually garnered by Venice and Bologna. Venice absorbed splendour, political power and the dominion of the Adriatic : Bologna, law and jurispru- dence. The growth of Venice was relatively late and slow, and she owes her origin to the pressure of barbarian invasion. The first inhabitants, indeed, appeared upon the lonely islets of the lagoon at the time of the invasions of Alaric, of Radagasius, and of Attila; but afterwards it would seem that on the clearing of the storm, under the impression that the danger was passed, the fugitives returned to their homes in the region already called Venelia by the Romans. The barbarians, however, had learnt the way, and, while the last of the Imperial line passed away amidst final struggles and crimes, invaders followed swiftly one upon the 12 FIG. l8. THE BRONZE HORSES, S. MARK'S, VENICE. (Photo. Alinari.) VENICE other first Odoacer, then Theodoric, then the Lombards. Hence there followed ever fresh flights of the Veneti to the sandbanks and the islets where they found a home, and whither, for lack of boats, their enemies could not follow them ; here they were little exposed to the envy or pursuit of those who were panting for the plunder of rich domains and of walled cities. Here it was that the great people grew up who, while acknowledging in succession the supremacy of the Goths, of the Byzantines and of the Lom- bards of the Byzantines in a special degree determined, and carried out their determination, to live in freedom, to make their own laws, to choose their own representatives, and to alter laws and treaties at their own will. It was the pressure of threats from without and of dis- sensions within that led to the first elec- tion of a Doge, and to the early migra- tions of the seat of government, first from Heraclea to Malamocco, then from Malamocco to Rialto, which last be- came, like the Pala- tine Hill at Rome, the nucleus around which the city of Venice centred and finally was fixed. And, indeed, at the beginning " Rialto " meant Venice, and it is in this sense that Dante uses the word. There, in fact, was the principal harbour, and there the seat of the magistrates and of the bishops. The construction of the city was not the outcome of a gradual transformation in the course of time, as was the case with Rome and other great cities of Italy. Venice arose at a time when anything was possible in the way of building, and at a time when in Italy, even in the immediate neighbourhood, there was no lack of architectural marvels, as for example the Roman Verona, the Byzantine Ravenna, and, still nearer, Grado (the Cathedral and S. Maria delle Grazie), and Aquileia. The rapid evolution of Venice was controlled by magistrates and municipal officers of 13 FIG.IQ. s. MARK'S CHURCH, VENICE. (Pholo. Alinari.) ART IN NORTHERN ITALY FIG. 2O. THE DOGE'S PALACE, VENICE. (Photo. Alinari.) experience who saw that the canals, the bridges, and the ap- proaches to them were laid out with regularity, that the unhealthy, muddy creeks were cleansed, that the canal banks, the meadows and the houses were ren- dered secure. Nor was this all : they took care that the city should be enlivened by trees and green open spaces. One of the heroes of this period of organi- sation was the Doge Pietro Orseolo II, who was so much admired by the Emperor Otho III. He it was who gave both material and moral strength to his country. It was under his rule that the era of conquests began, an era that culminated under Enrico Dandolo. It was, indeed, just before and after the year 1000 that the true monumental and artistic glory of Venice was initiated, although there were already at that time some notable churches in existence, churches that later were either destroyed or transformed. On the other hand, in the adjacent la- goons a few buildings sur- vive that have retained some part at least of their original construction (the apse of the cathedral of Torcello, the ruins of Jesolo, etc.). Among the churches transformed in later times, notable examples are S. Zaccaria and above all, San Marco, the foundations of which were laid in the year 829, the year after the clandestine transference of the body of the saint from Alexandria to Venice. The original church built on the model of those of 14 FIG. 21. PALAZZO FARSETTI AND PALAZZO LOREDAN, NOW PALAZZO DEL MUNICIPIO, VENICE. (Photo. Alinari.) VENICE FIG. 22. FONDACO DEI TURCHI, VENICE, BEFORE THE RESTORATION. Ravenna, divided into three aisles by two rows of columns, with a single apse and a narthex was burnt in 976 during the insurrection against the Doge Pietro Candiano IV. It was re- stored at once under the DogeOrseoloI(976-978), but it no longer appeared i j^^^Dyj&r ,n vj f.w 9 t --" ' ^"TLL. R&B* 1 worthy of the growing city, and the idea of rebuilding it on a larger scale and with richer decoration gradually gained ground : this decision was finally taken by Do- menico Contarini in 1063. The stupendous work was carried on with ardour under Domenico Selvo, who lived to see the walls partially covered with marbles and mosaics (Figs. 1 7 and 1 9). It would appear that the architects were Byzantines, but the completion of the work was entrusted to Venetians and Lom- bards; and these men did not dis- dain any more than their succes- sors in later days to avail them- selves in building of decorative fragments from the first basilica and of others gleaned here and there, from Altinum, from Aquileia, from decadent Ravenna, from Istria, from Dalmatia, and even from the distant East, as for example the two pilas- ters brought from Acre and the four figures of porphyry which may still be seen to the right of the facade, to say nothing of the four famous bronze horses taken from the Hippodrome of Constanti- nople in the year 1 205 (Fie. 1 8). *ri if i-i i 1 he styles ot architecture adopted are as various as are the fragments built into the church ; but the Byzantine predominates, for while the work carried out in this style underwent no modification, the 15 FIG. 23. PALAZZO CONTARINI-FASAN, VENICE. (Photo. Alinari.) ART IN NORTHERN ITALY FIG. 24. CA' D'ORO, VENICE. (Photo. Alinari.) Lombard, the Gothic, and even the Renaissance styles have had in some measure to adapt themselves to it, acknowledging, as it were, its sovereignty in the building. Hence the admirable harmony of the whole, a har- mony which in my opinion would be destroyed if each style had refrained from concessions. While, indeed, in the case of the dec- orative arcading the Lombards did not place themselves in opposition to the latest Byzantines, the designers of the latest mosaics were willing to space out their figures in that field of gold, which may indeed be said to give the key-note to which are attuned all the voices of this marvellous chromatic choir, from the dignified and severe figures that took their place upon the walls in the time of Domenico Contarini to theGiottesque de- signs of the Bap- tistery; from the strange and lifelike work of Giambono, to the ample and vigorous figures of Titian and of Tin- toretto ; they shine out from all sides, from the vault, from the arches, from the lunettes, from the cu- polas, from the walls clothed with mar- FIG - 2 5- CHURCH OF ss. GIOVANNI E PAOLO, WITH , , , | COLLEONI MONUMENT, VENICE. (Photo. Alinari.) Dies or many hues, chiselled in the course of many centuries by a thousand hands, from those of the Greek craftsman to those of the disciple of Sansovino. 16 VENICE So, again, between the ninth and twelfth centuries there arose the Campanile, transformed by Montagnana in the fourteenth century, and crowned at a still later date with a bell-loft. The tower fell in 1 902, and has been rebuilt " where it was and as it was." The Ducal Palace has a long history, akin to that of the basilica and of the campanile. For this building again is a marvellous pro- duct of the careful work of genera- tions.Twice burnt (9 76 and 1 1 05), twice it rose from its ashes ; it was then subjected to continuous reno- vations, enlargements, embellish- ments, and restorations ; so that the most ancient parts now visible are Gothic. At the present day we have in this building, with its lower ranges of loggias (fourteenth and fifteenth centuries) and the plain, unbroken upper wall, a curious inversion of the usual criterions of strength and stability. It is much to be regretted that the windows, with two exceptions, have lost the graceful tracery of marble which divided them into three parts, and thus relieved the bald and rude appearance of the empty spaces (Fig. 20). FIG. 26. CHURCH OF S. MARIA DELL 1 ORTO, VENICE. (Pholo. Alinari.) There are few surviving examples of the Venetian architecture that was in favour between the years 1000 and 1300. But in what remains we see again distinctly exemplified the phenomenon of various styles fused into one (cf. p. 16); and this one, assuming a fresh form, displays an individual character, and takes its place as Venetian. To the continuation of 17 C FIG. 27. "HURCH OF s. STF.FA: (Photo. Alinari.) ART IN NORTHERN ITALY FIG. 28. PALAZZO PISANI, S. POLO, VENICE. (Photo. Alinari). the original Byzantine forms are superadded the methods and motives of Lombard art; we may even find traits of Saracen art in the slender columns, placed close to- gether, and in the height of the plinths. We have examples of this in the former Loredan and Farsetti (now the Munidpio) Pal- aces and again in the Dona (now Sicher), the Saibanti, the Businello, the Da Mosto and other palaces, all of them on the Grand Canal, and most of them close to the Rialto. Here we have a proof that it was precisely around this spot that the city grew up. A valuable example would have been offered by the Palace erected in 1225 (later the Fondaco dei Turchi, and now the Museo Civico), had it not been for the ruthless and vulgar restoration which the building underwent about the middle of the nineteenth century. The many drawings, engravings, pictures and photographs which have been preserved only serve to increase our regret that this marvellous building in its state of picturesque de- cay, is no longer reflected in the waters of the Grand Canal. The Gothic style brought about a great and far-reaching modification of the architecture and sculp- ture of Venice. It was a style which flourished for- tunately during the most prosperous period of the FIG. 29. SCUOLA DI S. MARCO, VENICE, NOW THE f-t f \ r 1 A HOSPITAL. (Photo. Alinari.) lire or Venice, when An- drea Dandolo and Andrea Contarini defeated Genoa, and when Antonio Venier occupied the island of Corfu and the towns of Durazzo and Argo. This was the time of great churches and glorious palaces. Among 16 VENICE the first it will suffice to mention Santa Maria Gloriosa dei Frari and SS. Giovanni e Paolo ; among the latter the Ducal Palace (Fig. 20}, the "Casa degli Evangelisti," near S. Eustacchio, the Ca' d'Oro (Fig. 24), and the Con- tarini - Fasan (Fig. 23). In these palaces there are generally in the upper storeys spacious apartments which extend through the whole depth of the house, terminating at the fa9ade in a row of Windows divided by FIG. 30. PIAZZA OF s. MARK'S WITH SANSOVINO'S LOGGETTA, l-l 1 l-i THE PROCURATIE VECCHIE, THE CLOCK TOWER, AND SIDE- llttle columns, While VIEW OF s. MARK'S, VENICE. (Photo. Alinari.) the two solid wings of the building contain the less important rooms (Figs. 23, 24 and 43). These architectural arrangements, corresponding to a definite method of life, have, in the main, been maintained from century to century through all the changes of style, just as in ancient days was the case with the plan of the Roman house. It should be noted that these central saloons served, and indeed still serve, not only as places of assembly and of social gathering, but as approaches to the lateral rooms, taking the place of the Roman atrium. The number of windows cor- responding to these saloons varies from two to twelve, the most usual number being six. Gene- rally they are seen to be grouped within a quadrangular space which is surrounded by a frame- work of gilded marble, and the tracery of their pointed arches passes upward to form rose or FIG. 31. PORTA DELLA CARTA, DOGE'S PALACE, VENICE. (Photo. Alinari.) 19 c 2 ART IN NORTHERN ITALY FIG. 32. CHURCH OF S. ZACCARIA, VENICE. (Photo. Alinari.) star-shaped apertures, grouped in a single or double row, and making a stone lacework of exquisite deli- cacy. The churches of the Gothic pe- riod are divided into three lofty aisles by rows of massive cylindrical pillars; they have a few chapels, right and left of the apse, in the transepts, but there are no chapels in the side aisles, where the altars are placed against the main walls without any recessing. The choir, in the principal churches at least, is in the central nave, taking the place of the ancient scuola dei canton. The church of S. Maria Gloriosa dei Frari which was begun in 1250, was enlarged in 1330 and 1415; the church of SS. Giovanni e Paolo (Fig. 25) again, founded in the thirteenth century, and altered in 1333, was only completed a good deal later (1390). After S. Mark's these are the two most famous churches of Venice; they have been enriched from time to time with sculpture and paintings, so that they have gradually assumed the character of magnificent art- museums. Among the lesser but no less beautiful churches of the fourteenth century are S. Stefano (Fig. 27), begun in 1325, and S. Maria dell* Orto (1357, Fig. 26). The special character taken on by the Gothic style in Venice is more noticeable in the civil than in the religious architecture. It was continued far into the fifteenth century, at a time when the grace- ful early Renaissance had established itself in other towns, and this has led to the impression that large parts of Venice are older than 20 FIO. 33. SPIRAL STAIRCASE IN PALAZZO MINELLI, VENICE. (Photo. Alinari.) VENICE FIG. 34. MONUMENT OF THE DOGE PIETRO MOCENIGO, CHURCH OF SS. GIOVANNI E PAOLO. VENICE. (Photo. Alinart.) they really are. The Ca' d'Oro, for example, was finished between the years 1424 and 1430, at a time when in Florence Brunelleschi was already at work at S. Lorenzo and on the chapel of the Pazzi, S. Croce. A large part of the Ducal Palace also belongs to the fifteenth century, including the Porta della Carta (Fig. 31). The Renaissance itself, in this ex- ceptional city, assumes a characteristic aspect, due to topographical exigencies and to the spirit of the Venetians. Just as in Rome everything has an air of grandeur, and in Florence an accent of grace, so in Venice everything inclines to magnificence. The facades of the palaces vast and severe in Rome (Palazzo Venezia and the Cancelleria), in Florence soberly constructed of rusticated masonry with architectonic members boldly projecting (the Pitti, Riccardi, Strozzi, and Rucellai Palaces) assumed in Venice a graceful and, as it were, feminine style of decoration; they were adorned at first with discs, mouldings, and screens of Byzantine ^BBB AWf character; then with paint- ings or with pateras and marble panels, surrounded with garlands, suspended from fluttering fillets, attach- ed between balustrades and balconies and doors and windows, which gradually abandoned the pointed arch for the softer charm of round-headed openings. The most famous archi- tects of this period were Fra Giocondo, and Antonio Riccio of Verona, and the glorious family of the Solari, known by the name of Lombardi, a family that came originally from the Lake of 21 FIG. 35. PALAZZO VENDRAMIN CALERGI, GRAND CANAL, VENICE. (Photo. Alittari.) ART IN NORTHERN ITALY Lugano, and whose art was manifested in many a city of the Venetian domain. The founder of this family was Pietro, who died in 1515; he was suc- ceeded by his sons Antonio and Tullio, and his nephew Sante. It must, however, be noted that not all the works hitherto attributed to this Pietro are really by him. The clock tower, in the Piazza, for example (Fig. 30) is by Coducci, an artist who has too long been denied the credit due to him as the author of FIG. 36. SCUOLA DI s. Rocco, VENICE. various buildings, in addi- (Photo. Alinari.) jj on to ^ c h u rch of S. Giovanni Grisostomo and that of S. Michele di Murano. It is now known that along with Antonio Gambello he worked on the superb facade of S. Zaccaria (Fig. 32) and, with Pietro Lombardo and Giovanni Buora, on the no less magnificent front of the Scuola di S. Marco (Fig. 29). So, too, Giovanni Candi is now acknowledged as the architect of the open spiral staircase of the Palazzo Con- tar in i dal Bovolo, with its balustrades and inclinedarchesso arranged as to merge themselves, to the right, into the hori- zontal loggias. Recent research has also resulted in an increased recog- nition of the merits and the fame of Antonio Riccio. In the Ducal Palaces parts of the Arco Foscari must be given to him as well as the Scala dei Giganti (Fig. 37), and there is reason to 22 FIG. 37. COURTYARD OF THE DOGE'S PALACE, VENICE. (Photo. Alinari.) VENICE FIG. 38. PALAZZO MONTECUCCOLI, GRAND CANAL, VENICE. (Photo. Alinari.) believe that we owe to him the original idea and the initial execution of that exquisite marble efflorescence the eastern facade of the great court (Fig. 37), in the rebuilding of which, after the fire of 1483, Pietro Lombardi, Lorenzo Bregno and Antonio Bondi, known as Lo Scarpagnino, had also their share. The latter was the architect of the Scala d'Oro in the Ducal Palace, of the Fab- briche Vecchie at Rialto, of S. Giovanni Elemosi- nario, as well as the execu- tant of the designs of other men. Bartolomeo Buono and Guglielmo Grigi owe their fame more especially to the Procuratie Vecchie (Fig. 30), the residence of the nine Procuratori, who, after the Doge, were the representatives in Venice of the highest authority and the supreme power. Buono was also the builder of the upper storey of the Campanile of S. Mark and of the Scuola di S. Rocco (Fig. 36). But, as we have already stated, the most active and the most glorious family at this pe- riod was that of the Lom- bardi. The fame of Pietro, an artist of supreme taste, might well rest upon the Palazzo Vendramin Cal- ergi (Fig. 35), and upon the sepulchral monuments of the Doges Pietro Mocenigo (Fig. 34) and Marcello, in SS. Giovanni e Paolo. But, in addition, he has given us the most exquisite work of the Venetian Renaissance, in the church of S. Maria dei Miracoli, both without and within an incomparable jewel, thanks to exquisite proportions and to the refined elegance of its decoration 23 FIG. 39. CHURCH OF S. SALVATORE, VENICE. (Photo. Alinari.) ART IN NORTHERN ITALY of coloured marbles and sculpture. The church has a single nave with a barrel vault, coffered and gilded, and adorned with paintings by Girolamo Pennacchi of Treviso. The steps that ascend to the presbytery are flanked on either side by a balcony, the balustrades of which terminate in the pulpits where the gospel and the epistle are read. The square apse is crowned by a circular cupola, connected with it by means of a charming arrangement of lunettes and pendentives in the Tuscan manner. In some of these undertakings, Pietro had as assistants his sons , Antonio and Tullio, who were brought up by him and trained to the art from their child- hood. And they in their turn worked har- moniously together at Padua, in the Chiesa del Santo; at Treviso, in the Cathedral; at Venice, in the Zeno chapel in St. Mark's, and on the sepulchral monuments of the Doges Vendramin (Fig. 42) and Giovanni Mocenigo in the church of SS. Giovanni e Paolo. Antonio, how- ever, died in 1516, while still a young man, and Tullio, who sur- vived him for sixteen years, carried on alone at Venice many other works of architecture and sculpture, completing the church of S. Salvatore (Fig. 39), which had been begun by Spavento, and working with the chisel in the Scuola di S. Marco, in the Ducal Palace, and in Ravenna, where the statue of Guidarello Guidarelli is his accepted masterpiece. In addition to his sons, Pietro trained other pupils and had otherfollowers, so that there is some difficulty in the attribution of not a few of the buildings of Venice that bear the stamp of his school. In traversing the Grand Canal, for example, all we can say of such palaces as the Grimani, at S. Polo, the Corner Spinelli (Fig. 43), the Manzoni, now Monte- 24 FIG. 40. EVE AND ADAM. (ANTONIO RICCIO.) Doge's Palace, Venice. VENICE cuccoli (Fig. 38), the Angaran Dario and others, is that they are " Lombardesque " in character. The School of the Lombardi was indeed widely spread over the whole of the Venetian territory; it penetrated even into some parts of Lombardy and the Emilia; the works executed by Pietro and his sons in the Venetian cities of the mainland contributed to this. To the last member of this Lombardi family, to Sante, the son of Tulho, we may attribute the Malipiero Palace, in the parish of S. Maria Formosa, and finally the Church of San Giorgio dei Greci (Fig. 45). FIG. 41. CHURCH OF S. MARIA DEI MIRACOLI, VENICE. The question may be asked: Are we to regard the artists of whom up to this point mention has been made as architects or sculptors? The fact is, they were all at times both one and the other, when indeed they were not also painters. According to their way of looking at the matter, and what is more im- portant, in their actual practice, the work of the architect de- veloped itself by means of sculp- ture, just as in that of the musician the melodic theme is worked out with the assistance of harmony. The task in hand, therefore, had its birth and came to maturity in the architect's mind there was a perfect har- mony both as concerns the con- structive lines and the scheme of ornament. And this is one of the essential characters of Venetian art. In Florence the task of the FIO. 42. MONUMENT OF THE DOGE VEN- DRAMIN, CHURCH OF SS. GIOVANNI E PAOLO, VENICE. 25 ART IN NORTHERN ITALY architect was carried out, almost without exception, apart from that of the sculptor, so that it often happened that each of them worked alone, and they only combined their forces when the first had need of the second. Hence, the buildings arose on simpler lines and the sculptors produced a greater number of independent works. Thus, too, it came about that while in the case of the sepulchral monuments in their churches, the Florentine sculptors gave evidence of less architectural feeling than the Venetians, so on the other hand, when the Venetians had to erect isolated statues, conscious of their inferiority to the Florentines, they had re- course to them. The tombs de- signed by Desiderio da Settignano, by Mino da Fiesole or by Rossel- lino, however marvellous in their grand simplicity, are not, on the whole, on the architectural side, comparable with the superb monu- ments of the Doges in SS. Giovanni e Paolo and in the Frari. On the other hand, no one of the Vene- tian sculptors was capable of erect- ing isolated works of sculpture as impressive and perfect as the " Gattamelata " of Donatello or the " Colleoni " of Andrea Verro- chio (Fig. 44). The sculpture of Venice lived in conjunction with and was subordinate to the archi- tecture from which it sprang. We must not be thought to imply that the Venetians have never produced notable works of sculpture; yet even in the case of such works as Alessandro Leopardi's pedestals of the flag-staffs in front of S. Mark's (Fig. 46), or Antonio Riccio's E\>e and Adam, in the Ducal Palace (Fig. 40), or the two busts in relief by Tullio Lombardi in the Archaeological Museum in Venice, the artists have not been able to rise above decorative lines and effects, and in the trenchant execution of their work they have never approached that admirable harmony of form and sentiment which is to be found in the sculpture of Tuscany. Indeed, they thoroughly understood that this sculpture was superior to their own, and upon it their eyes were perpetually fixed. Apart from this, as decorative work, let us repeat once more, the 26 FIG. 43. PALAZZO CORNER SPINELLI, VENICE. (Photo. Alinari.) VENICE FIG. 44. THE COLI.EONI MONUMENT, VENICE. (Photo. Alinari.) sculpture of Venice had by the middle of the fifteenth century at- tained to a notable position, so that we find the work of the Venetian stonecutters and masons in request in the adjacent cities, in Padua and Verona, for instance, and soon after in more distant towns, in Milan and again in Bologna, where they found employment in the lower part of the facade and in some of the lateral windows of S. Petronio, and where the two brothers Pier Paolo and Jacobello delle Masegne have left us several sepulchral monuments of the famous lawyers of the day, to say nothing of the great reredos in S. Francesco. And indeed it must be acknowledged that in this first period the Venetian sculptors produced works that display an exceptional energy both in the forms and in the sentiment; it is, however, only too true that this did not yield all the fruits that were to be expected from it; with Jacopo della Quercia and with Donatello the palm passed to the art of Tuscany. BIBLIOGRAPHY OF CHAPTER 11 Giorgio Vasari, Le Vite del piu eccellenti ftittori, scultori ed archilettori, Florence, 18781885 Francesco Milizia, Memorie degli architetti an tichi e modern!, Bassano, 1 785 ; Leopoldo Cicog nara, Storia della Scoltura, Prato, 1823-24 Amico Ricci, Storia dell'Architettura in Italia Modena, 1857-1859; J. Burckhardt, Der Cicerone Leipsic, 1904; Adolfo Venluri, Storia dell' Arte Italiana, Milan, 1901-1908; Charles C. Perkins Italian Sculptors, Boston, 1 864 ; Raffaele Cattane o L'Archilettura in Italia dal sec. V at Mille Venice, 1889; L. de BeylicS, L' habitation buzan- tine, Grenoble, 1 902 ; Tommaso Temanza, Vite del f>iu celebri architetti e scultori veneziani del sec. XVI. Venice, 1778; Pietro d'Ofvaldo Paoletti. L'Archilettura e la Scoltura del Rinascimento in Venezia, Venice, 1893; Em. Anl. Cicogna, Delle Inscrizioni Veneziane, Venice, 1 824 1 853 ; Tom- FIG. 45. CHURCH OF S. GIORGIO Dt CRECI, VENICE. (Photo. Alinari.) 27 ART IN NORTHERN ITALY Venezia illustrali, Venice, 1856; G. Fontana, Cento palazzi fra i piu celebri di Venezia, Venice, 1865; Francesco Sansovino, Venelia citla nobilissima e singolare, Venice, 1581 ; Mothes. Geschichte der Baukunst und Bildhauerei Venedigs, Leipsic, 1 859 ; Pietro Selvatico, Sull' ' architettura e sulla scoltura di Venezia, Venice, 1847; Francesco Zanotto, Venezia e le sue /agune, Venice, 1847 ; Pietro Selvatico and V. Lazari, Guida arlistica di Venezia, Venice, 1852; Vittorio Alinari, Eglises el " Scuole" de Venise, Florence, 1906; Pompeo Molmenti, La Storia di Venezia nella Vita Prioala, Bergamo, 19051908; Pompeo Molmenri, Venezia, Bergamo, 1907; Pompeo Molmenti and Dino Me*itovani, Le isole delta Laguna Veneta, Bergamo, 1904; Em. Molinier, Venise, ses arts decoratifs, Paris, 1 889 ; Hans van der Gabelentz, Mittelalterliche Plastik in Venedig, Leipsic, 1 903 ; A. G. Meyer, Das venezianische Grabdenkmal der Friihrenaissance, Berlin, 1889; G. Saccardo, / campanili di Venezia, Venice, 1891 ; Camillo Boito, La basilica d'oro in Question! pratiche di Belle Arti, Milan, 1893 ; La Basilica di S. Marco in Venezia, illustrata nel riguardo dell'arte e delta storia da scrittori veneziani sotto la direzione di Camillo Boito, Venice, 188186; Pietro d'O. Paoletti, Nuovi ritocchi alia Storia delta Chiesa di San Marco, Venice, 1905 ; I, I. Tikkanen, Le rappresentazioni delta Genesi in S. Marco a Venezia in Archioio Storico dell'Arte, i, Rome, 1888; Antonio Pasini, // tesoro di S. Marco, Venice, 1 887 ; Erich Frank, Bilder zur Geschichte der christlichen Malerei, Freiburg, 1 888-92 ; G. B. Lorenzi, Monumenti per servire alia storia del Palazzo Ducale, Venice, 1 868 ; Camillo Boito, // Palazzo Ducale di Venezia, Rome, 1899; Camillo Boito, Le trifore del Palazzo Ducale di Venezia, Rome, 1 899 ; Vincenzo Zenier, Guida per la Chiesa di S. Maria Gloriosa dei Frari, Venice, 1825; V. B. Cecchetti, La facciata delta Ca' d'Oro in Archioio Veneto, xxxi; Giacomo Boni, La Ca' d'Oro e le sue decorazioni policrome in Archivio Veneto, xxxii ; Michele Cam, / Solari artisli lombardi nella Venezia, Milan, 1 885 ; Gerolamo Biscaro, Pielro Lombardo e la Catledrale di Treoiso in Arch. Star. dell'Arte, viii, Rome, 1895 ; A. Luzio e R. Renier, Di Pietro Lombardo architetlo e scultore venezio.no in Arch. Star. dell'Arte, i, Rome, 1888; C. v. Lutzow, S. Maria dei Miracoli zu Venedig, Vienna, 1871 ; Natale Baldoria, Stalua di Seoero da Raoenna in Arch. Star. dell'Arte, iv, Rome, 1891 ; Natale Baldoria, // Briosco e it Leopard! architetli di S Giustina in Archivio Storico dell'Arte, iv, Rome, 1891 ; M. Guggenheim, Due capolaoori d' Antonio Rizzo nel Palazzo Ducale di Venezia, Venice, 1 898 ; Corrado Ricci, Monumenti veneziani nella Piazza di Raoenna in the Reoista d'Arte, Florence, 1905, and La slatua di Guidarello Guidarelli in the Emporium, xiii, Bergamo, 1901 ; Vincenzo Zanetti, La Ba- silica dei SS. Maria e Donato di Murano, Venice, 1873; Hugh A. Douglas, Venice on Foot, London, 1907 ; Charles Yriarte, Venise, Paris, 1878 ; P. Molmenti, Ca d'oro o Ca Doro in Arte e Storia, xxviii, Florence, 1 909. FIG. 46. BASE OF FLAG- STAFF IN PIAZZA OF S. MARK, VENICE. 28 FIG. 47. RIALTO BRIDGE, VENICE. CHAPTER III VENICE ARCHITECTURE AND SCULPTURE FROM THE SIXTEENTH TO THE EIGHTEENTH CENTURY Sammicheli. Sansooino and his Works in Venice. Palladia. Scamozzi. A. da Ponle. The Baroque Style. B. Longhena. A. V'Moria. Decorative Sculptors. AFTER the times of the Coducci, Riccio, and the Lombard!, the architecture of Venice attained to a greater opulence and solidity in the works of the Veronese Michele Sammicheli ; it is to him that we are indebted for the massive palaces of the Grimani at S. Luca (Fig. 48), and of the Corner at S. Polo, as well as for the Castle of S. Andrea on the Lido. On his arrival at Venice Sammicheli was already famous as a military architect. The study of antiquity had, how- ever, led him to apply decorative motives even to works of a purely defensive character, works from their very nature massive and plain; so, on the other hand, the study of works of this class had led him to adopt a greater robustness of style. But the true hero of this period was Jacopo Tatti, known by the name of Sansovino, a Tuscan sculptor and architect who, after the famous sack of Rome in 1527, found 29 FIG. 48. PALAZZO GRIMANI, VENICE. (Photo. Alinari.) ART IN NORTHERN ITALY FIG. 49. MONUMENT OF THE DOGE FRANCESCO VENIER, VENICE. (Photo. Alinari.) his way to Venice, and remained at work there up to the time of his death, that is to say for little less than half a century, leaving his stamp upon certain parts of the city, just as his contemporary, Michelangelo, and at a later time Bernini, left theirs upon Rome. So much did he love his work in Venice, so well pleased was he with the splendour and the beauty and life of the city, that he persist- ently refused every invitation from the Popes, and from princes such as the Dukes of Tuscany and of Ferrara. Before he came to Venice he had associated with and indeed had worked together with many famous masters both in Florence and in Rome ; nevertheless, he did not disdain to glean suggestions and motives from the buildings of his new domicile, and to adapt himself to its artistic traditions without sacrificing his originality. One of Sansovino's first tasks was to carry on the work at the Scuola della Misericordia, begun on the plans of Leopardi and continued by Pietro Lombardi. At the same time he applied himself to other under- takings such as the superb Palazzo Corner at S. Maurizio (now the Pre- fecture), and, again, the nave of S. Francesco della Vigna. To these were soon added the Mint (now the Biblioteca), and the Libre- ria; to be followed by the Palazzo Manin (now the Bank of Italy), the Log- getta of the Campanile, that enchanting harmony of architectural lines and of sculpture (Fig. 55), to say nothing of the monument to the bishop Livio Podacotaro 30 FIG. 50. THE MINT, NOW THE LIBRARY, VENICE. VENICE (who died in 1555) in S. Sebastiano, that of Francesco Venier (died 1 556), in S. Salvatore (Fig. 49), the giants on the top of the staircase that leads from , the Court of the Ducal Palace, as well as other smaller but not less beauti- ful works. Calling to the memory such works as these, it is impossible to escape a vivid impression of admiration and wonder which is not in any degree neutralised by the cold and incongruous of the Fabbriche mass FIG. 51. PALAZZO CORNER. S. MAURIZIO, VENICE. (Photo. Alinari.) Nuove at Rialto. Of the Zecca (the Mint, now the Biblioteca, Fig. 50) it has with good reason been said that it displays at the same time " the profuse liberality of the man who commissioned it, the purpose for which it was destined, and the solidity of structure that this purpose called for." The play of colour given by the bosses of the rusticated walls, the absence of arches and of balustrades in the two upper storeys, and the vigorous projection of the architrave mouldings, give to this building an air of combined richness and strength ; on the other hand, it is richness combined with charm which distinguishes the Palazzo Corner (Fig. 51), with its arched windows, its slender double columns and its graceful balustrades poised on the string- courses. But without dwelling further upon the works of Sansovino, FIG. 52. LIBRERIA VECCHIA, VENICE. 1 "J it may be said at once that in the Libreria (Fig. 52) he erected what is perhaps the most magnificent civil building in Italy, and that he raised the architecture of Venice 31 ART IN NORTHERN ITALY FIG. 53. PALAZZO BAI.BI, VENICE. (Pholo. Alinari.) to the level which had been reached in other centres on the return to classical formulas; this he succeeded in doing without denying himself a certain happy license that gave to his artistic productions a new character and a new life, however much they may have provoked the displeas- ure of the great Palladio. Palladio, the creator of a marvellous architectural world in Vicenza, in the sea-born city never suc- ceeded in giving expression to all the moral and mate- rial elements which from this time forth claimed their place in the arts ; in the f acadeof S. Francesco della Vigna, in the churches of S. Giorgio Maggiore and of the Redentore, and in the convent of the Carita, he has left us works which, though classically correct, are cold works that make it perfectly clear to us why he called the Palazzo Ducale "deforme " (formless). After this the artists who succeeded, as was indeed rational, put Palladio on one side and maintained the traditions of Sansovino, whose influence, like that of Michelangelo in Rome and in Florence, en- dured for long. Vincenzo Scamozzi from Vicenza in his magnificent Procuratie Nuove (Fig. 54) simply followed the design of the Libreria, adding a third story of his own invention, a less happy conception. To the school of Sansovinc belonged again both Ales- sandro Vittoria, to whom Balbi (now Guggenheim, architect of the Career! FIG. 54. PROCURATIE NUOVE, VENICE. (Pholo. Alinari.) we are indebted for the Palazzo Fig. 53), and Antonio da Ponte, the 32 VENICE FIG. 55. LOGGETTA AT THE BASE OF THE CAM- PANILE, s. MARK'S, VENICE. (Photo. Alinari.) (the Prison), and of the Rialto bridge (Fig. 47), although neither of these artists disdained to accept the amplifications that dis- tinguish the beginning of the Baroque style. Meantime the new style had asserted itself in every part of Italy, and had brought with it manifest resources of effect and pomp. It is indeed idle at the present day to per- sist in decrying a style that is in many respects worthy of admiration, a style rich in ingenuity and fancy, the consummate mistress of all technical accomplishment. The Middle Ages may be regarded as the winter-time of art, and the Renaissance as the spring; the Baroque Period was in very truth the summer, with its heat, its dense vegetation, its hurricanes, and, we may perhaps add, with its languor. Every part that in the fifteenth century had been soberly handled now be- came exaggerated; but the brain and the hand, by means of the powers that they had acquired in unison, worked together with facility, as if the heat of summer had in fact rendered them freer and more elastic. And now the pencil and the brush, tractable and facile, adapted themselves readily to all the fantastic feats that the will of the artist demanded from them. The marble took on aspects of softness, of splendour ; at times it assumed, as it were, pictorial values, according as it was striated or opaque, mottled or trans- lucent. 33 D FIG. 56. CHURCH OF THE SALUTE. VENICE. (Photo. Alinari.) ART IN NORTHERN ITALY Among the architects who were at work in Venice during this period, Baldassarre Longhena ranks highest. The Church of the Salute (Fig. 56) would alone suffice to entitle him to such a position; in this church every arbitrary caprice pro- duces its effect and becomes a marvel in itself this we see in the great spiral but- tresses of the larger cupola, in the smaller cupola itself behind the great one, or again in the two bell-towers be- FIG. 57. PALAZZO REZZONICO, VENICE. (Photo. Alinari.) hind the former. Longhena further enriched Venice with two sumptuous palaces the Pesaro (now the Municipio, Fig. 58) and the Rezzonico (now Minerbi, Fig. 57). To Antonio Contino we now assign the Ponte de' Sospiri (Fig. 60), a bridge that owes its fame to the legends of poetry rather than to its artistic merit. As in the past, many of these architects were at the same time sculptors, and remained faithful to the cus- tom of conceiving and exe- cuting design and decora- tion homogeneously. But already the tendency to dif- ferentiate the two branches was making itself felt, to the great injury of art. For in this, as in other respects, art differs from science, which FIG. s8.-pAi.Azzo PESARO, VENICE. derives greater strength and (Photo. Alinari.) greater security in research from specialisation. We have mentioned Alessandro Vittoria as an architect. As a sculptor he took a position in no way inferior rather perhaps a 34 VENICE FIG. 59-- CHURCH OF S. MOISE, VENICE. (Photo. Alinari.) FIG. 60. BRIDGE OF SIGHS, VENICE. (Photo. Alinari.) higher one. We may find evidence of this in his own tomb in S. Zaccaria, richly adorned with allegorical figures, again in the statue of St. Sebastian in S. Salvatore, in that of St. Jerome in the Frari (Fig. 64), and, not to mention other works, the mar- vellous busts in which he has succeeded in so far immortalising the character and the vitality of his models, as to rival the achievements of Titian and of Tintoretto. Other notable sculp- tors of the school of Sansovino were Guglielmo Bergamasco, Girolamo and Tommaso Lom- bardi, and Tiziano Aspetti (Fig. 63); but above them all, and taking rank beside Vittoria, stands Girolamo Campagna, with his Pieta in S. Giuliano (Fig. 6 1 ), and many other notable productions. After this the sculptors of Venice fell under the spell of Bernini; their works were not without vigour, but they showed no inclination 35 D 2 FIG. 6l. PIETA. (G. CAMPAGNA.) Church of S. Giuliano, Venice. ART IN NORTHERN ITALY FIG. 62. BRONZE GATES, LOGGETTA OF THE CAM- PANILE. (A. GAI.) (Photo. Alinari.) to produce works which it would magnificence, when they turned from and pretentious statues, to the decoration and furnishing of churches and apartments with inlaid wood and gilded stucco. BIBLIOGRAPHY OF CHAPTER HI G. Ebe, Spa/renaissance, Berlin, 1886; C. Gurlitt, Geschichte des Barockstils des Rococo und des Klassicismus, vol. i : Qes- chichte Jes Barockstils in Italien, Stuttgart. 1887; O. Raschdorff, Palast-Architekti-r von Oberitalien 'and Toscana oom XIII. bis XVII. Jahrhundert (3 vol.), Venice, Berlin, 1895; R. Dohme, Norditalienische Centralbauten des XVII. und XVIII. Jahr- hunderts in the Jahrb. der Konigl. Preuss. Kunslsamml., iii, 119; Renard, Ueber Cer- Iralbaalen des XVIII. Jahrhunderts in trie Silzungsbericht der Kunstgeschichtlichen Gesellschaft, Berlin, 1897, iv ; R. Dohme, Studien zur Architekturgeschichte des 18. Jahrhunderts in Lutzoio's Zeitschrift fur bildende Kunst, 1878; Francesco Milizia, Memorie degli architetti antichi e modern!, Bassano, 1 785 ; Amico Ricci, Storia dell' Architettura in Italia, Modena, 1857-1859; Leopoldo Cicognara, Storia della Scoltura, Prato, 1823-24 ; C. C. Perkins. Italian Sculp- tors, Boston, 1864; Tommaso Temanza, Uite dei piu celebri architetti e scultori ceneziani dti sec. A"U7, Venice, 1778; Lei to give a new develop- ment to their accepted models. The artists most in vogue on the lagoons at this period scarcely rose above mediocrity, if we except the sculptor in wood, An- drea Brustolon (Fig. 65), who, thanks to the fancy, energy and skill shown in his works, claims a higher place; but it was a medi- ocrity that allowed them be difficult to surpass in the production of isolated FIG. 63. S. MARTIN. (TIZIANO ASPETTI.) Museo Archeolopico, Venice. (Photo. Anderson.) Der Kirchenbau der Hoch- und Spiat- dei sec. Jl\Jl, Venice, I//8; Leixner, LJer Kirchenbau der Hoch. und Spat- rtnaissance in ^Jenedig, Berlin, 1900; Mothes, Geschichte der Baukunst und Bildhauerei Venedigs, Leipsic, 1859; Em. Ant. Cicogna, Delle Inscrizioni Veneziane, Venice. 1824-1853; 36 VENICE Tommaso Temanza, Antica pianta deH'inclita citta di Venezia, Polese, 1 78 1 ; Elenco degli edifici monu- mentali e frammenti storici e artistici della citta di Venezia. Venice, 1905; L. Cicognara, A. Diedo and G. A. Selva, Le fabbriche e i monumenti piu cospicui di Venezia illustrati, Venice, 1856: G. Fontana, Cento palazzi fra i piu ce/eArr di Venezia, Venice, 1 865 ; Pietro Selvatico, Still' architetlura e sulla scoltara in Venezia, Venice, 1847; Francesco Zanotto, Venezia e le sue lagune, Venice, 1847 ; Charles Yriarte, Venise, Paris, 1878 ; Leixner, Michele Sanmicheli Baumeister von Verona, in the Allgem. Bauzeitung, 1904, n. 4; Vasari, Le oite, Jacopo Sansooino, vii, 465 ; Laura Pittoni, La libreria di S. Marco, Pistoia, 1903; H. Brown. The Cam- panile of S. Marco and the Loggetta of Sansooino in the Architectural Review, 1902, pp. 41 and 95; Laura Pittoni, Jacopo Sansooino scultore, Venice, 1 909 ; F. Fletcher, Andrea Palladia, his Life and Works, London, 1902; Giacomo Zanella, Vita di Palladia, Milan, 1880; Camillo Boito, Leonardo, Michel- angelo e Palladia, Milan, 1883, Alfredo Melani, Andrea Palladia in I' Art, Paris, 1890; G. B. Cecchini, Della oita e delle lodi di Ant. da Ponte architetto oeneziano Venice, 1761 ; Luigi Serra, Note su Alessandro Vittoria in Ausonia, ii, Rome, 1903: Luigi Serra in Rassegna d'Arte, 1908; Riccardo Predelli, Le memorie e le carte di Ales- sandro Vittoria in the Arch. Trentino, xxiii, Trent, 1908; Frimmet, [Die Terracottabuslen des Ales- sandro Vittoria im K. K, Oesterreichischen Museum fiir Kunsl und Industrie in the Mittheilungen des K. K. Oesterr. Museums, N. F. xi, 177: Michele Caffi, Baldassarre Longhena in Arle e Sloria; viii, Rorence, 1889; G. A. Moschini, La chiesa e il Seminario di S. Maria della Salute, Venice, 1842 : Ricciotri Bratti and Rodolfo Protti, Andrea Bruslolon in the Emporium, xxyiii, Bergamo, 1908; E. Caronri, L'Abazia di Praglia, in the Rioista Storica Benedettina, ii, fasc. vii, Rome, 1907. FIG. 64. S. JEROME, CHURCH OF S. MARIA DEI FRARI, VENICE. (AL. VITTORIA.) (Photo. Alinari.) FIG. 65. SHRINE IN THE CHLKCH OF S. GIACOMO. (BRUSTOLON.) 37 FIG. 66. S. GEORGE KILLING THE DRAGON. (v. CARPACCIO.) Scuola of S. Giorgio degl' Schiavoni, Venice. (Photo. Alinari.) CHAPTER IV VENICE PAINTING : THE SCHOOLS OF VENICE AND MURANO Early Painters in Venice. Gentile da Fabriano and Pisanello. The Muranese Croup. The Bellini. Antonello da Messina. Alvise Vioarini. Carpaccio. WE now come to what is one of the greatest marvels of the world of art the painting of Venice from Jacopo Bellini to Tiepolo. This painting is a true product ot Venice and of its territory, differ- ing in this respect from Venetian architecture and sculpture, both of which often drew fresh blood from foreign elements. The painting of Venice, compared to that of Tuscany, developed late. In the fourteenth century Venice was little influenced by the artistic life of other regions, and even Byzantine art had no continuity in the city. The painters of the trecento who found employment here were without exception artists of the second or third rank. Nevertheless, the delicate work of Paolo, who is mentioned in various records from 1332 to 1358, is interesting; still more so, that of Lorenzo Veneziano (Fig. 68), who immediately succeeded him and was advancing in his art from about 1357 to 1379; although he availed himself of the new technical processes, Lorenzo did not abandon certain Byzantine forms. Stefano was at work in a kindred style and at the same period (before and after 1 380) ; many mediocre paintings by the followers of Paolo and Lorenzo were long attributed to this artist. 38 VENICE FIG. 67.- S. DONATO. ALTAR-PIECE AT MURANO. But meantime other painters ap- peared at Venice Donate (painting from 1 344 ? to 1 382), who collabo- rated with Caterino, an artist who flourished between 1 362 and 1 382 ; and finally Giovanni da Bologna (working 1377-1389), a follower of Lorenzo ; with him a certain modest Bolognese element found its way into the Lagoons (Fig. 69). Meantime the New Style was pressing in from every side. The schematic coldness of Byzantine forms, which their votaries had vainly masked under rich accessories, had now to give way to simpler and healthier ideals. The Paduan Guariento, who passed from the Byzantine school to the simplicity of the trecento, came to Venice ; he had been invited to decorate the Sala del Maggior Consiglio (lately completed) with large frescoes, the subjects of which were not confined to sacred history (1 365-1 369). The work he executed there has now for the most part disappeared what remains (the Paradise) is a wreck. None the less, it must be borne in mind that he recognised the impossibility of subduing the splendour- loving Venetian spirit to the severe simplicity of the Giottesque manner, a style that was never appreciated by the Venetians, and it was certainly not within the power of such men as Nicoletto Semitecolo (at work 1 353- 1370), Jacobello di Bonomo (flourishing about 1 382, Fig. 70), Jacobello Alberegno, who was already dead in 1 397, Nicolo di Pietro (at work 1394-1409, Fig. 71), and a few others of their kind, to impose the new art upon them. There was, indeed, at that time a really great Venetian artist, but he was Venetian by birth only, not in his art Antonio, whose work we shall not discuss here ; it belongs to the history of Tuscan Art. He was not understood, nor were his 39 FIG. 68. ANNUNCIATION. (LORENZO VENEZIANO.) Accademia Venice. ART IN NORTHERN ITALY FIG. 69. VIRGIN AND SAINTS. (GIOVANNI DA BOLOGNA.) Accademia, Venice. (Photo. Naya.) works in demand in Venice. The Venetians also remained indifferent to the innovations of Tommaso Barismi of Mo- dena (1325-1376) at Treviso and or Altichiero and Jacopo Avanzo at Verona and Padua. These men, no longer satisfied with the formulas of the tre- cento, and seeking in nature new elements of truth and new emotions, had by this time ad- vanced the art of painting to a notable position in the Vene- tian territory. The destiny that was denied to them, of giving new life to Venetian art, fell to the lot of Gentile da Fabriano and Vittore Pisanello. Gentile arrived in Venice in 1408, and worked in the Ducal Palace up to about 1414; Pisanello succeeded him a few years later, perhaps about 1430. The influence of Gentile was not confined to the great Pisanello. A whole group of painters, among whom the most conspic- uous are Michele Giam- bono (1400? -1462?), Jacobello de Flor (1380?- 1 440 Fig. 74), Antonio Vivarini (Fig. 73) and Jacopo Bellini, were in- spired by him. In the end, the last two of these artists, as their wings grew, taking independent flight, sepa- rated from one another and proceeded by different routes ; the first, rich and decorative, tended to strengthen the group of artists working at Murano ; the other, profound and FIG. 70. VIRGIN AND SAINTS. (JACOBELLO DI BONOMO.) Church of S. Arcangelo, Romagna. (Photo. Giovanelli.) 40 VENICE FIG. 71. VIRGIN ENTHRONED WITH SAINTS. (NICOLO DI PIETRO.) Accademia, Venice. (Photo. Filippi.) illustrative, led the way to the true Venetian school. The Muranese group of painters had long worked apart from the Venetian school. From an early period they showed certain tenden- cies which were, however, not de- veloped till a later time. In the church of S. Donato at Murano there is an altarpiece dated 1310; in the central compartment there is a poly- chrome carved figure (Fig. 67), but the figures on either side are painted on the flat. Now this combination of sculpture and painting was continued for long, and was still practised even by Antonio and by Bartolomeo Viv- arini. So, again, while in the art of Verona and Venice a foreign influence which may doubtless be traced played an unimportant part, at Murano we find a foreigner, Giovanni D'Alemagna, accepted straightway as a collaborator, one who, if he did not bring with him any great charm, in the paintings he executed in combination with Antonio, accen- tuated the relief and ornamental richness of the work, and exercised a predominance that reveals a character of a stronger temper than that of his colleague. In- deed we have proof of the dependent nature of Antonio (Fig. 73) in the fact that after the death of the German Giovanni, he did not seize the op- portunity to recover his independence, but felt the need of combining with his brother Bartolomeo, a painter who, to the traditional elements of his art, had added certain Others from the school F1G - 72. s. LUCIA. QIIRIZIO DA MURANO. of Francesco Squarcione Gallery, Rovigo. 41 ART IN NORTHERN ITALY of Padua, giving an element of strength thereby to the work of the Muranese school in contrast to the art of Jacopo Bellini. Bartolomeo Vivarini, who was born about 1 425, and died perhaps in 1499, a rude and incisive painter, and Carlo Crivelli (born in Venice about 1440, died about 1494 in the Marches), a man of aris- tocratic temper, who com- bined magnificence with elegance and gaiety, were the two greatest orna- ments of the Muranese FIG. 73. VIRGIN AND SAINTS. (ANTONIO VIVARINI.) grOUD a grOUP which at Accademia. Venice. i i i- this time, in addition to a few worthy but anonymous painters, included Quirizio da Murano (second half of the fifteenth century, Fig. 72), and Antonio da Negro ponte (Fig. 76). Crivelli, however, passed almost the whole of his life far from Venice, in the district of the Marches, and thus in contact with Umbria ; and to this contact we may attribute a certain softening of his manner. In the land where he had pitched his tent, he left behind him a school which, if not of a very high class, was at any rate prolific. Carlo Crivelli followed the current, which was later followed likewise by Lorenzo Lotto, and adorned with his charming works (Figs. 75, 77) the fair land that de- scends from the Apennines to the sea between the streams of the Chienti and the Tronto. It is, however, Jacopo Bellini whom we must hold to be the earliest of the heroes of the true pittura Veneziana. A pupil of Gentile da Fabriano, he died 42 FIG. 74. CORONATION OF THE VIRGIN. (JACOBELLO DI FLOR.) Accademia, Venice. VENICE in 1470, and his birth must have taken place at the end of the fourteenth century. We know indeed that in 1424 he was appointed by his father one of the executors of his will, and that in 1429 he was already married to the wife by whom he became the father of Gentile and of Nicolosa. The latter was married in 1433 to Andrea Mantegna, then a young man of twenty- two. Giovanni, the more celebrated son of Jacopo, was illegitimate. Jacopo worked much both in Venice and on the mainland at Padua, at Verona, at Ferrara, and other towns ; but few of his pictures have survived, although of late years a most rigorous search has been made for them. Indeed, the few works that have come down to us, among which the Madonnas at Lovere and in the Umzi (Fig. 79) are the most important, scarcely enable us to form an estimate of his merits as a . , painter. Of a painter FIG. 75. VIRGIN AND CHILD ENTHRONED. (CRIVELLI.) Brera, Milan. (Photo. Anderson.) FIG. 76. VIRGIN AND CHILD. (ANTONIO DA NEGROPONTE.) Church of S. Francesco della V'igna, Venice. (Photo. Alinari.) we say for proof of his culture, his fervid fantasy, and his dex- terity of hand, we have in the two books of drawings, now preserved, one in the Louvre (Fig. 78), the other in the British Museum, drawings so complex and various in subject, so rich in motives and in sentiment, that they furnish occasion for research and study as do few other works of Italian art. Born in a city that, rising miraculously from the sea, appeared rather a dream than a reality, growing up there at a time when, in it, as in no other city, the arts of sundry times and of divers manners were in turn lending their aid to works of individual creation, when the Gothic arch of mediaeval days was wedded to the richly adorned arch of the Renais- sance and classic motives to Oriental pro- fusion ; living in close communion with artists who, like Gentile da Fabriano, 43 ART IN NORTHERN ITALY FIG. 77 -ANNUNCIATION (CRIVELLI.) jNational Gallery, London. (Photo. Hanistaengl.) were emancipating their figures from the bonds of the trecento, and adorning them with a new beauty and a new richness ; or, like Andrea Squarcione, were demanding from their pupils the admiration and the study of antique models ; or, again, like Vittore Pisanello, were turning a scrutinising eye to the beau- ties of nature, to animals and to plants, Jacopo Bellini had a mind ready to receive every impression, whether realistic or fanciful. Thus it is that he has left us works which are at the same time learned, artistic and poetical, It was with him that the canons of Venetian art were definitely fixed ; it was with his two sons that this art rose to a complete personality and to an incomparable splendour. But between the work of Jacopo and that of his sons a new element of strength had appeared, and this was the art of Antonello da Messina, more penetrating in its research into the facts of life, and, by means of a more skilful use of oil as a vehicle, technically more solid. His religious pictures are beautiful (Fig. 80), but it is his portraits that are above all admirable in their strength of color and in- tensity of expression (Figs. 81, 82). Antonello was born in Messina about the year 1 430 ; he probably made his first essays in the workshop of his father, who was a sculptor, or in that of some painter of the city. After this, according to some, we must suppose that he carried his studies to a higher level at Naples, where at this time there was a school which imitated the Flemings. By about 1456, however, he was back in 44 FIG. 78. S. GEORGE A DRAWING. (JACOPO BELLlNl). Louvre, Paris. (Photo. Giraudon.) VENICE FIG. 79. VIRGIN AND CHILD. (jACOPO BELLINI.) Uffizi, Florence. (Photo. Alinari.) his native town, and we have docu- mentary evidence in some abundance to prove that he remained there up to 1474. In that year he made his way to Venice, and in 1476 to Milan, from which town he returned to Mes- sina, where he died in 1479. During a long period of his life the manner of Antonello reveals the indirect in- fluence of the Flemings and Catalans ; but at length, in the Condottiero of the Louvre (Fig. 81) and in the Crucifixion at Antwerp (1475) his personality asserts itself more strongly, and we have proof of the immediate benefit that he received from the sudden plunge into the art and the surroundings of Venice. He not only himself derived benefit from this visit, but it was the source of benefit to others ; and this is made manifest in the work of his followers, first among whom we must reckon Alvise Vivarini (1447-1504). It is in his portraits that we have the best evidence of Alvise's admiration for Antonello ; but the influence of the master would naturally not be confined to these, and in combination with an element of personal initiative, this influence before long was able to draw Alvise out of the orbit of his father and of the other painters of Murano, and subse- quently to keep him also outside the orbit of the Bellini, the domi- nating masters of the day. This affirmation of Alvise's individuality may be dated from about the year 1 480, and is manifested both in his technique and in his art. From this time forth he gave up the use of the polyptych in many compart- ments and of isolated figures upon a 45 no. 80. s. JEROME. (ANTONELLO DA MESSINA.) National Gallery, London. ART IN NORTHERN ITALY FIG. 8l. PORTRAIT OF A CONDOTTIERO. (ANTONELLO DA MESSINA.) Louvre, Paris. gold background ; his figures were united in a single scene, and ar- ranged in harmony with imposing architecture. To this advance in the construc- tive elements of a picture, Alvise Vivarini was able also to add the development of individual forms (Fig. 83), and thus to contribute his share to the great work of prep- aration for the final triumph of Venetian painting that was to be brought about by Palma Vecchio, by Giorgione and by Titian. Of this we have evidence in the Resur~ rection of S. Giovanni in Bragora at Venice, a picture which, al- though not on the whole a pleasing one, shows in the movement of the chief figure, in that of the startled soldiers, and in the expression of their faces, an im- portant advance upon purely quattro- centist art. Alvise had several famous dis- ciples, such as Bartolomeo Mon- tagna, Marco Basaiti, Lorenzo Lotto, and Jacopo da Valenza. The fact that Vittore Carpaccio was a pupil of Lazzaro Bastiani (Fig. 86) is now established, but as yet we do not know whose pupil Bastiani was. It is possible that he did not remain for long with any master, and that he gleaned the elements of his art from that of Jacopo Bellini, a much vaster field than appears at the present day, and from that of Squarcione. The birth of Bastiani must be fixed at about the year 1425, and his death at 1512. Thus we see that his life was a long one, and that he had his share in three periods of Venetian painting, of which the chief heroes were successively 46 FIG. 82. PORTRAIT OF A POET. (ANTONELLO DA MESSINA.) Museo Civico, Milan. (Photo. Alinari.) VENICE Jacopo Bellini, Giovanni Bellini and Tiziano Vecelli. Although he was able to find his way out from the first of these periods, it does not appear that he even tried to attain to the third. But in the second of them he moved freely, basing his com- position upon principles less fantastic than those of Jacopo. While on the one hand he promoted the adoption of these principles by his pupils, on the other he did not disdain himself to accept new ones from these same pupils, when these were of the calibre of Vittore Carpaccio. In that lavish and vivacious exponent of the life, the surroundings, and the atmosphere of Venice (Figs. 84, 85), we have an artist to whom the incidents of sacred history were but pre- texts for reproducing on his canvases havens and canals, bridges, palaces, sleeping apart- ments, rooms devoted to study, reception halls, and costumes of every grade of citizen, from the rough mariner to the bold warrior, from the despised proletarian to the sumptuously attired lady. It would appear to be now definitely ascertained that Vit- tore was born, not at Capo- distria but in Venice, very soon after the middle of the fifteenth century, and that he died about the year 1 525. But it is only at a comparatively late period of his life that we have any notices of him, or that we can identify his works. In fact, he is mentioned for the first time in 1472, and he carried out the celebrated tempera paintings in the Scuola di S. Orsola, with the story of that saint, in the last ten years of the century. This wonder- ful cycle was the first great work of Vittore, and remains the most important. That of S. Giorgio degli Schiavoni (Fig. 66), however, is not less beautiful, in proof of which I may cite the scene where upon a wide plain, strewn with the victims of the dread monster, St. George confronts and slays the Dragon ; behind is a wide gulf of the sea, surrounded by mountains and buildings ; it is a scene that both in the general composition and in the various incidents recalls the drawing of the same subject by Jacopo Bellini (Fig. 78). 47 FIG. 83. VIRGIN AND CHILD. (ALVISE VIVARINI.) Church of the Redentore, Venice. {Photo. Alinari.) ART IN NORTHERN ITALY BIBLIOGRAPHY OF CHAPTER IV Giorgio Vasari Le Vile del piu eccellenti pittori, scultori eJ architetlori, Florence, 1878-1885 ; Marcantonio Michiel, Notizia d'opere di disegno pubbl. da Jacopo Morelli, second edition edited by Gustavo Frizzoni, Bologna, 1884; Filippo Ba/dinucci, Notizie di professor! del disegno, con oarie dissertazioni, note ed aggiunte di Giuseppe Piacenza, Turin, 1 768 1814; Luigi Lanzi . S tor in pitlorica deU'Italia, Milan, 1825; Giovanni Rosini, Storia delta pittura italiana, Pisa, 1841 ; A. Crowe and G. B. Cavalcaselle, A History of Painting in North Italy, London, 1871 ; Adolfo Venturi, Storia dell'Arte italiana, Milan, 1901-1908; Julius Meyer, Allgemeinss Kunstler Lexi- con, iii, Leipsic, 1 885 ; U. Thieme and F. Becker, Allgemeines Lexicon der bildenden Kunstler, i and iii, Leipsic, 1907-1908; J. Burckhardt Der Cice- rone, Leipsic, 1 904 ; Giovanni Mo- relli (Lermolieff), Le opere dei Maestri llahani nelle Qallerie di Monaco, Dresda e Berlino, Bologna, 1886; Giovanni Morelli, Delia pittura italiana, Milan, 1 897 ; Bern- hard Berenson, North Italian Painters of the Renaissance, London, 1907; Eugene Miintz, L'Art de la Re- naissance, Paris, 1 896 ; Carl Woer- niann, Ceschichte der Kunst alter Zeiten and Volker, Leipsic, 1905; FIG. 84. S. STEPHEN DISPUTING WITH THE DOCTORS. (VITTORE CARPACCIO.) Brera, Milan. (Photo. Alinari.) Springer-Ricci, Manuals di Storia dell'Arte, iii, Bergamo, 1909; Gus- tavo Frizzoni, Le Qallerie deli 'Accademia Carrara a Bergamo, Bergamo, 1907 : Corrado Ricci, La Pinacoteca di Brera, Bergamo, 1907 ; Fr. Malaguzzi, ^Catalogo delta R. Pinacoteca di Brera, Bergamo, 1908; Francesco Sansovino, Venetia citta nobilissima e singolare, Venice, 1581 ; Marco Boschini, Le ricche minere delta pittura oeneziana, Venice, 1 674 ; Francesco Zanotto, Pinacoteca dell' Accademia Veneta delle Bells Arti, Venice. 1834; Franc. Zanotto, Venezia e le sue lagune, Venice, 1 847 ; C. Ridolfi, Le Meraoiglie deliarte ovoero le cite degli illustri pillori veneti e del suo stato, Padua, 1 835 ; Pietro Selvatico and V. Lazari, Guida arlistica di Venezia, Venice, 1 852 : Bemhard Berenson, The Venetian Painters of the Renaissance, London, 1898; Bem- hard Berenson, Venetian Painting, chiefly before Titian, in The Study and Critciism of Italian Art, London, 1901 ; Pompeo Molmenti, La Pittura Veneziana, Florence, 1 903 ; Pompeo Molmenti, / primi pittori oeneziani in the Rassegna d'Arte, iii, Milan, 1 903 ; Pompeo Molmenti, La Storia di Venezia nella Vita Privata, Ber- gamo, 1905-1908; Pornpeo_ Molmenti, FIG. 85. FRAGMENT OF A PICTURE OF AN ENGLISH AMBASSADOR TO A MOORISH KING (VITTORE CARPACCIO.) Gallery, Venice. (Photo. Alinari.') Venezia, Bergamo, 1907; G. Ludwig, Archioalische Beitrage zur Qeschichte der oenezianischen Malerei in the Jahrbuch der K. P. Kunstsammtuni>en, Berlin, 1 905 ; Lionello Venturi, Pittura Veneziana, Venice, 1 907 ; Laudedeo Testi, Storia delta Pittura Veneziana, Bergamo, 1 909 ; E. Zimmermann, Die Landschaft in der oenezianischen Malerei, Leipsic, 1893 ; Emil Schaeffer, Die Frau in der oenezianischen Malerei, Munich, 1889; Gustav Ludwig, Venezianischer Hausrath zur zeit der Renaissance, Berjin, 1906; Michele Caffi, I pittori oeneziani net Milletrecento in the 48 VENICE Archioio Veneto, xxxv, Venice, 1 888: Michele Caffi, Pittori in Venezia nelsec. xiy, Venice, 1 888 ; Giuseppe Gigli, Per un quadra di Paolo da Venezia in the Rassegna d'Arte, viii, Milan, 1908; Andrea Moschetti, Giovanni da Bologna in the Rassegna d'Arte, iii, Milan, 1903 ; Andrea Mos- chetri, // paradise del Quariento nel Palazzo Ducale di Venezia in Arte, vii, Rome, 1904; Giuseppe Castaldi, Due dipinti del comune di Santarcangelo (Jacobello diBonomo), Santarcangelo, 1896; Pietro d'O. Paoletti, Un'ancona di Jacobello Bonomo in the Rassegna d'Arte, a, Milan, 1 903 ; Julius von Schlosser, Tommaso da Modena und die dltere Malerei in Treoiso, Vienna, 1 698; G. Bertoni and E. P.Vicini, Notizie su Tommaso da Modena in L'Arte,\\, Rome, 1903 ; Giorgio Vasari, Le Vile edited by Ad. Venturi, i, with the lives of Qentile da Fabriano and of Pisanello, Florence, 1 896 : Arduino Colasanti, Gentile da Fabriano, Bergamo, 1 909 : Michele Caffi, Giacomello del Fiorein the Arch. Star. Ital., Florence, 1880; Giorgio Sinigaglia, De' Vioarini, Bergamo, 1905: Ignazio Rizzi Neumann, Elogio Accademico dei Vioarini in the Atli della R. Accademia di Belle Arti, Venice, 1816; Pietro d'O. Paoletti, Quiricio da Murano in the Rassegna d'Arte, i, Rome, 1901 : Michele Caffi, Andrea da Murano in the Archioio Veneto, Venice, 1887: G. MacNeil Rushforth, Crioelli, London, 1900; Amico Ricci, Memorie Storiche delle Arti e degli artisti nella Marca d'Ancona, Macerata, 1834; Giulio Cantalamessa, Artisti oenzti mile Marche in the Nuova Antologia, Rome, 1892 ; Corrado Ricci, La pittura antica alia mostra di Macerata in the Emporium, Bergamo, 1906; Pompeo Molmenti. / pittori Bellini in Studi e ricerche di Storia ed A rte, Turin, 1 892 ; Pietio d'Osvaldo Paoletti, Raccolta di document! inediti per servire alia storia della pittura oeneziana, I. I Bellini, Padua, 1 894 ; Giulio Cantalamessa, L'arte di Jacopo Bellini in the Ateneo Veneto, xix, Venice, 1896; Corrado Ricci, Jacopo Bellini e i suoi libri di disegni, Florence, 1 908 ; Victor Goloubew, Les dessins de Jacopo Bellini, Brussels, 1908; George Gronau, / Bellini, Leipsic, 1909; George Gronau, Die Qucllen der Biographic des Antonello da Messina, Berlin, 1897 ; G. La Corte Caillier, Antpnello da Messina, Messina, 1903, in the Gazze.Ua di Venezia of the I 1th July, 1904, and in the Cazzetta di Messina for March, 1904 ; Luca Beltrami, Antonello da Messina chiamqto alia corte di Galeazzo M. Visconti in the Arch. St. dell' A rte, vii, Rome, 1894 ; Pietro Paoletti and Gust. Ludivig, Neue archivalische Beitrage zur Geschichte der oenezianischen Malerei die Maler- familie Bastiani in the Repertorium, xxiii. Berlin, 1900; Pietro Paoletti, Die Gemalde und Mosaiken Lazzaro Bastianis und seiner Werkstatt in the Repertorium, Berlin, 1900; P. G. Molmenti, // Carpaccio e il Tiepolo, Turin, 1 885 ; Gust. Ludwig and Pompeo Molmenti, Vittore Carpaccio, Milan, 1906 ; Laudedeo Testi, Nuavi studi sul Carpaccio in the Arch. Storico Ital., Florence, 1904 ; Osvaldo Bohm, L' eglise de St. Georges des Esclaoons, Florence, 1904. FIG. 86. VIRGIN AND SAINTS. (L. BASTIANI.) Church of SS. Maria e Donate, Murano. (Photo. Alinari.) 49 FIG. 87. PROCESSION IN THE PIAZZA OF S. MARK. (GENTILE BELLINI.) Gallery, Venice. (Photo. Alinari.) CHAPTER V VENICE THE BELLINI AND THEIR SCHOOL Gentile Bellini. Giovanni Bellini. Marco Basaili. Cima da Conegliano. Their Contem- poraries and Pupils. GENTILE BELLINI, like Carpaccio, was a marvellous chronicler of the life of Venice, and for both we may claim that they gave to each figure or portrait a character and a physiognomy of its own, so that it may be distinguished from its neighbours not only by its features, but by the very pose of the body, a matter often neglected even when the craft of the painter had achieved a richer and more expeditious technique than they could boast. There can indeed be no greater source of pleasure to the student of art than the careful examination not only of the whole scheme, but of every individual figure in those vast canvases (telerf) which Gentile painted for the Scuola Grande of St. John the Evangelist. The weary old man, with somewhat unsteady gait, is set beside the bold youth, in dandified attire, who advances with agile step ; the absent- minded and preoccupied spectator stands side by side with the true devotee, absorbed in prayer ; the curiosity and admiration shown by some of those in the procession is contrasted with the indiffer- ence to the ceremony that long habit has bred in the ecclesiastics and the singers. And all these figures, whose various emotions are expressed by every part of their bodies, move in a spacious atmosphere amid imposing architecture studied with loving care, 50 VENICE FIG. 88. FRAGMENT OF THE PREACHING OF S. MARK. (GENTILE BELLINI.) Brera, Milan. under the calm and diffused light that so well suggests space and distance. His Procession, painted in 1496, is of all his great works the one that best exemplifies the master's quality (Fig. 87). A mer- chant trom Brescia, one Jacopo de Sahs, at the moment when, in Venice, he is taking part in the procession in the Piazza of St. Mark, hears the sad news that his son has fallen and is mortally wounded. He falls straightway on his knees, praying to St. Mark for his recovery. Such is the subject of a work which is further remarkable for the careful rendering of costumes and buildings. Gentile, the only legitimate son of Jacopo Bellini, was born in 1429. He was a pupil of his father and helped him in some of his works. In 1 469 he was knighted and created Count Palatine. Ten years later the Signoria, on the re- quest of Mahomed II. for a good portrait painter, sent him to Con- stantinople, where he remained for a year. On his return to his native city he lived a life of continuous labour ; and on his deathbed he entreated his brother Giovanni to finish his Preaching of St. Mark, now in the Brera at Milan (Fig. 88). Giovanni Bellini, Jacopo's natural son, who was born shortly after Gentile, was at first a pupil of his father ; he then started a workshop with his brother, and when the latter went to Constantinople, took up his work at the Ducal Palace. In this he was occupied for some years (assisted latterly by several of his pupils). In the intervals of this task, he was engaged on many other works, up to the time of 51 2 FIG. 89. THE ALBERETTI MADONNA. (GIOVANNI BELLINI.) Accademia, Venice. ART IN NORTHERN ITALY FIG. go. PIETA. (GIOVANNI BELLINI.) Brera, Milan. (Photo. Alinari^ his death in November, 1516, at the ripe age of about eighty-five years. The nobility of his design and the profundity of his sentiment, entitle Giovanni to a position even more commanding than that of his father and of his brother (Figs. 89, 90, 92, and 93). In the matter of giving char- acter to his creations, Gen- tile was no doubt stronger, but he was at times not a little rough and wanting in refinement. Giovanni, on the other hand, transfigured his plebeian models with his own nobility, creating dignified types which were destined to be admired and imitated by a whole generation of artists. Giovanni, following in this his old father, whether in search of rest or in need of new sources of artistic satis- faction, loved to pass from the ren- dering of religious subjects to the treatment of mythological and alle- gorical themes. Of these we have examples of incomparable charm in the five little pictures which have been brought together in the Academy at Venice and also in the so-called alle- gory of the Souls in Paradise, a work founded upon a French poem of the fourteenth century, now in the Uffizi at Florence (Fig. 93). From a close adherence to the teaching of his father, he passed on to imitate the work of Andrea Mantegna, a training that resulted in an advance in the sciences of modelling and of perspec- tive ; nor did he disdain, shortly after this, to profit by study of the technical methods he noted in the works of Antonello da Messina. But, at length, giving free course 52 FIG. pi. THE SONS OF 2EBEDEE. (MARCO BASAITI.) Accademia, Venice. (Photo. Alinari.) VENICE FIG. 92. VIRGIN AND SAINTS. (GIOVANNI BELLINI.) Church of the Frari, Venice. {Photo. Alinari.) to his native talent, he produced those glorious masterpieces of grace and vigour, of beauty and of sentiment, expressed in warm and brilliant colour, which heralded the splen- dours of Giorgione and of Titian. Where can we find a more admirable work than the triptych in the Frari ? It is one of those superhuman mani- festations of genius which diffuse a beneficent sense of sweetness and of felicity. The magnificence of the colour, the harmony of the decorative motives, above all the sweet and pensive ideality of the Virgin, the beauty of the boy angels, the austere tranquillity of the saints, all these elements work in unison to complete the prodigy. Every figure is instinct with reality, but virtue has filled them with solemnity, and tenderness has rendered them beautiful and worthy of heaven (Fig. 92). Some few among con- temporary painters re- mained faithful to the teachings of Alvise Viva- rini and of Bastiani, but the greater number were followers of Giovanni Bellini. Of these artists the great- est, as we shall see, was Bartolomeo Montagna. Marco Basaiti (1460?- 1 525 ?) who came of a Dalmatian or Albanian family, and whose masterpiece, The Sons of Zebedee (Fig. 91), is in the Academy at Venice, was a more limited artist, but his works have the merit of a certain limpidity of colour, and elegance of treatment. An affinity to Basaiti is visible in the work of Girolamo Moceto, who lived from 1 450 to 1 520 ; 53 FIG. 93. SOULS IN PARADISE. (GIOVANNI BELLINI.) Uffizi, Florence. (Photo. Alinari.~) ART IN NORTHERN ITALY FIG. 04. S. PETER MARTYR WITH OTHER SAINTS. (CIMA DA CONEG- LIANO.) Brera, Milan. (Photo. Alinari.) but he remained to the end a frigid artist, although distinctly a greater man than Jacopo da Valenza, a painter who executed many works at Serravalle di Vittorio, but who was condemned by his narrow range to constant repetition of a few conventional types. The art of Gian Battista Cima da Conegliano was not derived directly from Alvise ; it was through Bartolo- meo Montagna, his real teacher, that the influence of the Muranese master was transmitted to him. He was born at Conegliano in 1459, and remained there to about his thirtieth year ; after this he passed on to Vicenza. About the year 1492 he fixed his abode at Venice, and worked there for more than twenty years. Finally, in 1516, he returned to his native place, and there in the following year he died. To his respect for the art of Alvise and of Montagna, Cima, and indeed all the artists of his circle, added an evident admiration for the manner of Giovanni Bellini. At the same time, he was able to preserve a brilliant personal type. His figures are dignified, his colour clear and rich, and in the execution of his works he displays an ideal refinement (Figs. 94, 95). He does not, how- ever, always achieve beauty in his figures, espe- cially in his women. On the other hand, in his landscape and in his archi- tectural background, Cima attains to a high degree of perfection. There is a delicious charm in the first, and in the accurate and well drawn buildings of the second he scrupulously renders the different 54 FIG. 95. TOBIAS WITH THE ANGEL AND SAINTS. (CIMA DA CONEGLIANO.) Accademia, Venice. (Photo. Alinari.) VENICE FIG. 96. VIRGIN AND CHILD WITH SAINTS. (BENEDETTO DIANA.) Accademia, Venice. (Photo. Alinari.) kinds of marble ; this may be seen above all in the Presentation of the Virgin in the Temple, at Dresden, a picture which both in the general scheme and in the details heralds the cele- brated work of Titian. Nor should we neglect to state that it was apparently Cima who directed the first steps of Sebastiano del Piombo ; but if this was so, it must be added that Sebastiano very soon applied himself to the study, first of the fascinating forms of Giorgione (Fig. 1 04), and then of the powerful ones of Michelangelo. Giovanni Mansueti (1470?- 1530) Girolamo di Santacroce (d. 1556), Benedetto Rusconi or Diana (Fig. 96), who was living in 1 525, and of whom mention is first made in 1482, and finally Jacopo Bello belong, on the other hand, like Carpaccio, to the school of Bastiani. Diana, we know, even worked in conjunction with him, and on the occasion of a competition for a certain gonfalone, 1 was preferred to Car- paccio ! But the master who perhaps surpassed them all in the fascination that he exercised over a whole troop of pupils and in the wide field of his influence was Giovanni Bellini. We have already noted that many a painter who had been trained in other schools did not escape this influence ; we may therefore imagine how great must have been the number of his pupils and followers, and how long the sentiment of his art must have endured, seeing that it may be recog- nised, even long after his day, in the works of painters, working both near and far from 1 A processional banner. 55 FIG 97. AN ANGEL. PENNACCHI.) (P. U. Accademia, Venice. ART IN NORTHERN ITALY FIG. 98. SAINTS. (LATTANZIO DA RIMINI.) Mezzoldo, near Bergamo. (Photo. Taramelli.) Venice, both famous and obscure artists, many of whom felt the in- fluence at second or even third hand. Such was the dominion exercised by his school that it endured for half a century and could claim faithful disciples even at a time when forms of an ampli- tude and vigour quite new to art held sway over almost the whole of Italy. Among the older mem- bers of his school we must here note Francesco Tacconi of Cre- mona, Lattanzio da Rimini (Fig. 98), and Marco Marziale (Fig. 99) all still at work in the first decade of the sixteenth cen- tury ; Jacopo de' Barbari (1470- 1515, Fig. 100) and Pier Maria Pennacchi from the Treviso district (1464-1515), who also felt the spell of Carpaccio (Fig. 97). Then comes a second group, all the members of which were at work later than the year 1 52 1 , and which reckoned among its members Marco Belli (d. 1523), Andrea Previtali (d. 1525), and Vincenzo Catena (d. 1 53 1 ), not to mention Francesco Bissolo (Fig. 105) and Bartolomeo Veneto, both of whom lived into the second half of the cen- tury. Among those who remained the most faithful to the master were Rondi- nelli (Fig. 102) and Bis- solo, who followed him even in the types of their figures, a strange thing in the case of the latter artist whose life he lived till 1 554 was prolonged to a time when the art of his country had assumed a distinctly Baroque character. It was by his portraits 56 FIG. pp. THE SUPPER AT EMMAUS. (MARCO MARZIALE.) Accademia, Venice. (Photo. Alinari.) VENICE that Bartolomeo Veneto acquired his fame, as may be seen by the examples in the National Gallery of Rome, in the Melzi d'Eril (Fig. 103), and Crespi Collections at Milan, in the Fitzwilliam Museum at Cambridge and in the London National Gallery. Marco Marziale did not remain faithful to Bellini ; he culled impressions from other schools of painting, some of them of distant origin, from the school of Durer above all. In like manner, Diirer and Bellini influenced in turn the art of Jacopo de' Barban. Vincenzo Catena, Rocco Marconi (Fig. 101), An- drea Previtali and, above all, Pellegrino da San Daniele were not deaf to the inspiring voice of Giorgione, the greatest of the pupils of Giovanni Bellini. Finally, to those who, beginning as disciples of Giovanni Bellini, became the ad- mirers and imitators of Giorgione, we may add Lorenzo de Luzo, born at Feltre, who settled at Venice in 1519, and died there in 1 526. A picture by him in the Berlin Museum is dated 1511. He must not be confused with Morto da Feltre, nor must we perpetuate the error which has given him the name of Pietro Luzzo. FIG. 100. VIRGIN AND CHILD WITH SAINTS. (JACOPO DEI BARBARI.) Gallery, Berlin. (Photo. Hanjstaengl.) FIG. 1 01. JESUS BETWEEN THE APOSTLES PETER AND ANDREW. (ROCCO MARCONI.) Church of SS. Giovanni e Paolo, Venice. (Photo. Alinari.) BIBLIOGRAPHY OF CHAPTER V Giorgio Vasari, Fife; Michiel, Notizie J'opere Ji disegno; Baldinucci, Notizie di professori del disegno; Lanzi, Storia pitlorica ; Rosini, Sloria della pittura ital. ; A. Crowe and G. B. Caval- caselle, A History of Painting in North Italy; Meyer, Allgemeines Kiinstler-Lexicon ; U. Thieme 57 ART IN NORTHERN ITALY and F. Becker, Allgerneines Lexicon der bildenden Kiinstler', I. Burckhardt, Der Cicerone, Leipsic, 1904; Morelli Le opere dei Maestri italiani and Delia pittura italiana', Berenson, North Italian Painters of the Renaissance ; Miintz, L'Art de la Renaissance; Woer- mann, Geschichte der Kunst aller Zeiten und Volker; Springer-Ricci, Manuale di storia deU'arte ', Frizzoni, Le Gallerie deU'Accademia Carrara di Bergamo ', Ricci, La Pinacoleca di Brera', Fr. Mala- guzzi, Catalogo delta Regia Pinacoteca di Brera', Sansovino, Venezia', Moschini, Le ricche minere etc. ', Zanotlo, Pinacoteca deU'Accademia and Venezia e le sue lagune ', Ridolfi, Le maraviglie deU'arte ; Selvatico and Lazari, Guida artistica di Venezia', Berenson, The Venetian Painters and Venetian Painting, chiefly before Titian ', Molmenti, La pitlura veneziana, I primi pittori veneziani, La Storia di Venezia etc., Venice; Ludwig, Archi- valische Beitrage zur Geschichte der oenezianischen Malerei: Lion. Venturi, Pittura veneziana; Zimmermann, Die Landschaft in der venezianischen Malerei '. Ludwig, Venezianische Hausrath zur zeit der Renaissance : op. cit. ; P. Paoletu' and Ludwig, Neue archioalische Beitrage zur FIG. 102. THE MIRACLE OF GALLA PI.ACIDIA. (NICOLO RONDINELLI.) Brera, Milan. Geschichte der cenetianischen Malerei in Repert f. Kunstw., 1900, 173; Giorgio Bernardini, Le Gallerie dei quadri di Rovigo, Treoiso, Udine, Rome, 1 905 ; Pietro d'O. Paoletri, Catalogo delle RR. Gallerie di Venezia, Venice, 1903; Mol- menti, / pittor! Bellini, cit. ; Paoletti, / Bellini cit. ; Gronau, / Bellini, cit. ; L. Thuasne, Gentile Bellini et Sultan Mohamed II, Paris, 1888; Carlo Ridolfi, Vita di Giovanni Bellini, Venice, 1831; Roger E. Fry, Giovanni Bellini, London, 1 899 ; A. Luzio, Disegni topografici e pitture dei Bellini in A rchivio storico dell'arte, 1888, 276; B. Berenson, The Study and Criticism of Italian Art, 1901 ; Gustav Ludwig in Italienische Forschungen herausgegeben oom Kunsthistorischen Institut in Florenz, Berlin, 1906, 221 ; Gustav Ludwig, Giovanni Bellini's sogenannte Madonna am See in den Uffzien, eine religiSse allegoric in Jahrbuch d. k- Pr. Kunslsammlungen, Berlin, 1902; M. de Mas- latrie and E. Galichon, Jacopo, Gentile et Giovanni Bellini, documents inedits in Gazette des Beaux Arts, I, xx, 281 ; M. de Maslatrie, Testament de Gentile Bellini in Gaz. d. Beaux Arts, I, xxi, 286; S. Colvin, Gentile Bellinis Skizze fur ein Gemalde im Dogenpalast zu Venedig in Jahrbuch der Konigl. Preuss. Kunstsamml., xiii, 23 : H. von Tschudi, Die Pietd des Giovanni Bellini im Berliner Museum mjahrb. d. Kdnigl. Preuss. Kunstsamml., xii, 219; Ludwig and Bode, Die Altarbilder der Kirche S. Michele di Murano und das Aufer- stehungsbild des Giovanni Bellini in Jahrb. d. Konigl. Preuss. Kunstsamml., 1903, 131 ; O. Occioni, Marco Basaiti, Venice, 1 868 ; G. Gronau, Ueber Basaiti und Pseudo Basaiti in Silzungsbericht vi, 1900, der Berliner Kunst- geschichllichen Gesellschaft ', E. Galichon, Qiro- lamo Mocetto peintre et graveur ve'nitien, Paris. 1859: V. Botteon and Aliprandi, G. B. Cima, Conegliano, 1803; Rudolf Burck- _ in-' hard, Cima da Conegliano, Leipsic. 1905; Corrado Ricci, Nicola Rondinelli in the Galleria di Ravenna, Ravenna, 1898; Corrado Ricci, Filippo Mazzola e Cristoforo Caselli in the R. Galleria di Parma, Parma, 1896; Corrado 53 FIG. 103. THE GOLDSMITH'S DAUGHTER. (BARTOLOMEO VENETO.) Casa Melzi d' Eril, Milan. VENICE Ricci, Filippo Mazzoli in the Napoli Nobil- issima, vii, Naples, 1 888 ; Andrea Moschetti, // maestro di Filippo Mazzola, Padua, IV08; G. A. Moschini, Memorie delta Vita d Antonio Solaria delta Zingaro, Venice, 1 828 ; F. N. Faraglia, / dipinti a fresco nell'atrio del Platano in S. Severino in the Napoli Nobil- issima, v and vi, Naples, 18961897 ; Bene- detto Croce, Antonio da Solaria out ore degli affreschi nell'atrio di S. Severino in the Napoli Nobilissima, vi, Naples, 1897.; Ettore ModigUani Antonio da Solaria Veneto delta la Zingaro in the Bollettino d'Arte, Rome, 1907, also for the rest of the bibliography of Solario ; Ad. Venturi, Bartolomeo Veneto in Arte, Rome, 1899, and in the Galleria Crespi', E. Galichon, Jacopo de' Bar hart in Gazette des Beaux Arts, 1 , xi, 311; Carlo Ephrussi, Notes biographiques sur Jacopo de' Barbari, Paris, 1876; C. Ephrussi, Jacopo de' Barbari, Notes et docu- ments nouueaux in Gaz. d. Beaux Arts, 2, xiii, 363 ; E. Galichon, Quelques notes nouvelles sur J. de Barbaris in Gaz. des Beaux Arts, 2, viii, 223 ; Handcke, Durer's Beziehungen zu J. de' Barbari, Pollaiuolo und Bellini in Jahrb. de Konigl. Preuss. Kunslsamml., xix, 161 ; L. Cust, Jacopo de' Barbari und Lucas Cranach d. J. in Jahrbuch d. Ktiniglich Preuss. Kunst- samml., xiii, 142; G. Fogolari, Le portelle dell' organo di S. Maria del Miracoli a Venezia in Bollettino d'Arte del Ministero delta P. Istruzione, April-May, 1 908 ; Jusri, Jacopo de' Barbari und Albrechi Durer in Repert. f. Kunstw., 1898, 346, 349; P. Molmenti, // Morto da Feltre in the Marzocco of Jan. 27, 1910; Rodolfo Protri, // Morto da Feltre in the Emporium for Aug., 1910. FIG. IO4. S. CHRYSOSTOM AND OTHER SAINTS. (SEBASTIANO DEL PIOMBO.) Church of S. Crisostomo, Venice. (Photo. Alinari.) FIG. 105. THE PRESENTATION. (F. BISSOLO.) Accademia, Venice. 59 FIG. IO6. THE FEAST IN THE HOUSE OF LEVI. (P. VERONESE.) Accademia, Venice. (Photo. Alinari.) CHAPTER VI VENICE THE PAINTING OF THE SIXTEENTH CENTURY FROM GIORGIONE TO JACOPO TINTORETTO Giorrione. Palma Vecchio. The Venetian Tjjpe. Titian. Disciples of Palma Vecchio. Bonifazio. Cariani. Lotto. Pordeuone. The Bassani. Paolo Veronese. Tintoretto. THE details of Giorgione's life, work, and artistic personality have not so far been very clearly established, but they are not so uncertain as to justify the rhetorical phrase "he is little better than a myth." It is known that he was born at Castelfranco, perhaps about the year 1478, and that he died of the plague in Venice in 1510. Certain works may be definitely attributed to him, such as the altar- piece of Castelfranco, the Ordeal by Fire at Florence, The Three Philosophers at Vienna and the Storm of the Casa Giovanelli (Fig. 1 07) ; we have documents relating to other pictures ; we can see how he detached himself from Giovanni Bellini and became the artistic father of Titian. In the case of other painters, this would suffice ; but the greatness of the man stirs our curiosity, and this explains the phrase quoted above. Giorgione may be compared to Masaccio in his case, too, a short life and a scanty series of works sufficed to bring about a sudden change in the art of painting. Like other artists of his day he loved a life of pleasure and the sound of music. " Although he was by birth of humble origin, yet all his life through he was without exception courteous and of honest commerce. He was brought up in Venice, and he ever found 60 VENICE delight in amorous pursuits; so much was he enamoured of the sound of the lute, and in his day he played and sang so divinely that he was often in request for musical parties and assemblages of people of noble birth." Thus writes Vasari, who, with much simplicity, precision, and elegance, goes on to say : " He was endowed by nature with such a happy spirit that, in oil and in fresco, he pro- duced renderings of life and other things of such charm, so blended together and graduated in the shadows that it came about that many of those who were then reckoned excellent painters confessed that he was born to put life into his figures and to counterfeit the fresh- ness of living flesh in a way approached by no one else, not only in Venice but in any land." To the high technical quality of his work the glowing colour and the magic tone and to his refined feeling for beauty, Gior- gione added a marvellous versa- tility, which enabled him to execute portraits and land- scapes, sacred, mythological, and allegorical pictures, as well as historical ancl genre subjects, with equal novelty and success ; the whole ennobled by a high poetical afflatus. This is indeed the supreme merit of his work, and this it is that provides a source of delight not for the eye only, but for the soul of the spectator. The composition of the picture at Castelfranco (Fig. 1 08), is still simple ; but there is already a greater nobility in the figures, and the landscape plays an important part, not only spacially, but in the sentiment of the work. The Virgin seated on a lofty throne, set against the sky, is one of the most lovely creations of Italian art for serenity, for sweetness, and for beauty of line. To this new birth of Venet ; an painting, when once it had found this triumphant route, two other great artists immediately contrib- uted : Jacopo Palma the elder, and Tiziano Vecellio, both, like Giorgione, natives of the mainland and painters of magnificent landscape, who loved to work in the open and saw all objects and bodies bathed in air and light. An artist who strove towards 61 FIG. 107. THE STORM. Giovanelli Gallery, Venice. (GIORGIONE.) (Photo. Alinari.) ART IN NORTHERN ITALY the same goal by different means was Sebastiano Luciani (1485- 1 547), called towards the end of his life del Piombo (of the Seal), from the office he held at the Papal Court. He would perhaps have become the greatest among the heirs of Giorgione, if his fortunes had not led him too soon to Rome, where he was enthralled by the grandeur of Michelangelo. Hence his pictures in the Venetian manner are few in number ; the most interesting is that in S. Giovanni Crisostomo at Venice (Fig. 104). At Rome he attained to an imposing grandeur of composition and a dramatic vigour of sentiment, but he lost the vivacity of Venetian colour in his preoccupation with light and shade. Jacopo Negretti, who was born at Serinalta in the district of Bergamo about the year 1 480, is generally known as Palma Vecchio to distinguish him from his grand-nephew of the same name. He had not the supreme genius of Giorgione, but his lumi- nosity and the grandeur of his forms are truly admirable (Fig. 1 09). He, too, was of the school of Giovanni Bellini, but he soon adopted a less formal composition, marked by great variety of sub- ject, and warm and powerful colour. His pictures are scattered throughout Europe, but the most famous and most typical, the Santa Barbara (Fig. 110) is still preserved in the church of S. Maria Formosa in Venice. In this work the type of Venetian female beauty is finally attained. The sun-warmed flesh, the voluptuous splendour of the velvety eyes, the robust vigour of this type became the feminine ideal of Venetian painting, showing that from the beginning this art possessed that fund of health which prolonged its life through the course of several centuries. It is, indeed, no longer a saint that we see, but a magnificent woman who has grown to maturity among the splendours of Venice a woman who desires to love and to be loved. 62 FIG. IO8. VIRGIN AND CHILD WITH SAINTS. (GIORGIONE.) Church of Castelfranco, Venetia. (Photo. Alinari.) VENICE FIG. IO<). CHRIST AND THE CANAANITISH WOMAN. (PALMA VECCHIO.) Accademia, Venice. (Photo. Alinari.') In no other coun- try has there ever existed an art that can boast of a greater wealth of blooming types, or of greater magnificence in colour, draperies, and ornaments. The blonde, ripe beauty of the Vene- tian ladies gave the painters of the day a spectacle of sov- ereign loveliness and unprecedented luxury ; they in return portrayed them in their immortal works, and assured them an eternity of admiration. Among the crowds that filled the public places and the canals the artists of the day wandered in turn : the Bellini, Antonello da Messina, Bastiani, Carpaccio, Mansueti, the Vivarini, Crivelli, Gian Battista Cima ; then Jacopo Palma, Giorgione, Lorenzo Lotto, Sebastiano del Piombo, already captured by the new forms of art, Titian, Tintoretto, Paris Bordone, Bonifazio, Paolo Veronese, and a hundred more. It was thus that their hearts and their minds drew vigour from the field of life. The whole body politic combined to fuse aesthetic elements into an artistic type, from the young cavalier with his garments sprucely adapted to his figure, to the austere senator wrapped in the ample folds of his richly coloured toga ; from the sumptuous dame for whose adornment whole patrimonies were squandered, to the woman of the people faithful to the traditional costume. And moving among these there were Moors bought in Africa, Circassian slave-girls to own one of these was the ambition of every great lady Turks with heavy turbans, and Per- FIO ; "o s. BARBARA. . ' . , ,, , J , , . (PALMA VECCHIO.) sians with tall caps who came to barter their church of S.Maria Formosa, goods; Africans who sold drugs and strange Venice. (Photo. Alinari.) 63 ART IN NORTHERN ITALY FIG. III. THE CONCERT. (CIORGIONE OR TITIAN.) Pitti Gallery, Florence. (Photo. Alinari.) animals from foreign parts, Flemings and Hungarians ready to sing and to play the rhapsodies of their native land. Indeed, this populace of sailors and soldiers created marvels which, had we read of them in poems of unbridled fantasy or ,___ in the " Arabian Nights," would have seemed the outcome of a splendid but baseless imagination or a magnificent dream. And if, even to-day, the eye, however greedy for beauty, for light, for colour, has no need to ask for more, think what the city must have appeared to Bellini, to Titian, to Paolo ! There these great artists gathered i -i up their impressions with an uninterrupted but often unconscious industry, and in the wide field covered by their work reproduced the life of their day, potent recorders of a world fated to disappear in weakness and indifference. Of all these men Titian was the most complete ; he it was who concentrated the multiple pictorial gifts of the Venetian school ; he made himself the interpreter of a greater total of emotions than any of his predecessors, and justly earned the title of " the universal confidant of nature." Titian was born at Pieve di Cadore, between the years 1477 and 1480, and died on the 26th of August, 1576; he therefore lived, working almost continuously, for nearly a century. His feeling for truth and beauty, his love for his art, and his extraordinary facility of execution, combined to produce one of the most prodigious artists the world has seen. Of him it has been excellently said that, while on the one hand he combined the qualities of Giovanni Bellini, Giorgione, and Jacopo Palma, on the other he prepared the way for Tintoretto, Paolo, and Tiepolo. That is to say, that while he inherited the progress of the previous half century, the influence of his art was felt up to the last hours of Venetian painting. Whether dealing with sacred or profane subjects his work was equally marvellous ; as a landscape painter he was an innovator, as a portraitist he was unsurpassed (Fig. 114); in all that he did there was something new 64 VENICE and the mark of an absolutely distinct personality. The super- lative characteristic of Titian is the harmony, the divine enchantment, he gives to all his creations. Things that in reality were fragmentary, detached, and circumscribed, he, on his canvas, brings together, completes, and endows with the felicity of perfection. His genius tended, above all, to simplification. We note with amazement the synthetic simplicity to which he reduces everything. Thus it is that nothing presents any difficulty to him. Whether it be a worldly or a celestial vision, an ideal of beauty, or, again, a robust and typical actuality, he is prepared to deal with them all, and the striking contrasts thus created are brought into harmony by the fascinating potency of his art. He began by painting with broad masses of colour juxtaposed, but afterwards he took to a more vigorous method, piling one colour FIG. 112. SACRED AND PROFANE LOVE. (TITIAN.) Borghese Gallery, Rome. above the other and fusing them by means of "touches, blows, and strokes" of the brush, or at times, as Palma Giovane relates, of the fingers. During his first period Titian's method was in complete conformity with that of Giorgione. We have proof of this in the fact that with regard to one or two pictures, we are in doubt to which of the two artists the work is to be attributed. In the case of the celebrated "Concert" in the Pitti (Fig. 1 1 1), no definitive agreement has been arrived at. This is a work which, although distinctly a genre piece, soars to lyrical heights by the profundity or rather the intensity of the sentiment. The man who is seated at the harpsichord, as he moves his fingers over the keys, draws from the chords the notes and the harmonies that are sounding in his soul. He is absorbed in the music and is wandering through the realms of infinity, when 65 ' F ART IN NORTHERN ITALY FIG. 113. ASSUMPTION OF THE VIRGIN. (TITIAN.) Accademia, Venice. (Photo. Alinari.) painted for the church of both in composition and in exe- cution. The Apostles who stand below are thrown forward by the pure force of the colour, while the semi-garland of angels takes its place in a second plane by virtue of a vaporous tint, a chromatic perspective. As for the sentiment of the work, we have no longer the quiet and peaceful contemplation of the earlier " Glories," for every figure here gives proof of life in various ways ; one is wrapped in wonder, another cries out, another is talk- ing, others beckon or sing or play on an instrument or pray. The picture, at first, did not give satisfaction either to the friars or he is accosted by the monk with the viola, who warns him that the time is come for them to play together. He snatches the other from the sweet dreams in which he is wrapped with regret, and places his hand upon his shoulder with a hesitating gesture. The player turns round with an unconscious movement, and gazes with shining eyes at his friend, but in thought he seems still to follow the har- monies that pour forth from the instru- ment. As belonging to the Giorgionesque period, among many other works, we may mention the Sacred and Profane LoCe in the Borghese Gallery (Fig. 1 1 2), and the Jacopo Pesaro in Prayer before St. Peter in the Gallery at Antwerp. We must then pass on to point out that a new development of his art began with the gigantic Assumption (Fig. 113) which, at the age of about forty, he the Frari. Here we find novelties FIG. 114. PORTRAIT OF AN UNKNOWN MAN. (TITIAN.) Pitti Gallery, Florence. (Photo. Alinari.) 66 PORTRAIT OF A LADY (KNOWN AS LA BELLA Dl TIZIANO) Titian (Pitti Gallery, Florence) ART IN NORTHERN ITALY he is accosted by the monk with the viola, who warns him that the time is come for them to play together. He snatches the other from the sweet dreams in which he is wrapped with regret, and places his hand upon his shoulder with a hesitating gesture. The player turns round with an unconscious movement, and gazes with shining eyes at his friend, but in thought he seems still to follow the har- monies that pour forth from the instru- ment. As belonging to the Giorgionesque JIG. 113. ASSUMPTION OF THE VIRGIN. (TITIAN.) Accademia, Venice. (Photo. Alinari.) may menton ntaS Sacred and Profane Love irittUBbiflMeJ&illery (Fig. 1 12), and the Jacopo Pesaro in Prayer before St. Peter in the Gallery at Antwerp. We must then pass on to point out that a new development of his art began with the gigantic Assumption (Fig. 113) which, at the age of about forty, he painted for the church of the Frari. Here we find novelties both in composition and in exe- cution. The Apostles who stand below are thrown forward by the work, we quiet and m of the very figure' proof of life in various it wrapped in wonder, another is talk- on or sing or iment or pray. iid not give lie friars or way anot: ing, play The pictu satisfaction 66 VENICE FIG. IIS. DIVES AND LAZARUS. (BONIFAZIO VERONESE.) Accademia, Venice. (Photo. Alinari.) to the faithful generally. So we are told by Lodovico Dolce, and we can well understand the cause ; it was too violent and too unex- pected a departure from traditional treatment. Titian suffered the fate of all innovators. The average man is un- willing to recognise or to confess that he fails to under- stand a work that soars above the common. He pro- tests against those who are not content to remain at his intellectual level ; it is only when, after much labour, the new ideas have overcome the general reluctance to accept new forms that he is disposed to proclaim their excellence. With Titian, indeed, the art of Venice took on a definite character. In after days we shall find markedly personal notes in the works of Tintoretto, of Paolo Veronese, and others down to the time of Tiepolo. But the forms, the composition, the tech- nique, the method, all pro- ceed from him, just as was the case with the Italian opera, which, when fixed once for all by Gioacchino Rossini, remained substan- tially as he conceived it in spite of the phases that it assumed in the hands of Vincenzo Bellini, of Gae- tano Donizetti, and of Giuseppe Verdi. Bonifazio Veronese, Ca- riani, and Lotto were pupils or followers for the most part of Palma Vecchio. Bonifazio dei Pitati was born in Verona in the year 1 487 ; at the early age of eighteen he betook himself to Venice. There he 67 F2 FIG. Il6. THE FINDING OF THE CROSS. (G. CARIANI.) Accademia Carrara, Bergamo. (Photo. Alinari.) ART IN NORTHERN ITALY FIG. 117. VIRGIN AND SAINTS. (LORENZO LOTTO.) Church of S. Bernardino, Bergamo. (Photo. Alinari.) married the niece of Antonio Palma, his collaborator in more than one picture, who was born at Serinalta about 1514 and died in Venice after 1575. While in Venice Antonio for many years worked together with a certain Battista di Giacomo. The mediocre works of these and other second-rate artists have been attributed to Boni- fazio II and Bonifazio III, imaginary names which have, however, served to group to- gether a large class of pictures based on the art of Bonifazio dei Pitati. To return to Pitati : we must recognise in him an abundant and fervid feeling for composition ; he was one of the gayest and most brilliant colourists of the whole glorious school and an incomparable chronicler of the Venetian life of the day, the biblical episodes that he made the subjects of his pic- tures being merely pretexts for the rendering of this life. In the Finding of Moses in the Brera we have a joyous party of ladies, cavaliers, singers, pages, and buf- foons, assembled in the country on a fine September day. In the Parable of Dives and Lazarus (Fig. 115), we are introduced to the villa of a haughty patrician of Venice who is idling among courtesans and musicians. The work of Giovanni Busi, called Cariani, who came from Fuipiano in the Bergamo country (1480?- 1550?), is less distin- 11 I! 1 FIG. Il8. PORTRAIT OF A GENTLEMAN. guished and less sumptuous, al- (LORENZO LOTTO.) though pleasant rosy tints pre- Brera, Milan. (Photo. Alinari.) 68 VENICE FlG. IIQ. PORTRAIT OF G. B. DA CARAVAtiulU. (G. CARIANI.) Accademia, Carrara, Bergamo. (Pholo. Alinari.) dominate in his works (Fig. 116). He assisted Palma in many of his tasks, and he finished the Adoration of the Magi, now in the Brera. In his portraits (Fig. 119), he attained to a no- bility which we do not find in his sacred subjects. We must give a higher place to Lorenzo Lotto, his contemporary, who was born in Venice (1480?- 1556), not, as was long supposed, at Bergamo or Treviso. Lotto was at first a follower of Alvise Viva- rini, but later on, being brought into contact with the work of Giorgione and Palma Vecchio, he ampli- fied his style. He did not, however, sacrifice a delight- ful individuality which he owed to the brilliancy of his vibrating colour; this was all his own, though it may show some fortuitous likeness to that of Correggio. He had a habit, not always a happy one, of arranging his figures in oblique lines, but we can never weary of the felicitous intensity of expression which breathes the sweet, kindly and devout spirit of the artist. Frescoes by him are to be found at Trescore Balneario, in the oratory of the Conti Suardi, and again, on either side of the Onigo monument in the Church of St. Nicolas at Treviso. His pictures are scattered throughout Europe ; they are, however, most numerous at Bergamo (Fig. 1 1 7), and in the Marches, where he lived for many years, and where he died (at Loreto) in 1 556. Given to prayer and to the solitude of the cloister, the work that he has left us is confined to pictures of sacred subjects, instinct with ascetic melancholy, and to portraits, some full of a sweet domestic feeling, others, again, notable for their austerity, as, for instance, the Bishop Bernardo de' Rossi in the Museum at Naples and the Man with the Red Beard (Fig. 118), in the Brera, works of the highest order. He has left us no records of the dissipated, gay, or luxurious life of his fellow citizens, and in this respect, too, he may be noted as a solitary exception. 69 ART IN NORTHERN ITALY Far otherwise was it with Paris Bordone of Treviso (1 500-1 571), a copious and unequal painter who passed through the school of Titian, but whose temperament inclined rather to the art of Giorgione and of Palma. He has treated a hundred different subjects with brilliant versatility but without much depth of feeling, and was content with superficial effects. In his colour he is strong, but occasionally harsh ; his drawing is courageous, but at times incorrect. In his drapery he carried his love for crumpled folds so far as to degenerate into mannerism. Nevertheless, he flashed out at times as a great painter, in his por- traits and, above all, in his great canvas in the Gallery at Venice (Fig. 1 20), which is his masterpiece, and one of the most interesting works in the whole range of Venetian art. It represents the gondolier delivering to the Doge the ring that he had received from St. Mark. The Apostle had appeared to him at night time, and had insisted upon being carried out to sea in com- pany with two other saints to encounter a ship full of threatening demons. As will be seen, the picture has the singular merit of a new subject. Neither the number and the varied character of the figures introduced, nor the splendour of the vestments and of the archi- tecture, in any way distract attention from the two central figures who play the principal part in the episode. In fine, in the light and the colour, we have an approximation to the handling of Titian. Giovanni Antonio de* Corticelli, known as Pordenone (1483- 1 530), was a man of austere and imposing spirit ; his paintings speak to us rather of a violence of character that did not hesitate at blood- shed, than of the affability and courtesy for which he is praised by Vasari. The energy of his nature is manifested even more strongly 70 THE RING OF S. MARK HANDED TO THE DOGE. (PARIS BORDONE.) Accademia, Venice. VENICE FIG. 121. VIRGIN AND SAINTS. (c. SAVOLDO.) Brera, Milan. (Photo. Alinari.) in his frescoes than in his pictures ; we have admirable examples of the former in the Church of the Madonna di Campagna at Piacenza, at Pordenone, at Cremona, and where they are less generally known, at Cortemaggiore. Pordenone was a pupil of Alvise Vivarini, and his talent ripened in the warm atmosphere of Giorgione and of Titian. He in his turn taught and influenced some other painters. Among these we may men- tion Bernardino Licinio (at work 1511- 1 549), whose family came from Bergamo, a painter who found greater attractions in genre subjects and in portrait painting (Fig. 122) than in sacred art. The Brescian painter, Girolamo Savoldo (1 480 ?-1 550 ?) takes his place between the old and the new schools of Venice. From the new school (from Giorgione, Palma and Lotto) he derived the vigour of his colour and of his modelling ; from the old (from Bon- signori and Bellini) composure and simplicity, qualities which are both nowhere better exemplified than in the great altar-piece in the Brera (Fig. 121). Andrea Meldolla, on the other hand, called Schi- avone (the Sclavoman) from his birth at Sebenico (1522-1582), took an op- posite course, passing from the vigorous style of Gior- gione and of Titian, to the minute prettiness of Par- migianino. The family of the Da ^^'. ^ ^ [ * Bellini, the Carracci and the Nasocchi, came origin- ally from Bassano, a town fruitful in painters. Thence they took the name by which they are generally known. The first was Francesco (1470 ?-1 540) ; but he belongs to the 71 FIG. , M .-HIS BROTHER'S FAMILY. f ROCKS. (LEONARDO DA VINCI.) preparation ot me model, as well as or Louvre, Paris. (Photo. AUnari.) large preliminary studies, some of which 146 LEONARDO DA VINCI have been preserved (Fig. 243), for the colossal equestrian statue of Lodo- vico Sforza, a work that was never cast; in the course of the war that preceded the ruin of the Sforza the model was brutally destroyed by the French crossbow-men. The fate of his pictures was little better. The portraits he painted for Lodovico have disappeared. The female portrait in the Louvre, in some old reproductions wrongly identified as that of Lucrezia Crivelli, and entitled La Belle Ferro- niere, is now generally assigned to Boltraffio. The Virgin of the Rocfe, on the other hand, is an undoubted work of Leonardo, and the contention as to whether the original is the painting now in Paris (Fig. 245) or that in London (Fig. 246) must be decided in favour of the former. From a document published in 1893 we learn that Leonardo and his pupil, Ambrogip de Predis, had undertaken to provide the Confraternity of the . Conception in the church of S. Francesco at Milan with a carved altarpiece, with the Virgin painted in the FIG. 246. THE VIRGIN OF THE ROCKS. (LEONARDO DA VINCI.) National Gallery, London. (Photo. Anderson.) flG. 247. THE LAST SUPPER. (LEONARDO DA VINCI.) Refectory of S. Maria dclle Grazie, Milan. 147 ART IN NORTHERN ITALY FIG. 248. FRAGMENT OF THE LAST SUPPER. (LEONARDO DA VINCI.) centre and an angel on either side. The Virgin (since known as delle Roccie) had been already painted by Leonardo, and the two angels by Ambrogio de Predis (Fig. 244). The price, as agreed upon beforehand, was to be three hundred ducats, of which sum one hundred ducats were assigned as payment for the central part executed by Leo- nardo ; but at this point the valuers the stimatori pronounced in favour of a drastic lowering of the price ; in their judg- ment the Virgin was not worth more than twenty-five ducats. Leonardo naturally protested, and demanded a valuation in agreement with the sum originally bargained for, or failing this, that his picture should be returned to him. The latter course was finally adopted with the understanding that De Predis should substitute for Leonardo's picture a copy, which copy in course of time found its way to London. Though we cannot accept as Leonardo's the Musician of the Ambrosian Collection (Fig. 250), nor that singular arrangement of intertwined branches, foliage and shields on the vaulted ceiling of the Sala delle Asse in the Castello (re- cently repainted), never- theless, Milan still boasts the most important work of the great master, The Last Supper, painted by him in tempera on the wall of the refectory of S. Maria delle Grazie between 1495 and 1497 (Figs. 247-249). This is perhaps the most famous picture in the world, and the one that has been most often repro- duced. The grandeur of the whole conception, the perfect harmony 148 FIG. 240. FRAGMENT OF THE LAST SUPPER. (LEONARDO DA VINCI.) LEONARDO DA VINCI FIG. 250. THE MUSICIAN. (ASCRIBED TO L. DA VINCI.) Ambrosiana Gallery, Milan. (Photo. Montabone.) of the composition, the beauty of the forms, the dramatic movements of the Apostles at the terrible words of the resigned victim : " One of you shall betray me," fully justify the most ardent and enthusiastic admiration. On either side of Jesus are two groups of three figures ; each of these groups, although marvellously defined and complete in itself, is linked to its neighbour by the gestures and the glances of the individual Apostles. Everything is focussed upon Christ, the central figure of the drama, hence it is from Him and to Him that every gesture and every emotion pro- ceed and return. Leonardo remained in Milan up to the year 1 499. On the fall of Lodovico il Moro he returned to his native land. He found employment for a time, it is true, in the service of Cesare Borgia, as architect and military engineer (1 502), and from time to time visited Milan, but for some years Florence was the seat of his artistic activity. It was there that he executed the cartoon of S. Anne now in London (Fig. 25 1 ), as well as the picture, identical in subject but differing in composi- tion, now in the Louvre (Fig. 252) ; there, too, on the wall of the Sala del Consiglio in the Palazzo della Signoria, he began the Battle of Anghiari, and there he painted his marvellous portrait of Monna Lisa (Fig. 254), the wife of Francesco del Giocondo (1 505), and perhaps also the St. Jerome in the Desert, now in the picture gallery of the Vatican (Fig. 253). But this constant occupation did not suffice to disguise the scanty sympathy he felt for his Florentine surroundings and the nostalgia that kept his thoughts fixed upon the 149 FIG. 251. S. ANNE. CARTOON. (LEONARDO DA VINCI.) Royal Academy, London. ART IN NORTHERN ITALY more congenial city of Milan. Thus it happened that in 1 506 he again turned his steps northward, and in Milan he passed most of his time up to 1516; in that year he accepted the invitation of Francis I. to come to France, as court painter, with an annual salary of 700 crowns. Soon after this, however, Leonardo fell into bad health. In 1519, in the month of April, he made his will at Cloux, near Amboise, and there, on the 2nd of May, 1 5 1 9, he passed away in the presence of his favourite pupil, Francesco Melzi (1492- 1570?), to whom he bequeathed many of his belongings. FIG. 252. THE VIRGIN AND CHILD WITH S. ANNE. (LEONARDO DA VINCI.) Louvre, Paris. BIBLIOGRAPHY OF CHAPTER XI The bibliography of Leonardo comprises in itself a considerable body of literature. We have included here a selection from the numerous general books of reference as well as a few works that are concerned with the most characteristic aspects of this many- sided genius. Leonardo, Codice Atlantico, published by the Accademia dei LJncei, Rome, 1894, et seq.: Raccolta Vinciana, Milan, 1905-1908; G. Seailles, Leonardo da Vinci, Paris, no date; J. P. Richter, Leonardo da Vinci, London, I860; E. Miintz, Leonardo da Vinci, English ed., London, 1899; G. Uzielli, Ricerche intorno a Leonardo da Vinci, Torino, 1896; A. Rosenberg, Leonardo da Vinci, Leipsic, 1 898 ; Selwyn Brinton, Milan, Leonardo and his Followers, London, 1 900 ; E. Solmi, Leonardo, Florence, 1 900 : G. Gronau, Leonardo da Vinci, London, 1902; E. McCurdy, Leonardo da Vinci, London, 1904; C.. Carotti, Le opere di Leonardo, Bramante e Raffaello, Milan, 1905; R. Home and H. Cust, Leonardo da Vinci, London, 1908; J. P. Richter, The Literary Works of Leonardo da Vinci, London, 1 882 : Ch. Ravaisson, Les ecrits de Leonard de Vinci in Gazette des Beaux Arts, 2 xxiii, 225; Leonardo da Vinci, Frammenti letlerari e filosofici, edited by E. Solmi, Florence, 1899; F. Lippmann, Lionardo da Vinci als Gelehrter und Techniker, Stuttgart, ]900: P. Miiller-Walde, Leonardo da Vinci, Lebenskizze und Forschungen, Munich, 1 889-90 ; O. Sachs, Leonardo da Vinci in Wiener Rundschau, hrsg. von C. Chris- tomanos und F. Rappaport, 4 Jahrg., n. 4 and 6; J. Strzygowski, Studien zu Leonardo's Entuiicke- lung als Maler in Jahrb. der Konigl. Preusx. Kunstsamml., xvi, 159: Winterberg, Lionardo da Vincis Malerbuch und seine wisfenschaftliche und praktische Bedeutung, ibid., vii, 172: L. Beltrami, Leonardo da Vinci negli studi per il tiburio delta caltedrale di Milano, Milan, 1903; L. Beltrami, Leonardo e la sola delle Asse, Milan, 1907; Champfleury, Anatomic du laid d'apres Leonard de Vinci in Gazette des Beaux Arts, 2, xix, 190; G. Frizzoni, La Galerie nationale de Londres el la Vierge 150 FIG. 253. s. JEROME. (LEONARDO DA VINCI.) Vatican Gallery, Rome. LEONARDO DA VINCI aux rochers, ibid., 2, xxix, 230; W. von Seidlitz, La Vergine celle Recce di Leonardo da Vinci in L'Arte, x, 1907 ; Mullet- Walde, Leonardo da Vinci und die antike Reiterstatue der Regisole. Einige EntTsurfe Leonardo's zum Reiterdenkmale fur Gian Ciacomo Trioulzio. Plaketten des Berliner K. Museums nach Studien Leonardo's zu Reiterdenkmdlern und zur Darstellung der Reiterschlacht von Anghiari in Jahrb. d. Ktinigl. Preuss. Kunstsamml., xx, 81 ; Miiller- Walde, Eine frilhe Redaction von Leonardo's Komposition der Madonna mil der hi. Anna und Jem Lamm., ibid., xx, 5'4; Mullet- Walde, Einige Amseisungen Leonardo's fur den unter- seeischen Schiffskampf, Taucherapparale und Torpedoboote. Leonardo's Erfindung der Schiffs- schraube, ibid., xx, 60: Ufficio Regionale per la conservazione dei monumenri della Lombardia, Le oicende del Cenacolo di Leonardo da Vinci, Milan, 1906; L. Beltrami, // Cenaco/o di Leonardo, Milan, 1908; Dehio, Zu den Copieen nach Leonardo's Abendmahl in Jahrb. d. Konigl. Preuss. Kunstsamml., xvii, 181 ; W. B. von Seidlitz, Leonardo da Vinci in die Rassegna nazionale, 1909: H. Klaiber, Leonardostudien, Strasburg, 1907: W. von Seidlitz, Leonardo da Vinci, Berlin, 1909: Leonardo da Vinci, Conferenze fiorentine, Milan, 1910. FIG. 254. PORTRAIT OF MONNA LISA GIOCONDA. (LEONARDO DA VINCI.) Louvre, Paris. (Photo. Alinari.) 151 -FRESCO IN THE CASA BORROMEO, MILAN. CHAPTER XII PAINTING IN LOMBARDY Tardy Development of Painting. German Influences. Giovannino de'Grassi and his Contemporaries. Foppa. Cioerchio. Butinone and Zenale. Bramantino. Luino and Bergognone. Solaria and Boltrajffio. Luini's Frescoes at Saronno and Elsewhere. Ambrogio de Predis, and Other Disciples of Leonardo. THE art of painting in Lombardy developed late. The examples of the Romanesque and Giottesque periods which have survived do not rise above mediocrity. It is often said that they are not only mediocre but few in number ; it is our belief, however, that they were originally numerous enough, and that it is the scanty merit of these early works, together with the continual rebuilding that has gone on, above all in Milan, which has tended to reduce the total. However, some few may still be found, especially in Bergamo. Only four fragments of fourteenth century frescoes are preserved in the Brera ; these have been detached from the walls of the church of the Servi. One of them is by Simone da Corbetta (1 382), but it betrays great poverty both of form and sentiment. For the rest, the existence of numerous manuscripts illuminated during the course of this century attests an artistic activity which, if not of a lofty nature, was certainly abundant and widely diffused. But now at the close of the fourteenth century a breath of new pictorial ideas, a movement that little by little spreads over Emilia and over the Marches, passes over Lombardy and the Venetian 152 THE LEONARDESQUE SCHOOL FIG. 256. DRAWING. (G. DA CAMPIONE.) Biblioteca Civica, Bergamo. (Photo. I. I. d'Arti Grafiche.) territory. The manifest resemblance between the art of Meister Wilhelm of Cologne and that of Stefano of Verona has given rise to the idea that this new movement had its origin in Cologne. In a measure this is true; but still truer is it that at that time, as a consequence of in- creasing commercial rela- tions and of continual political and religious in- tercourse, an artistic inter- action, fertile in results, was growing up between the different countries of central Europe. Again and again we are distinctly conscious of the presence of these exotic tendencies, manifested in a new search after reality, and a keen love of anecdote, of sport and of costumes. It is exemplified in the works of the brothers Salimbeni of Sanseverino, and in those of Gentile da Fabriano, to say nothing of Giovanni da Modena and of Antonio da Ferrara. Ascending again towards the Alps, these tendencies display them- selves, with even greater intensity, in the case of certain artists working between Verona and Piedmont : Stefano da Verona and the great Pisanello himself, Giovannino de' Grassi, Michehno and Leonardo Molinari da Besozzo, the Zavat- tari, the Milanese artists, Lanfranco and Filippo de' Veri, and finally the painters of the frescoes in the Torriani Chapel in S. Eustorgio, those in the Casa Borromeo in Milan (Fig. 255) and those in the Castello della Manta at Saluzzo. Giovannino de' Grassi is the ear- liest artist of this period whom we find in Milan. He was there al- ready, at work on sculpture and 153 FIG. 257. VIRGIN AND CHILD WITH SAINTS. (MICHELINO DA BESOZZO.) Gallery, Siena. ART IN NORTHERN ITALY on painting in 1 389. Seven years later he had finished and delivered the figure of the Samaritan Woman for the piscina in the sacristy of the Cathedral. In a book of drawings preserved at Bergamo he shows himself as an animal painter, full of acuteness of observation, compar- able to the Molinari, the Zavattari, the Ver- onese painters, and Ja- copo Bellini. It may be suggested with some plausibility that he was perhaps their exemplar, for he died in 1398, the year 1340. Now work between 1 394 j. 258. EPISODE IN THE LIFE OF QUEEN THEODOLINDA. (ZAVATTARI.) Cathedral, Monza. (Photo. Alinari.) and his birth may be placed about Michelino Molinari da Besozzo was at and 1442 (Fig. 257); Leonardo, his son, was working be- tween 1 428 and 1 488 ; he was an illuminator of manuscripts, and has left us, among other works, some notable frescoes in the church of S. Giovanni a Carbonara at Naples. Gre- gorio and Ambrogio Zavattari, the gay and prolific decorators of the Theodolinda Chapel in the Cathedral of Monza (Fig. 258), were still at work after the middle of the fifteenth century. They therefore survived Giovan- nmo de' Grassi by a good half century, and both of them lived long enough to see and to admire the frescoes executed by Maso- lino da Panicale between 1422 and 1423 in the collegiate church of Cas- tiglione d'Olona, and in 1435 in the Baptistery of the same town (Fig. 259). Further, in Verona we find that Stefano lived from 1375 to 1440 and Pisanello from 1394 to 1455, while 154 FIG. 259. HEROD'S FEAST. (MASOLINO DA PANICALE.) Baptistery, Castiglione d'Olona. (Photo. Alinari.) VIRGIN AND CHILD Bernardino Luini (Brera Gallery. Milan) ART IN NORTHERN ITALY on painting in 1389. Seven years later he had finished and delivered the figure of the Samaritan Woman for the piscina in the sacristy of the Cathedral. In a book of drawings preser at Bergamo he shows himself as an animal painter, full of acutenesa of observation, com. able to the Moln the Zavattari, the Ver- onese painters, and Ja- copo Bellini. It may be sted with some n m_-\ ^ CUWD QVIK - VJlt\ 1 VUJ7UX I , i . plauaiDihty that h (p holo . Alinari.} ^ "*g$U 5 their exemplar, (atliM , f 1*1 (Photo. Brogi.) painter Luovanni Carnevah, known as Piccio (1804-1876), Alessandro Focosi (1836-1869, Fig. 314), Domenico and Girolamo Induno the former (1815-1878) excelling in genre paintings (Fig. 313), the latter successful in military subjects Federico Faruffini (1831 - 1 869, Fig. 3 1 5), and many others. Nor must we be led astray by the technique of Tranquillo Cremona (1837-1878); in spirit he remained to the end a Romanticist (Fig. 316). How far, on the other hand, Mose Bianchi ( 1 840- 1 904), a painter of much elegance, and Giovanni Segantini (1858-1899), succeeded in freeing themselves from the Romantic tradition still remains a question. The latter was a spirited investigator of the problems presented by Alpine land- scape and a successful handler of light (Fig. 317). It will be the task of succeeding genera- tions to estimate the strength of the dominion of Romanticism upon the art of Italy in the nineteenth century; they will be able to determine its limits and to define the characters that distinguish its ideals from those of preceding and succeeding eras. We, for our part, must not let 186 FIG. 316. THE IVY. (T. CREMONA.) Property of the Commune of Turin. PAINTING IN MILAN ourselves be deceived by every cry of fresh conquests or of reform. Lorenzo Bartolini was convinced that he had routed the Academicians amid the clamour of those who, along with him, in perfect faith, believed themselves to be revolutionaries. At the present day Bartolini, too, takes his place in his niche as an Academician. Meantime the historians of the future will do justice to the Romantic School of art, a school that was developed in harmony with a splendid school of literature and with a splendid music, above all, with a great civic and patriotic movement that gave back to Italians their Fatherland. BIBLIOGRAPHY OF CHAPTER XIV L. Lanzi, Sloria pittorica d'Italia\ G. Rosini, Storia delta pittura italiana', L. Pascoli, Vile dl pittori, scultori e architetti modern!', Malvasia, Felsina pittrice, Bologna, 1842; G. Baglione, Le Vile dei pittori, scultori, architetti e intagliatori ', V. Marchese, Memorie del pittori, scultori, architetti domenicani; S. Ticozzi, Dizionario dei pittori, Milan, 1818: A. Orlandi, Abecedario pittance, Bologna, 1704; J. Meyer, A llgemeines Kunstler-Lexikon ; U. Thieme and F. Becker, Allgemeines Lexicon der bildenden Kiinstler', J. Burckhardt, Der Cicerone', C. Ricci, La Pina- coteca di Brera ', F. Malaguzzi- Valeri, Catalogo della R. Pinacoteca di Brera ', Guida Sommaria delta Biblioteca Ambrosiana, Milan, 1907; G. Mongeri, L'Arte in Milano, Milan, 1872; L. Malvezzi, Leg/one dell'arte lombarda, Milan, 1772; A. Caimi, Delle arti del disegno . . . . di Lombardia dal 1777 al 1862, Milan, 1862; C. Ricci in Die Galerien Europas, Leipsic, 1909; P. Gauthiez, Milan, Paris, 1905 : F. Malaguzzi- Valeri, Milano, Bergamo, 1906; E. Verga, U. Nebbia, L. Marzorari, Guida di Milano, 1906 ; A. Bertolotti, Artisti lombardi a Roma nei secoli XV-XVlll, Milan, 1881 ; A. Rollins Willard, History of Modern Italian Art: Callari, Storia dell'arte contemporanea ; A. Colasanri, Fifty Years of Italian Art', F. Romani, Critica artistica- scientifica, Turin, 1884; I. G. Isola, Le lettere e le arti belle in Italia a' di nostri, Genoa, 1864; P. Villari, La pittura modema in Italia e Francia, Florence, 1869; G. Rovani, Le ire arti considerate in alcuni illustri italiani contemporanei, Milan, 1874; De Gubernatis, Dizionario degli artisti italiani', U. Ojetti, Le belle arti da.ll' Hay:z agl' Induno, Milan, 1899; L. Lamberri, Descrizione dei dipinti a buon fresco dell'Appiani, Milan, 1810: R. Bonfadini and F. Martini, / fasti del prime regno italiano dipinti da Andrea Appiani, Florence, n. d. ; L. Beltrami, Francesco Hayez, Milan, 1883; Hayez, Le mie memorie, Milan, 1890; C. Boito, L'ultimo dei pittori romantic! (Hayez) in the Nuooa Antologia, May. 1891 ; C. Boito, Eleuterio Pagliano in the Nuooa Antologia, 1871; Eleuterio Pagliano (1826-1903), Milan, 1903; G. Carotri, Giuseppe Berlin! in the Emporium, ix, Bergamo, 1899; G. Pisa, Mose Bianchi in Emporium, v, 1897: G. Pisa, Tranquillo Cremona, Milan, 1899: E. Zoccoli, Giooanni Segantini ( 1 858- 1889), Milan, 1900; L. Villari, Giovanni Segantini, London, 1891 . William Ritter, Giooanni Segantini in the Gazette des Beaux-Arts, 1898, xix, 302 ; Giooanni Segantini, special number of the Marzocco, Florence, 1899; L. Beltrami, Giovanni Segantini in the Nuooa Antologia, Nov., 1899: F. Servaes, Giovanni Segantini, Leipsic, 1907: Primo Levi, Segantini, Rome, 1900: G. P. Lucini, La pittura lombarda del sec. XIX alia Permanente di Milano in Emporium xii, 1900. FIG. 317. AT THE SPRING. (C. SEGANTINI.) 187 FIG. 318. FRAGMENT OF THE ALTAR-FRIEZE. CERTOSA, PA VIA. (Photo. Alinari.) CHAPTER XV ART INT LOMBARDY LODI, CREMONA AND PAVIA Lombard Character of Art in this District. The Comacini. The Piazza Family. Painters at Cremona. The Bembo Family: Boccaccino, The Campi, Sofonisba Anguissola. The Cathedral of Cremona. Paoia: The Certosa. The Mantegazza at Pauia. Amadeo. Sculpture in the Certosa. BRESCIA and Bergamo, in art as in politics, followed on the whole in the wake of Venice, although from their geographical position one might rather have expected them to turn to Milan, who, however, extended her influence in the direction of Piedmont and of Liguria. On the other hand, a distinctly Lombard character may be found in another not less important group of cities and small towns scattered over the more southerly and western parts of the vast plain comprised between the Alps, the Ticino, the Po and the Mincio. It is only near Varese, at Castiglione d'Olona, that we come upon an oasis, as it were, of Tuscan art. There as we have seen, the style of Brunelleschi appears in the " Chiesa di Villa" (Fig. 227) ; and there, rather than at Florence or at Rome, we may study the work of Masolmo da Panicale who decorated the Collegiate Church and the adjacent baptistery. (See above p. 137.) But it would be impossible to notice one by one the cities, great and small, the villages, the castles, all of them notable from an artistic point of view, that arise along the lower Alpine slopes or are scattered over the fertile plain. On every side, it may be said, rise 188 ART IN LOMBARDY FIG. 319. CATHEDRAL, MONZA. (Photo. Alinari.') monuments worthy of note. From Monza, on the one hand, proud of its cathedral (Fig. 3 1 9) built by Matteo da Campione and not less of its Longo- bard treasure, to Crema, on the other, a town which, in S. Maria della Croce, boasts one of the most elegant buildings erected in the style of Bramante (see above p. 140 and Fig. 235); from Como whose cathedral, from 1396 on- wards, two centuries have endowed with beauties, varied indeed but har- monious in style, (see above p. 140 and Fig. 236) to Saronno, famous for its " Santuario," built by Pietro dell* Orto in 1498, and adorned with frescoes by Luini and by Gaudenzio Ferrari (Fig. 320) ; from Varese, which owns in its Madonna del Monte one of the most solemn and harmonious blendings of the works of man and those of nature, to Pallanza, whose proximity is announced by the graceful cupola of the fifteenth century Madonna di Campagna, rising boldly amid the green foliage ; from Forno, which prides itself upon its noble S. Giovanni with its sump- tuous porch sculptured by the Rodari, to Lodi with its Church of the Incoronata, that masterpiece of Bat- tagio and Giovanni Dolce- bono of which we have already spoken (p. 1 40 and Fig. 234). And in every town were born artists who attained to positions of note, although they may not have been brought together in contemporary groups and in schools with common aims. To Lodi belongs the well-known family of Piazza, which pro- 189 FIG. 320. CHURCH OF SARONNO. (Photo. Alinari.) ART IN NORTHERN ITALY duced so many painters; of these, however, only the following are now remembered : Albertino (d. 1 529, Fig. 321); his brother, Martino (Fig. 323), who at the beginning painted under the influence of Bergognone, then passed to the manner of Leonardo (the connecting link was perhaps Cesare da Sesto), and finally to that of Raphael ; and Calisto, who was working up to about 1 562, and whose style shows the influence of Romanino and of Pordenone. It would be impossible to exaggerate our ignorance, up to the present time, of the work of the older members of the Piazza family, and the extent to which their work has been confused with that of other artists. But of all the cities of Lombardy, Cremona was the one which produced the largest and most compact group of painters. The Bembo family, originally from Brescia, the Boccaccino and the Campi would suffice to give it fame. But in addition to these the following competent artists must not be forgotten : Cristoforo Moretti, Filippo and Francesco Tacconi, painters who flourished shortly after the middle of the fifteenth century, the first wavering between the schools of Lombardy and Ver- ona, the other two inclining to the school of Venice, more especially to Giovanni Bellini ; Tommaso Aleni, known as Fadino, and Fran- cesco Casella, both of whom lived to about 1 525, in the surrounding country for the most part, dominated by the art of Boccaccino, and drawing sweetness from the vision of the picture (still in S. Agostino) which Perugino had painted for Cremona in 1494 ; Altobello Ferrari, known as Melone (Fig. 322), a good draughtsman whose strident colour exaggerated the ardent hues of Romanino ; Bernardino Gatti, known as II Soiaro (1 495 ?-1 575), a gay and pleasing if not profound decorator, who following in the steps of Pordenone and Correggio (Fig. 324), in the numerous works that he carried out at Piacenza and at Parma, threw himself into the new movement ; Sofonisba Anguissola (1 535-1632), his pupil, second-rate as a painter of sacred subjects, but an artist of much 190 FIG. 321. MARRIAGE OF S. CATHERINE. (A. PIAZZA.) Accad. Carrara, Bergamo. (Photo. I. I. d'Arti Grafiche.) ART IN LOMBARDY elegance and refinement in her portraits (Fig. 325) ; in such work, indeed, she was so successful that she was summoned to the Court of Spain, where she attained to a high position both as artist and woman. Sofonisba became the wife of Don Fabrizio di Moncada, with whom she lived in Sicily ; after his death, returning to her birthplace, she accepted the offer of a second marriage from the captain of the galley that was bearing her home ; in her old age she reckoned Van Dyke among her most respectful admirers. Finally, mention must be made of Gian Battista Trotti, known as Malosso (1 555-1619, Fig. 326), a rapid and successful draughtsman, but a somewhat crude colourist. Trotti was brought up in the school of the Campi, but was early converted to that of *-) J , i rarma, a town where he long time as painter to FIG " 3a < A - MELONE.) S. Abbondio Cremona. (Photo. Ahnan.) i- i r lived tor a the Duke, and where he com- peted with Annibale Carracci. All the artists, Cremonese by birth or by adoption, who have been mentioned so far, spent some time under the tutelage of the Bembo, the Boccaccino, or the Campi families. Of the painters of the Bembo family, the oldest, Bonifacio, was the most celebrated. The docu- mentary evidence concerning this artist ranges from 1447 to 1478 and records paintings by him in Cremona, in Milan, and especially in the castle of Pavia, where together with Foppa, Bugatto, and others, he worked for long upon a series of large pictures repre- senting contemporary life (feasts, games, hunting scenes, etc.). Gian Francesco (Fig. 327) and Pietro Bembo, who lived at a later date, made their way into the 191 FIG. 323. MADONNA. (M. PIAZZA.) Accad. Carrara, Bergamo. (Photo. I. I. d'Arli Grafiche.) ART IN NORTHERN ITALY KG. 324. ADORATION OF THE SHEP- HERDS. (SOIARO.) S. Pictro, Cremona. (Photo. Alinari.) artistic circle of Boccaccio Boccaccino and of the Campi, with whom they worked in the cathedral of Cremona. Boccaccio Boccaccino (1467?- 1 525 ?) passed his youth in Ferrara, where his father, Antonio, was an embroiderer. In 1496 he was in Venice, in 1497 in Genoa and in Milan, where he suffered imprison- ment ; in 1499 he was again in Ferrara, where he killed his wife, who was guilty of adultery, and where he left some traces of his influence, as for example, in Mazzo- lino's Adoration of the Shepherds, now in the public gallery of that city. After other wanderings he fixed his habitual residence in Cremona. His manner shows him to have been in the beginning a follower of Cima da Conegliano and Alvise Vivarini, and at a later date of Bramantino. In composition and in the arrangement of drapery his style was large and simple, and his execution accurate. Boccaccino, moreover, showed great distinction and sweetness in his colour and types, and his work is more especially to be recognised by the expression of gentle amazement in the luminous eyes of his personages (Fig. 328). Two artists worked side by side with Boccaccino : one, his son Camillo (1501-1546), the other an anonymous painter, known at present by the nickname of the Pseudo-Boccaccino ; he has been identified by some, on rather inconclusive evidence, with the Nicola d'Appiano mentioned on p. 1 79. Galeazzo Campi, again (1477-1 536), was a pupil of Boccaccio Boccaccino. But neither the excellence of his master nor familiarity with Perugino's picture sufficed to mitigate the rudeness of his style, manifested both in his drawing and in his ruddy colouring. Of his three sons the oldest, 192 FIG. 325. PORTRAIT OF THE ARTIST. (S. ANGUISSOLA.) Museum, Naples. ART IN LOMBARDY Giulio (1502-1572, Fig. 329) was the best painter ; he has a certain admirable grandeur and vigour of style, although he was at the mercy of every new impression. Beginning as a disciple of Romanino, we find him following in succession Parmigi- anino, Lorenzo Lotto, Titian, Dosso Dossi, and in the end even a painter so opposed in artistic ideals to the others as Giulio Romano. His pic- tures are very numerous, and in his works not the last strength of the Venetian the energetic expression many of ones the colouring, FIG. 326. THE ENTOMBMENT. (MALOSSO.) Brera, Milan. (Photo. I. I. d'Arli Grafiche.) of individuality, and the grandeur ot the whole, are truly praiseworthy. His brother Antonio, who flour- ished in the second half of the sixteenth century, was of less note as a painter, but was a more universal genius. He was, indeed, distinguished as an architect, as a sculptor, as a geographer, and as a historian. As a painter he followed his father, he followed Giulio, he followed Correggio, he followed Dosso ; of the last he was little better than a copyist. The third brother, Vincenzo (d. 1591), was always more modest and restrained ; he refrained from ambitious subjects of sacred or profane history, and devoted himself to portraits and to pictures of fruit and flowers, and in these he showed that he had studied the works of Floris van Dyck, and of Pieter Aertszen, known as Lange Pier. Bernardino Campi (1522-1590) was the son of the goldsmith Pietro ; he studied under Giulio and thence passed to the studio of Ippolito Costa in Mantua, where he saw and imitated the works of Giulio 193 o FIG. 327. VIRGIN WITH SS. COSMO AND DAMIAN. (G. F. BEMBO.) Church of S. Pietro, Cremona. (Photo. Alinari.) ART IN NORTHERN ITALY FIG. 328. HOLY CONVERSATION. CINO.) Accademia, Venice. (BOCCACCIO BOCCAC- (Pholo. Alinari.) Romano. He certainly gave proof of good taste when he shook himself free from this influence, and turned both eye and mind to the study of the works of Correggio ; but if he succeeded in bor- rowing some formal elements from this master, he entirely failed to penetrate his spirit. A man of pro- digious activity, he worked at an endless number of places in Lombardy and in Emilia. At this period, too, Cremona gave birth to Giuseppe Dattaro, known as Pizzafuoco (1540-1619), an architect of great merit (Fig. 330), and at later dates to Panfilo and to his son Carlo Francesco, of whom we have spoken on p. 1 8 1 ; to Giovanni Angelo Borroni (1684-1772), to his son Vincenzo, and to Francesco Boccac- cino (d. 1 750). The exhibition of sacred art held at Cremona in 1899 resulted in making the artists of that city better known to us. These men had been less studied of late than in the past, when Zaist (1774), Grasselli (1827), and Sacchi (1872), were actively occupied in their researches. The exhibition led to fresh discussion and fresh investi- gation ; but before long all was again abandoned, for Cremona is generally neglected both by the studious and by the public, lying apart as it does on the banks of the Po, remote from the main lines of communication. And yet what city can boast of a more beautiful cathedral (Fig. 331), a building in which the vigour of the Romanesque is tempered by the graces of the Renaissance ? However, after Milan, the most important city from the artistic 194 FIG. 320. JESUS AMONG THE DOCTORS OF THE LAW. (G. CAMPI.) S. Margherita, Cremona. (Photo. Alinari.') ART IN LOMBARDY point of view is, of course, Pavia. Like Oxford in relation to London, and Padua in relation to Venice, the Lombard city flourished as an asylum of peace for those devoted to study. The fervour of political and commercial life, the animation of the populace, and the tyranny of luxury, made it desirable in Milan, as in London and Venice, to fix the seat of learning away from the tumultuous and self-indulgent centre. Already, under the name of Ticinum, a place of some importance in ancient times, the city in 572 became the capital of the Longo- bard Kingdom, and it was during their rule that it was first known as Pavia. It was in the famous church of S. Michele Maggiore (Fig. 332), rebuilt in the eleventh century, that the crown was placed on the heads of Berengarius I., Marquis of Friuli, of Berengarius II., of Arduino of Ivrea, of Frederick Barbarossa, and of other German Kings, to whom Pavia remained faithful up to 1 360 ; in that year the Emperor Charles IV. ceded it to Galeazzo II., Visconti. Gale- azzo set about at once to erect the Castle (Fig.333), a building notable at the present day (although robbed of many a work of art) for its vast size, and for the beautiful court that shows Venetian in- fluence ; at the back he enclosed an immense park of some eleven miles in circuit, destined for the rearing and the pursuit of every kind of game. In one part of it Gian Galeazzo Visconti began the erection of the Certosa (Figs. 334-340), in fulfilment of a vow made by his wife Caterina, and in satisfaction of his own desire " to have a palace wherein to dwell, a garden wherein to disport himself, and a chapel wherein to worship." The artist to whom was assigned the principal share in designing the Certosa, and, at the beginning, in superintending the works, was Bernardo da Venezia, an engineer and woodcarver. The work, as a whole, proceeded slowly enough. To a few short periods, when it was actively prosecuted, there succeeded only too many others of neglect nay, indeed, long intervals of complete 195 o2 FIG. 330. GRAND STAIRCASE IN THE PALAZZO DATI, CREMONA. (DATTARO.) (Photo. Alinari.) ART IN NORTHERN ITALY FIG. 331. CATHEDRAL AND TOWER, CREMONA. abandonment and this led to changes, not only in details and in the decorative parts, but also in the constructive organism. With Francesco Sforza the work received a new and vigorous impulse, more especially in the building of the church, for the monks themselves had before this urged forward the com- pletion of their cells. In 1 453 Guiniforte Solari (d. 1 48 1 ) was appointed architect to the Certosa, and it was under his direc- tion and after his design that the facade of the church was begun (Figs. 334, 335 and 337), that the nave was finished, and that the two cloisters (Figs. 336 and 338), with their magnificent decoration of terra-cotta, by Rinaldo de Stauris of Cremona (1464), were completed. The participation of Cristoforo Mantegazza in the works of the Certosa preceded that of Amadeo, though only by a brief space of time. In 1463 he fur- nished square slabs of stone for the walls of the aisles ; the year after we find him at work with De Stauris in the lesser cloister (Fig. 336) ; later, together with his brother Antonio, he carved the fountain in the Maddalena 'chapel ; finally, in 1473, still with his brother's assistance, he undertook the great task of erecting the facade of the church (Figs. 334, 335 and 337). The two Mantegazza had begun their artistic life as goldsmiths. That such more or less they re- mained to the end we may see in the minuteness of their work and in their tendency to accumulate an infinity of small details, instead of seeking the repose of large lines 196 FIG. 332. CHURCH OF S. MICHELE, PA VIA. (Photo. Alinari.) ART IN LOMBARDY and simple forms. Their lean and often contorted figures are wrapped in garments broken up into a thousand planes, into a thousand angular folds ; the general effect recalls a process of crystallisation and reveals a foreign in- fluence. Their scheme of decoration is developed in a succession of branches, of flowers, of fruits, of puttini, of medallions, of shields or coats of arms, of fantastic animals, of re- liefs full of figures emerg- KG 333 ._ CASTLE OF THE VISCONTIj PAVIA . ing from a background of ( Photo . Alinari.) landscape or of buildings ; in short, of a thousand gay and sumptuous details, which awaken a feeling of wonder rather than one of spontaneous delight, and in any case destroy the simplicity of Solari's architectural conception. Giovanni Antonio Amadeo, a native of Pavia (1447-1522), worked at the Certosa as early as 1 466, when he was no more than nineteen years old. It is here, indeed, that he has left us the most notable examples of his art as architect and sculptor, though his work may also be admired in the Colleoni chapel and tomb at Bergamo (Fig. 209) ; at Milan, in various parts of the Cathedral (the central tower, for ex- ample) and in the Ospe- dale Maggiore, where in 1495 he was director of the works ; in the In- coronata Church at Lodi, where the open gallery round the cupola is prob- ably due to him (Fig.234) ; in the Borromeo tombs at Isola Bella (Fig. 341); in the shrine of San Lan- franco, and in the Cathe- dral of Pavia ; in the pulpits of the Cathedral of Cremona, and in various other places. As an architect, in Lom- bardy, he preceded Bramante in the practical application of the 197 . 334. FACADE OF THE CERTOSA, PAVIA. (Photo. Alinari.) ART IN NORTHERN ITALY canons of the Renaissance ; as a sculptor he is a descendant of the Campionesi, and in his early works there are lingering traces of the Gothic tradition ; later, contem- plating the style of the Mantegazza and that of Antonio Riccio (see p. 26 and Fig. 40), who in 1465 was at work upon the columns and the capitals of the larger cloister, he underwent a change ; nor did he fail to approve the simplicity of Tuscan architecture, the examples of which style at Castiglione d 'Olona, and in the chapel of St. Peter Mar- tyr in S. Eustorgio, found favour with the sterner and calmer spirits of the day. Amadeo, however, ob- He detached himself from the past, FIG. 335. DOOR OF THE CERTOSA, PAVIA. served but did not imitate. but did not fall into a fresh servitude. Thus it was that, observing, pondering and working, he found his true self, and developed a personality which, if not remarkable for measure and caution, was, of a certainty, full of vigour and in complete harmony with the Lombard environment. To his merits as an artist he added those of a man : simple, honest and patient, he found his only delight in indefatigable toil, and his love for his art raised him so high above the petty jealousies and spites of his fellows that he brought himself to pardon the slayers of his only son, and to leave a large proportion of his considerable fortune to the daughters of the artists working for the con- servators of the cathedral, many of whom had saddened his life by their jealousy and their malicious criticism. At the Certosa of Pavia Amadeo had already carried out several pieces of work (the rich door, for example, that leads from the small 198 FIG. 336. CHURCH AND SMALL CLOISTER OF THE CERTOSA, PAVIA. (Photo. Alinari.) ART IN LOMBARDY FIG. 337. FRAGMENT OF THE FA9ADE, CERTOSA, PAV1A. cloister to the transept of the church, Fig. 339), and had now found occupation in the sculpture of the shrine of San Lanfranco and in the Colleoni Chapel at Ber- gamo, when he learnt that the sculp- ture of the fa9ade had been allotted to the Mantegazza ; he at once took steps to obtain for himself part of this work, and in this he was successful through the intervention of Galeazzo Maria Sforza. The Mantegazza and Amadeo were in time succeeded by Benedetto Briosco and by the latter's son and pupils. Works such as these and many others, notwithstanding dilapidations and losses of every kind, make this building still one of the most remark- able m Italy and in the world. In the Certosa, during a succession of ages, as also in the cathedral at Milan, a whole army of artists obtained their training, and many of these men were employed in both buildings. There we may see, surmounting the mausoleum of Gian Galeazzo Visconti, the shrine sculptured by Cristoforo Romano between the years 1492 and 1497 (Fig. 342), and the Madonna and Child of Benedetto Briosco. There, too, lying on their tombs, are the stat- ues of Lodovico il Moro and of Beatrice d'Este, formerly in the church of the Grazie at Milan, the work of Cristoforo Solari, known as II Gobbo (Fig. 340). In addition to this the Certosa contains pic- tures by Bernardino de Rossi of Pavia, by Bergog- none, by Perugino, by Ja- copo de Motis, by Andrea Solario, by Bartolomeo Montagna, by Luini, and, coming gradually to a later time, by the Genoese painter 199 FIG. 338. GREAT CLOISTER, CERTOSA, PAVIA. (Photo. Alinari.) ART IN NORTHERN ITALY FIG. 33Q. DOOR OF THE SMALL CLOISTER, CERTOSA, PAVIA. (Photo. Alinari.) Ottavio Semini, by the Procaccini, by Cerano, by Daniele Crespi, Mo- razzone, Francesco del Cairo, and Guercino, as well as examples of sculpture by Annibale Fontana (the obelisk, for example, and the bronze candelabrum), by Annibale Busca, by Dionigi Bussola, Carlo Simon- etta, Giuseppe Rusnati, and many others. But the most important sculptures in the Certosa are those executed between the middle of the fifteenth and the middle of the sixteenth century. No other art unless it be the Umbro-Tuscan painting of the Renaissance in the Sistine Chapel has left a monument more su- preme and more complete. In this building the Lombard sculpture of the time is displayed in its entirety, with all its merits and all its faults. And so it happens that the visitor, dazzled by the splendour of the Certosa, overlooks the fact that a few miles off on one side rises the superb Cistercian church of Chiaravalle (Fig. 344), founded by St. Bernard, and on the other, closer at hand, the city of Pavia, splendid with such monuments as the already mentioned castle, and the church of San Michele ; as the cathedral, begun in 1487 by Cristoforo Rocchi and completed with the aid of Amadeo and of Bramante (Fig. 343) ; as S. Pietro in Ciel d'Oro, as S. Teodoro with Bramantino's frescoes, S. Fran- cesco, and S. Maria di Canepanova. BIBLIOGRAPHY OF CHAPTER XV FIG. 340. MONUMENT TO LODOVICO SFORZA AND BEATRICE D'ESTE, CERTOSA, PAVIA. (C. SOLARI.) (Photo. Alinari.) Lanzi, Storia pittorica', Berenson, The North Italian Painters; Lermolieff (Morelli), Kunst- kritische StuJien; Venturi, La Galleria Crespi', G. Carotri, Di alcane sculpture ornamental! nella cattedrale di Coma in Arte Italiana decorativa e 200 ART IN LOMBARDY 341. MONUMENT TO GIOVANNI BORROMEO. (AMADEO.) Isola Bella. induslriale, xi, Milan, 1 902, n. 10; G. B. Zaist, Notizie dei pittori, scultori ed architetti cremonesi, Cremona, 1774; P. Aglio, Le pitture e sculture della cittd di Cremona, Cremona, 1794; M. Cam, / monumenti cremonesi dalla decadenza romana alia fine del secolo, xvii, Milan, 1 882 ; G. Grasselli, Abecedario biografico dei pittori, scultori ed architetti cremonesi, Milan, 1 827 ; F. Sacchi, Notizie pittoriche cremonesi, Cremona, 1872; F. Malaguzzi-Valeri, Catalogo della R. Pinacoteca di Brera; Vidoni, La pittura cremonese, Cremona, 1 874 ; F. Malaguzzi-Valeri, Documenti sull'Arle cremonese in Rassegna d'Arte, 1902; F. Malaguzzi-Valeri, L'architettara a Cremona nel Rinascimento in Emporium, 1901 ; E. Schweitzer, La scuola pittorica cremonese in L'Arte, 1900; L. Courajod, Documents sur I'histoire des arts et des artistes a Cremone au XV e siecle, Paris, 1885 ; E. Gussalli, L' opera del Battagio nella chiesa di Santa Maria di Crema in Rassegna d'Arte, v, 1905; F. Malaguzzi-Valeri, Pittori lombardi del Quattrocento; C. Dell'Acqua, Bernardino Catti delta il Solaro in Bollettino Storico Pauese, H, 1894; Fournier Sarloveze, Van Dyck et Anguis- sola in Revue de I' Art ancien et moderne, 1899, 316; A. Ronchini, // Malosso in Parma in the Atti e memorie della Deputaz. di Storia Patria dell'Emilia, vi, 1881 ; C. Ceruri, G. B. Trotti detto il Malosso, Parma, 1902; M. Cam, / Boccaccini in Arte e Storia, x and xi ; G. Frizzoni, Boc- caccio Boccaccino in Arte e Storia, ix, 1890; G. Fogolari, Artisti lombardi del primo cinquecento che operarono nel Veneto. Lo Pseudo Boccaccino in Rassegna d'Arte, 1909; G. Frizzoni, Nicola Appiano ossia lo Pseudo Boccaccino in Rassegna d'Arte, 1909; G. Natali, Saggio abecedario ar- tistico pavese, Pavia, 1 908 ; G. Natali, Le pia antiche pitture di Pavia in Bollettino della Societd pavese di Storia Patria, 1 907 ; C. Zuradelli, Le torn di Paoia, Pavia, 1 888 ; R. Majocchi, / migliori -dipinti di Pavia, Pavia, 1903; R. Majocchi, Le chiese di Pavia, Pavia, 1905; A. Cavagna Sangiuliani, Pel nuovo elenco degli edifici monumental! di Paoia, 1 905 ; A. Cavagna Sangiuliani, Pavia. I nostri monumenti, Pavia, 1 903 ; A. Cav- agna Sangiuliani, Elenco dei monumenti della provincia di Pavia pel circondari di Voghera, Bobbio' e Mortara, Pavia, 1907; M. Cam, // castello di Pavia, Milan, 1876; C. Dell'Acqua, Dell'insigne R. Basilica di S. Michele Maggiore in Pavia, Pavia, 1 875 ; A. Cavagna Sangiuliani, La chiesa di S. A gala in Monte a Pavia, Pavia, 1907; A. Cavagna Sangiuliani, L 'affresco nella chiesa di S. Agata in Monte a Paoia, Pavia, 1 907 ; A. Cavagna Sangiuliani, // restauro della basilica di S. Teodoro a Pavia, Pavia, n. d. ; D. Sant'Ambrogio, Un labernacolo del 1 525 di artefice paoese poco noto in Rivista di Scienze Social!, Pavia, 1 906 ; G. Dell'Acqua, La basilica di S. Salvatore presso Pavia, Pavia, 1900; R. Majocchi and A. Moiraghi, Gil affreschi di Cesare Nebbia e di Frede- rico Zuccari nel collegia Borromeo di Pavia, Pavia, 1908; L. Beitrami. La Certosa di Pavia, Milan, 1895; L. Beitrami, Storia documentata delta Certosa di Pavia, Milan, 1896; G. Meyer, Die Certosa bei Paoia, Berlin, 1900; G. M., La Certosa di Paoia, Milan, 1900, C. von Fabriczy, Die reiche Marmorthtir im Lavabo der Certosa Oon Paoia in Repertorium filr Kunstwissenschaft, 1900, 342; J. Kohte, Die Certosa von Paoia in Blatter f. Architektur und Kunsthandwerk, 1899, 12; D. Sant'Ambrogio, La lastra tombale del Folberti nella Certosa di Paoia in Arte e FIG. 342. TOMB OF GIAN GALEAZZO. Certosa, Pavia. 201 ART IN NORTHERN ITALY Storia, 1900, 121; D. Sant' Am- brogio, L 'altar maggiore nella Certosa di Pavia e lo scultore Ambrogio Volf>i di Casale in the Osxrvatore Cattolico, 4th April, 1908; D. Sant' Ambrogio, // pallia, il tabemacolo e I'altar maggiore delta Certosa di Pavia, Milan, 1898; D. Sant' Am- brogio, / due trionfi marmorei di fianco all'altar maggiore nella Cer- tosa di Pavia, Milan, 1 897 ; D. Sant' Ambrogio, L 'antica cella o camera del Priore nella Certosa di Pavia, Milan, 1898; D. Sant' Am- brogio, L' ultima opera d'arte nella Certosa di Pavia in the Politecnico, Milan, 1906; R. Majocchi. Giov. Ant. Amadeo in the Bollettino delta Societd Pavese di Sloria Patria, 1903 ; F. Malaguzzi-Valeri, Cioo. FIG. 343. INTERIOR OF THE CATHEDRAL, PAVIA. Ant. Amadeo, Bergamo, 1904; D. (Photo. Alinari.) Sanf Ambrogio. Ne//aCerfosa di Pavia : Affrescht e aipintt orna- mental! di Bernardino de Rossi in the Osseroatore Cattolico of the 16th October, 1909; A. Melani, // portone net oestibolo delta Certosa di Pavia in Arte Italiana decoratioa e industrial, ii, fasc. i. HG. 344. ABBEY CHURCH, CHIARAVALLE. (Photo. Alinari.) 202 FIG. 345. CASTLE OF MONTALTO DORA. (Pholo. AHnari.) CHAPTER XVI ART IN PIEDMONT UP TO THE END OF THE RENAISSANCE Roman Remains in Piedmont. Architectural Activity in the Eleventh CenturyCathedrals of Casale, Ivrea, Susa and Acqui. Abbeys. Civil Architecture. Painters in Piedmont in the Fifteenth Century. Macrino di Alba. Sodoma. Gaudenzio Ferrari. IN the history of art, Piedmont and Liguria do not certainly figure as prominently as the other regions of Upper and Central Italy. But while acknowledging this, we must not suppose that art is not represented in these provinces. We may more justly regret that the subject has not been studied there as it deserves, for it is this neglect more than anything else which has caused Liguria and Piedmont to be ignored as artistic centres. We shall see later on that Genoa had its period of pictorial activity. For the present let us confine ourselves to Piedmont, dividing it for the purpose of our rapid survey into three large fields : Turin and southwest Piedmont, the Monferrato district, and finally the region that extends from Vercelli to Novara. Meanwhile, let us begin by noting that the Piedmontese provinces are excessively rich in Roman remains, some of them indeed of real grandeur : for example, the ruins of the aqueduct of the Aquae Statiellce (Acqui), the bridge over the Lys at Pont Saint Martin and the remnants of the ancient cities of Augusta Bagiennorum (Bene Vagienna), Libarna (near Serravalle Scrivia), Pollentium (Pollenzo), Dertona (Tortona), and Industria (Monteu da Po). In the province of Turin, which is especially rich in 203 ART IN NORTHERN ITALY ancient buildings, the four principal nuclei of Roman remains are to be found at Aosta (the walls with towers and gates, the amphi- theatre, the theatre Fig. 346 the beautiful arch of Augustus Fig. 347 with the ten Corinthian semi-columns, the granary, the bridge over the former bed of the Buthier, etc.) ; at Ivrea (the walls in the Perrone garden and the theatre) ; at Susa (the aque- duct, commonly known as the Baths of Gratian, the Arch of Augustus, the FIG. 346. RUINS OF THE ROMAN THEATRE, AOSTA. 11 1 1 \ 1 (Photo. Alinari.) ^ alls and the gate); and finally at Turin, which preserves the magnificent Porta Palatina (Fig. 349), the Porta Decumana incorporated with the Palazzo Madama, the ruins of the theatre and of the walls, to say nothing of the fact that the regular planning of the streets, which gives the city a more modern look than any other in Italy, is in part at least a survival of the original Roman alignment. Following upon such abundant wealth of Roman buildings, the poverty, we may say even the total absence, of re- mains dating from the By- zantine period and from the Romanesque up to the year 1 000, appears all the more singular. It is evident that during the course of about six centuries there was not much constructive fervour to be found in this region ; and the few buildings that r FIG. 347. ARCH OF AUGUSTUS, AOSTA. (Photo. Alinari.) were erected during this period, when not ruined or totally destroyed, have been subjected to radical al- terations, as in the case of the church of Sant' Orso at Aosta, which was indeed rebuilt in the fifth century and restored in the twelfth. 204 ART IN PIEDMONT FIG. 348. SAGRA DI S. MICHELE. NEAR TURIN. (Photo. Alinari.) About the year 1000 a total change comes about. The desire or the necessity for the erection of walls, of gates, of towers, fortresses, castles, and churches, and for the rebuilding of towns and villages which hitherto had been of wood, spread at length over Piedmont, and it was in the last years of the tenth century that the oldest towers and castles appeared ; during the course of at least four centuries these grew in size and in number, above all, in the upper districts of Monferrato, in the Cana- vese district (Ivrea, Pavone, Montalto Dora, Fig. 345), in the valley of Aosta (Sarriod-la-tour, Graines, Fenis, Verres Fig. 350 Issogne), and in the district of Cuneo (Verzuolo). And in addition to the small ricetti (fortified market towns, notable examples of which still exist at Candelo, Oglianico, Ozegna, and Salassa), and to the fortified houses of Almese, of Chianoc, and of San Giorio, we have the girdle of walls at Cirie and at Avigliana. The restoration and the vast in- crease in number of sacred buildings also had their origin in the year 1000. Confining ourselves to the more notable buildings, we may instance the Sagra di S. Michele (to the west of Turin, Fig. 348), rising boldly from the summit of a rock, the cathedral of Casale, and that of Ivrea, with its cloister, buildings begun in the tenth and completed in the eleventh and twelfth centuries; the cathedral of Susa (Fig. 351), with its pediment and its campanile adorned at a later date with graceful pinnacles ; following on these we have the 205 FIG. 34Q. PORTA PALATINA, TURIN. (Photo. Alinari.) ART IN NORTHERN ITALY FIG. 350.' VERRES. iTAIRS OF THE CASTLE, (Photo. Alinari.) cathedral of Acqui, with its double aisles, the superb abbey of Vezzo- lano (Fig. 352), so rich in sculpture, its facade decorated with a series of blind recesses, in the Tuscan style, and its cloister, remarkable for the curious asymmetrical ar- rangement of its sides ; the abbey of S. Antonio di Ranverso at Buttigliera Alta, its profile pleas- antly enriched by a series of pin- nacles and its triple doorway op- pressed by the enormous pediments (Fig. 353) ; the abbey of S. Fede at Cavagnolo Po with its three aisles, its composite piers (Fig. 354) and its highly decorated doorway, all typically Romanesque in style. To the thirteenth century belong the celebrated abbey of Staffarda at Revello, near Saluzzo, so complete and so imposing in effect, S. Secondo di Cortazzone, and other churches. In these buildings the pointed style begins to assert itself, a style of which there are many beautiful examples in Piedmont, such as the church of Sant* Andrea at Vercelli (agreeing in conception with the architectural style that had its origin in the He de France), which, with the adja- cent hospital forms one of the most charming monumental groups in Piedmont (Fig. 355); S. Maria della Scala at Moncalieri ; the cathedral of Alba and that at Chieri, where the tympanum of the doorway invades the whole facade (Fig. 357). Nor is the civil architecture less interesting. At Asti, Saluzzo, Bussoleno, Carignano and Alba, we find groups of buildings, in the transition style between Gothic and Renaissance, at times gay with terracotta decoration, as for 206 FIG. 351. APSE OF THE CATHEDRAL, SUSA. (Photo. Alinari.) ART IN PIEDMONT FIG. 352. ABBEY, VEZZOLANO. (Photo. Alinari.) examples the facade of the cathedral of Chivasso (Fig. 356). Amid such a variety of buildings, to define the various influences under which the architecture of these lands was developed, to point out the in- digenous characters, and to separate them from those which were im- ported, in a word to classify them, all this is often a matter of no little difficulty. One point is noteworthy French influences are in many cases very apparent. The intimate connection of archi- tecture and sculpture has resulted in the preservation of numerous exam- ples of the latter art from the tenth century onwards, and of this we have a splendid example in the mortuary chapel of the church of S. Giovanni at Saluzzo ; but very little painting is to be discovered up to the end of the fourteenth century. Examples may indeed be found in the mosaics of SS. Vittore e Corona at Grazzano (twelfth century) ; in a few frescoes in the Annunciata at Tortona and in S. Andrea at Vercelli (thirteenth century) ; others in a chapel of S. Eldrado in the Novalesa district (north of Susa), in the churches of the old cemeteries of Avigliana and of Buttig- liera d'Asti, and in the fourteenth century oratory of S. Martino, near Cirie (in the direction of Mathi), and in a few pic- tures. It is, however, noteworthy that between 1314 and 1348 a cer- tain Florentine, Giorgio dell'Aquila, was working for Amadeus V. of Savoy ; he also painted rlG ' 353 ABBEY OF s. ANTONIO DI RANVERSO. . r>i i ' J VD- Buttigliera Aha. (Photo. Alinari.) at v_hambery and at rine- rolo, and is the reputed author of certain frescoes recently discovered at Chillon on the Lake of Geneva. 207 ART IN NORTHERN ITALY The scarcity of paintings dating from the Romanesque period or from the fourteenth century is in a degree compensated for by the comparative abundance of those of the fifteenth century ; but for want of precise indications, it is a hope- less task to assign these works to one rather than to another of the many artists mentioned in contem- porary documents. However, there are paintings of no small import- ance, dealing with subjects of state and of chivalry, in the castles of Fenis, of Issogne, and above all in that of Manta, where, in an extensive cycle of figure subjects, the influence of the French illumi- nators may be discovered, another element of that art of which we spoke when treating of Giovannino deG rassi. FIG. 354. ABBEY OF S. FEDE, CAVOGNOLO PO. (Photo. Alinari.) It would, for example, be inter- esting to identify some work by that Gregono Bono of Venice, who held the office of pictor domesticus to Amadeus VIII., Count of Savoy, from 1413 to at least 1440. The history of painting in Piedmont cannot however be clearly traced before the middle of the fifteenth century, and even then it presents itself as a disconnected record of painters influenced now by Tuscan, now by Lombard or Flemish, above all, by French masters ; it is a rec- ord in which it is impossible to distinguish anything in the nature of a definite school, unless it be that of Vercelli for a brief interval, and as regards certain char- acteristics. Among the painters born outside the limits of Monferrato and of the Valsesia, mention must be made of Giovanni Canavesio of 208 FIG. 355- CHURCH OF S. ANDREA, VERCELLI. (Photo. Alinari.) ART IN PIEDMONT Pinerolo, who was at work in Liguria and around Nice about the middle of the fifteenth century ; of that rich and hospitable painter, Amadeo Albini of Moncalieri, of whom we have records between 1 460 and 1519; of Giorgio Tuncoto, a fresco by whom, with the date 1473, is pre- served in his native place, Caveller- maggiore ; of Giovanni Perosino (Fig. 358), who was working at Alba and at Mondovi between 1517 and 1 523 ; and of his con- temporary, Jacobino Longo. But Oddone Pascale of Savigliano, and, more especially, Defendente de Ferrari (at work 1518-1 535), rose to a higher level than any of these. The latter artist was a pupil of Gian Martino Spanzotti, and he did not I r . n f . . FIG. 356. FACADE OF THE CATHEDRAL, escape the influence of Macrmo CHIVASSO. (Photo. Alinari.) d'Alba ; he produced a large num- ber of works (more than eighty are known to us), which show great suavity of sentiment, beauty in the forms, refinement in the technique, and decorative richness. A group of painters still more remarkable sprang up in Monferrato and the sur- rounding country. From Asti, again, came Gandol- fino di Roreto, who flour- ished between 1493 and 1510. Some of his works are to be found in his native town, in Turin, at Vercelli and at Savigliano. On the other hand we do not know the birthplace of Giovanni " da Pie- monte." We find his sig- FIG. 3S7.-CATHEDRAL, cHiEw. (Photo. Alinari.) nature and the date 1456 on a picture at Citta di Castello (Fig. 362) ; it is somewhat incorrect in the drawing, and is remarkable for the singular treatment of the staring 209 P ART IN NORTHERN ITALY FIG. 358. S. JOHN THE EVANGELIST. (PEROSINO.) Gallery, Turin. eyes, and for the unmistakable evidence of the influence of Pier della Francesca. A certain Pietro Spanzotti, a native of Varese, established himself at Casale in 1470. He had two sons: Francesco, who died about 1 530, and Gian Martino, who had already taken to painting in 1481, and who died after 1524. Fran- cesco gave his daughter in marriage to Pietro Granmorseo (at work 1526-1533, Fig. 364), a timid and incorrect, but graceful painter. Gian Martino (Fig. 363) was the master of Defendente de Ferrari, of Girolamo Giovenone, and, at Vercelli, of Sodoma. To him, in addition to a few pictures, is now assigned a vast series of frescoes in the ex-convent of S. Bernardino, near Ivrea ; certain defects in the drawing and in the execution of these frescoes are fully atoned for by the exceptional beauty of the composition and of the sentiment. In this they are far superior to the work of Ottaviano Cane, who was born at Trino about 1498, and who died at a great age some time after 1570; he proclaimed himself an imitator naturae, but this did not prevent him from being held in the bonds of tradition (Fig. 360). But the most famous artist of the Mon- ferrato district is Macrino de Alladio, known as Macrino di Alba (1470?- 1 528), a man who finds his place rather in the Umbro-Tuscan school which was active in Rome towards the end of the fifteenth century, than in that of his native land (Fig. 365). The close examination of his paintings, more especially of the early ones (later on he did not escape a certain Lombard influence), reveals abundant formal affinities with the works of Pintoricchio, of Perugino, of Signorelli and even of Ghir- landaio, so that we have ground for believing that he received his artistic 210 FIG. 35Q. ANNUNCIATION. (G. MAZONE.) S. Maria di Castello, Genoa. (Photo. Alinari.) ART IN PIEDMONT FIG. 360. FRAGMENT OF THE MADONNA DI FONTANETO. (OTTAVIANO CANE.) Gallery, Turin. (Photo. Studio di riproditzioni arlisliche.) education in Rome, where all these masters have left important examples of their splendid talents, especially in the Vatican. * * * The Veronese painter Giovanni Francesco Caroto (see pp. 105 and 1 1 5) was at work in the Monferrato district for about five years (1514- 1518), having been summoned thither by the Marquis Gughelmo, but we cannot discover that his art exercised any influence upon that of the native painters. Among the architects we must note Matteo Sanmicheli of Por- lezza (1480?- 1530), Bartolomeo Baronino of Casale (1510- 1 554), and Ambrogio Volpi, known as Volpino. And now we come to Novara, to Vercelli, and to the adjacent districts, a land that produced numberless painters, among them two men of real distinction : it was here that Gaudenzio Ferrari and Sodoma were born and received their first training, although they ulti- mately took their places as members of the Lombard school We may indeed trace back the artistic life of Vercelli to a very early period. The earliest records of her painters, as of her principal churches, date from the thirteenth cen- tury. It is known that a cer- tain Bishop Ugone, who died in 1235, caused the atrium of the cathedral to be decorated, and that half a century later a painter called Aimerio had flourished there ; he was the 21 FIG. 361. TRIPTYCH. (DEPENDENTS DE FERRARA.) Gallery, Turin. (Photo. Alinari.) ART IN NORTHERN ITALY FIG. 362. VIRGIN AND SAINTS. (GIOV. PIEMONTESE.) Gallery, Citta di Castello. (Photo. Alinari.) first of a long roll of artists espe- cially numerous in the fourteenth and fifteenth centuries. Of the painters belonging to the families of Oldoni, of Giovenone and of Lanino, we shall only mention the most prominent. Boniforte I. Oldoni was born at Milan about 1412; we find him established at Vercelli in 1 462, and he was already dead by April, 1 478. He had seven sons, six of whom at least practised the art of their father. A single picture by Eleazaro (d. 1516) is preserved at Turin; by Josue ( 1465 ?-1 518?) we have a fresco at Verrone. Finally, at Vercelli, we can point to a picture by Boniforte III. (1520-1586?). Girolamo Giovenone (1490-1555, Fig. 366), a restrained and refined painter, acquired greater breadth of manner on passing from the art of Spanzotti to that of Gaudenzio, and he painted some good portraits. Giuseppe Giovenone, the elder (I495?-1553?), is the author of a picture at Cirie, and Giuseppe, the younger (1524-1606?), of two pictures in the gallery at Turin, which show him to have been a follower of Gaudenzio. The same may be said of Bernardino Lanino (1 512 ?-1 583 ?), a prolific and graceful, but rather weak painter. But now we come to our two heroes Sodoma and Gaudenzio. Giovanni Antonio Bazzi (1477-1 549), known by the name of Sodoma, was born at Vercelli ; after having been the pupil of Gian Martino Spanzotti, he came into contact with the work of Leonardo, and finally, about 1 50 1 , he took up his abode at Siena. He was of a restless and bizarre temperament, but thanks to an instinctive feeling for 212 FIG. 363. VIRGIN AND CHILD. (G. M. SPANZOTTI.) Gallery, Turin. (Photo. Anderson.) ART IN PIEDMONT FIG. 364. VIRGIN AND SAINTS. (GRANMORSEO.) Archbishop's Palace, Vercelli. (Photo. Masoero.) beauty he succeeded in rendering female grace, childish mischief, and the nude with great charm. A master in the execution of isolated figures (Fig. 369), above all of such as were young and vigorous, he showed a certain insufficiency when he attacked important com- positions, to which he failed to five unity. He worked chiefly at iena (Figs. 367, 368), in the sur- rounding districts (as at Montoliveto Maggiore, near Asciano) and in Rome, where in the villa of Agos- tino Chigi, known later as the Farnesina, he has left us master- pieces of grace, of vigour, and of technique. At Siena he had many disciples and followers, among them Girolamo del Pacchia, Baldassarre Peruzzi, the famous architect, and Domenico Beccafumi. Gaudenzio Ferrari, if inferior to Sodoma in the matter of formal beauty and in the mastery of fresco painting, surpasses him in vivacity of temperament, in the frankness of his brush-work, and the rich vitality of his compositions. Ferrari was born at Valduggia in the Val Sesia about 1 48 1 , and he died in Milan in 1 546. We might certainly have included him in the Lombard school (of this school indeed he seems to us the greatest master), but it appears more advisable to speak of him here, since it was at Vercelli that he received his first in- struction in art, and here that he pre- sided for some time over a workshop. The influence, too, of Bramantino and of Luini is easily recognised in his works, but nevertheless, thanks to his joyous and fervid temperament, Gau- denzio attained to a well-defined 213 FIG. 365. VIRGIN AND CHILD WITH FOUR SAINTS. (MACRINO D'ALBA.) Gallery, Turin. (Photo. Anderson.) ART IN NORTHERN ITALY FIG. 366. VIRGIN AND CHILD WITH SAINTS. (GIOVENONE.) Gallery, Turin. (Photo. Alinari.) individuality and produced a notable number of works, in which, in spite of occasional awkwardness and weakness, he shows a command of colour and a genial sincerity at times illuminated by flashes of a remarkably modern spirit. As many as fifty pictures may be attributed to him, but he seems to me to have reached a higher level in the frescoes of the Santuario at Saronno (Fig. 370), of the Sacro Monte of Varallo, and in S. Cristoforo atVer- celli. Gaudenzio Ferrari also worked at Novara, and at Novara, too, we find a certain Sperindio Cagnola, his pupil and assistant, who in 1514 became security for him in the matter of a con- tract. Cagnola sprung from a family of local painters, among whom we have record of a Francesco (working 1 507) and of an older artist, Tommaso, who, in the last quarter of the fifteenth century, was painting at Gozzano, his native place, in the adjacent Bolzano country, at Garbagna and in the abbey of San Nazaro alia Costa. In this last church the Cagnola were working in competition with mem- bers of the Merli family ; to this latter family belonged Gian Fran- cesco (working 1 498), an artist held in much esteem by the Duke of Milan, Salomone and Gian Antonio (working 1474-1488). On the whole, however, we have to deal with painters who were indeed not deficient in sentiment and in dis- tinction, but as a body were timid and behind their age. At a later date an artist of more sterling value passed to Milan from Novara this was Cerano ; but of him we have already spoken. 214 FIG. 367. TRANCE OF S. CATHERINE. (SODOMA.) Church of S. Domenico, Siena. (Photo. Alinari.) ART IN PIEDMONT BIBLIOGRAPHY OF CHAPTER XVI Lanzi, Storia pittorica, Piemonle; I. Lermolieff, Kunstkntische Sludien ; Crowe and Cavalcaselle, A History of Painting in North Italy; Berenson, North Italian Painters ; F. Gamba, L'Arte antica in Piemonle in the vol. Torino, Turin, 1 884 ; F. Rondolini, La pit- tura lorinese nelMedioevo in Atti delta Societd di Arch- eologia e Belle A rti per la provincia di Torino, vii, 1 90 1 ; G. C. Chiecchio, L'Arte nell'alto, Piemonle in Arte e Storia, vi, 1 887 ; F. Picco, Un pittore piemontese del sec. xoi in Rassegna d'A rte, iv, 1 904 ; A. Bertolotti, Artisti subalpini in Roma nei secoli xv-xvii, Mantua, 1 884 ; Dufpur and Rabut, Les peinlres et les peintures en Savoie in Memoires et documents publics par la SocUte saooisienne d'histoire et d'archeologie, xii ; I. Bernardi, Antichi pittori di Pinerolo in Arte e Storia, x, 1 89 1 : G. Giacosa, Caslelli Valdoslani e Canaoesani, Turin, 1898; E. Berard, Antiquites romaines et du moyen age dans la vallee d'Aoste in Atti della Socield d'Archeologia e Belle Art! per la provincia di Torino, iii ; A. Gorret and C. Bich, Guide de la Vallee d'Aoste, Turin, 1 876 ; G. T. Rivoira, Le origin! delCarchi- tettura lombarda, ii, Milan, 1 908 ; F. Casanova and C. Ratti, Aosta, Turin, 1896; Aubert, La Vallee d'Aoste; I. B. de Tillier, Historiques de la Vallee d'Aoste, Aosta, 1888; F. de Lasteyrie, La cathedrale d'Aoste, Paris, 1854; C. Promis. Chioslro della cattedrale d' Aosta in Miscellanea storica italiana, xii, 1871 ; P. Due, Tresor de la cathedrale d'Aoste in Revue de I' Art chretien, 1885; E. P. Due, LePrieure de St. Pierre et St. Ours, Aosta, 1899; T. Leclere, Un protecteur de I'art frartfais dans la vallee d'Aoste au XV siecle in Gazette des Beaux Arts, 1907, xxxvii FIG. 368. ADAM AND EVE. (SODOMA.) Accademia, Siena. (Photo. Alinari.) R. d'Azeglio, La R. Galleria di Torino illustrata, Turin, 1836-1846; E. Jacobsen, La R. Pinacoteca di Torino in Archioio Slorico dell' A rte, 1897; A. Baudi di Vesme, Catalogo della Regia Pinacoteca di Torino, Turin, 1899; G. B. Ferrante, L' Architettura in the vol. Torino, Turin, 1884; D. Bertolotti, Descrizione di Torino, Turin, 1 840 ; G. B. Ghirardi, // duomo di Torino in lllustrazione italiana, 1891 ; F. Rondolini, II Duomo di Torino illustrate, Turin, 1898; Semeria, Storia della chiesa metropolitana di Torino, Turin, 1840; N. Bianchi, Rimembranze, monument!, inscrizioni, in the vol. Torino ; P. Buscalioni, Porla Palatina, Turin, 1908; A. Venturi, Storia dell' Arte italiana, A. Racca, Del Duomo e del Battistero di Nooara, Novara, 1837 : F. Antonio Bianchini, II Duomo e le sculture del Corpo di guardia in Novara, Novara, 1856; F. Paoli, La Sagra di S. Michele e i suoi sepolcri di principi, Turin, 1868; G. Minoglio, Bred cenni stand sulla chiesa di S. Domenico in Casale Monferrato, Turin, 1900; F. Pellati, Le to rri dell' alto Monferrato in the Nuova Antologia, June, 1908; G. B. Rossi, Paesi e castelli dell'alto Monferrato e delle Langhe, Rome, 1908 : L. Bruzzone, L'Arte nel Monferrato, Alessandria, 1907; G. MaSti, Antlchiti biellesi, con un'appendice sopra gli uomini illustri della cittd e del circondario, Biella, 1885 ; E. Mella, Delia badia e chiesa di S. Fede presso Cavagnolo Po in L'Arte in Italia, ii, Turin, 1870 : Anlico battistero della Cattedrale di Biella in Ateneo religioso, Turin, 1873 : Chiesa di S. Lorenzo a Montiglio d'Asli in Ateneo religioso, Turin, 1 874 ; e S. Secondo a Cor- tazzone d'Asti'm Atti della Societd di Archeologia e Belle Art! per la provincia di Torino, i, 1877; A. Roccavilla, L'Arte nel Biellese, Biella, 1905; N. Gabiani, Le lorri, le case forti ed i palazzo nobili med- ioevali in Asti, Pinerolo, 1 906 ; C. Ratti, Da Torino a FIG. 369. S. SEBASTIAN. (SODOMA.) Uffizi, Florence. (Photo. Alinari.) 215 ART IN NORTHERN ITALY Lanza per le Oalli della Slura, Turin, 1 883 ; F. A. Bianchini, Le cox rimarcheooli della cittd di Novara, Novara, 1 828 ; A. Campani, Di alcuni dipinti che si conxroano alia Nooalesa, Turin, 1 908 ; A. Manara, / primordi deli A rfe novarese in Rassegna d'A Tie, \ 906 ; R. Giolli, Appunti di A rie novarese in Rassegna d'A Tie, 1 908 ; B. Chiara, // castello di Novara in Emporium, 1 902 ; P. d'Ancona, Gli affrescni del castello di Mania net Saluzzese in L 'A rie, 1905; D. Chiattone, La costruzione delta Cattedrale di Saluzzo, Saluzzo, 1 902 ; F. Savio, / monasteri antichi del Piemonte. II monaslero di S. Giusto di Susa in Rivista storica benedetlina, Rome, 1907; L. Mina, Della chiesa di S. Maria di Castello in Alessandria, Alessandria, 1904; H. Jouin, La Cathedrale d'Albi, in Gaz. des Beaux Arts, 2, xxvi, 403. (There are many pictures by Piedmontese and Emilian artists at Albi.) E. Mella, Cenni storici sull'Abbazia di S. Andrea di Vercelli, Turin, 1856: R. Paste and F. Arborio Mella, L'Abbazia di S. Andrea di Vercelli, Vercelli, 1907; G. Marangoni, // S. Andrea di Vercelli in Rassegna d'Arte, 1909; N. Bazetta, La casa Della Porta'm the Gazzetta di Nooara of the 18th Nov., 1909; F. Pellari, Bartolomeus Rubeus e un trittico firmato nella Cattedrale di A \cqui in L 'A rie, 1907; for Giorgio dell' Acquila see Albert Naef , Chilian, Geneva, 1 908 ; F. Negri, Una famiglia di artisti casalesi dei xcoli xv e xvi, Alessandria, 1892 ; F. Gamba, Abbadia di S. Antonio di Ranverso e Defendente de Ferrari in A Hi della Societd d'Archeologia e Belle Arti di Torino, Turin, 1875 ; A. Manone, Pier Lom- bardo nella sua effigie, Novara, 1902 ; A. Baudi di Vesme, Martina Spanzotti in Archivio Storico dell'Arte, 1889; L. Ciaccio, Gian Martina Spanzotti da Casale in L'Arte, 1904; G. Rossi, // maestro di Lodovico Brea in Artec Storia, 1896; U. Fleres, Macrino d'Alba in Gallerie nazionali italiane.m, 1897 ; L. Ciaccio, Macrino d'Alba in Rassegna d'Arte, 1906; G. B. Rossi, Macrino d'AHadio (.Macrino d'Alba) in The Burlington Magazine for May, 1909; G. Frizzoni, L'Arte in Val Sesiain Archivio Storico dell'Arte, 1891 ; De Gregory, Storia della oercellese letteratura ed arti, Turin, 1819; G. Colombo, Document! e notizie inlorno gli artisli vercellesi, Vercelli, 1 883 ; F. Riffel, Eusebio Ferrari und die Schule von Vercelli in Repertortum fiir Kunst&issen- schaft, 1891 ; G. Marangoni, Girolamo Giovenonein Emporium, 1909; C. Faccio, Di Ambrogio Labacco archiletlo oercellese del secolo xv, Vercelli, 1894 ; G. Marangoni, Bernardino Lanino a Vercelli in Emporium, Bergamo, 1 908 ; Alberto Tea, Circa la data della nascita e della morte di Bernardino Lanino in Arch, della Socield oercellese di Storia e d 'A rte, Vercelli, 1909; Meyer, Sodoma, Leipsic, 1880: C. Faccio, Giovan Antonio Bazzi detto il Sodoma, Vercelli, 1902; R. H. Hobart Cust, Giovanni Antonio Bazzi, London, 1906; E. Kupffer, Die Maler der SchBnheit, G. A. II Sodoma, Leipsic, 1908; Lilian Priuli Bon, Sodoma, London, 1908; G. Bordiga, Notizie intomo alls opere di Gaudenzio Ferrari, Milan, 1821 ; Pianazzi and Bordiga, Le opere di Gaudenzio Ferrari, 1846; Caccia, II Sacra Monte di Varallo, Milan, 1876; G. Colombo, Vita e opere di Gaudenzio Ferrari, Turin, 1881 ; A. Massara, Intomo a Gaudenzio Ferrari, Novara, 1903; Ethel Halsey, Gaudenzio Ferrari, London, 1904; G. Pauli, Gaudenzio Ferrari in Das Museum, v. 57 ; G. Moretti, // Santuario di Saronno in Raesegna d'Arte, 1904. FIG. 370. FRAGMENT OF THE CUPOLA OF S. MARIA DEI MIRACOLI. (G. FERRARI.) Saronno. (Photo. Anderson.) 216 FIG. 371. PALAZZO MADAMA, TURIN. (Photo. Altnati.) CHAPTER XVII ART IN PIEDMONT FROM THE REVIVAL OF THE SAVOYARD MONARCHY TO THE CLOSE OF THE NINETEENTH CENTURY. Emmanuel Philibert a Patron of the Arts. Charles Emmanuel and His Collections. Charles Emmanuel 11. a Patron of Foreign Artists. The Arts under Victor Amadeus II. Filippo Juvara. Francesco Gallo. G. B. Sacchetti. Annexation of Piedmont by the French. French Influences. The Albertina at Turin. Massimo d'Azeglio. Carlo Marochetti. Landscape Painters of the Modern School. PROCEEDING with our notice of the art of Piedmont, we now arrive at the time of Emmanuel Philibert, thanks to whom the country attained to a high degree of dignity and fortune. Legislator, controller, and renewer of his state, he did not confine his attention to such matters as the supreme Court of Justice, to the administration, to agriculture, and to the army ; in contrast to his predecessors, who passed much of their time beyond the Alps, he established his courl at Turin ; to this town he transferred the university, which he took under his protection ; there he built the citadel, and organised the mint, and there he died, in 1 580, after a long and successful reign. At the moment of the revival of the Savoyard monarchy, which was brought about by the peace of Cateau-Cambresis in 1 559, a few painters faithful to the local style still survived, as we have seen, although this style may be considered to have been finally condemned by the defection of the greater artists, such as Sodoma 217 ART IN NORTHERN ITALY FIG. 372. NATIVITY. (G. VERMIGLIO.) Brera, Milan. (Photo. Ferrario.) and Gaudenzio. No wonder that this moribund art re- ceived its final quietus, when Emmanuel Philibert went beyond the confines of his state in search of the artists he employed. He began by finding them not very far from home (1561-1573); Giacomo Vighi, known as Argenta, from the place of his birth near Bologna, was a talented painter of portraits whom he dispatched to France, to * Bohemia, and to Saxony, to paint the princes of those countries and to buy pictures ; Alessandro Ardente of Faenza, who died in 1 595, was another native of the Romagna who found favour with him. We find, further, that Philibert and his wife, Margaret of France, favoured Venetian art, turn- ing to Paris Bordone, to Jacopo Bassano, and Palma Giovine. Charles Emmanuel takes a higher position than his predecessor as a lover of letters and of the arts, if not by virtue of intellect and warlike spirit. During his reign (1 580-1630) a notable collection of objects of art, of manuscripts, and of valuable books, was brought together at Turin, and to hold these he built a huge gallery decorated by various artists, both foreign and Italian, among them Federico Zuccari, who found occupa- tion there for more than two years, from 1 605 to 1 607 ; in this last year died the Fleming Giovanni Caracca (Jan Kraek or Carrach). He had migrated to Piedmont some forty years previously on the invitation of Duke Emmanuel Philibert, who had appointed him painter to the court. 218 FIG. 373- THE ARTIST AT WORK. (PORTRAIT OF HIMSELF.) (G. CACCIA, CALLED IL MONCALVO.) Parish Church of Moncalvo. ART IN PIEDMONT FIG. 374. PIAZZA AND PALAZZO DEL MUNICIPIO, TURIN. (Photo. Alinari.) Other artists who flourished at Turin between his time and that of Charles Emmanuel were Giuseppe Vermiglio of Alessandria (1575?-I635?, Fig.372), and his fellow citizen, Giorgio Alberini (1576- 1627 ?), who collaborated with Moncalvo in his paintings, and was content to remain modestly at Casale and enrich it with his works, while Cesare Arbasia (1550-1614), who came from Saluzzo, wandered all over Spain, painting in Cordova, in Malaga, and in other cities. But the most notable artist of this period was Guglielmo Caccia, known as Moncalvo (Fig. 373), who was born at Montabone near Acqui about 1570, and who died in 1625 at Moncalvo, from which town, where he passed most of his life, he took the name by which he is best known. Over-hasty and prolific, he failed to attain to the position to which his talents seemed to have destined him at the beginning. He worked in various parts of Lombardy and in half the towns of Savoy, more successful as a fresco painter than in his oil pictures, for he is some- times weak in the technical handling of this latter medium. In order to carry out the manifold commis- sions that he received he availed himself of the as- sistance of numerous pupils, many of them poor painters (among others, of his two daughters Orsola Madda- lena and Francesca, both of them nuns), a fact which accounts for the feebleness of many of his works. With the advance of the seventeenth century the number of 219 FIG. 375. MARTYRDOM OF S. PAUL. (A. MOLINERI.) Gallery, Turin. ART IN NORTHERN ITALY FIG. 376. PALAZZO CARIGNANO, TURIN. (Photo. Brogi.) artists increased, especially during the reign of Charles Emmanuel II. ( 1 638- 1 675), who, loving display, erected many important buildings, among them the new Pa- lazzo Reale at Turin and the Castello della Veneria. But his incredible mania for furnishing all these buildings in the shortest possible space of time led him to purchase pictures of every kind, many of them very inferior, and to give occupation to second- class painters ; among these the Fleming, Jan Miel, who died at Turin in 1664, scarcely six years after he had migrated from Rome, is easily first. Giovanni Antonino Molineri, who was born at Savigliano about 1 575 and was still living in 1642 (Fig. 375), carried out some broadly con- ceived frescoes. Charles Emmanuel summoned from Savoy Laurent Dufour (died 1678?) and his brother Pierre (died 1702), while Charles Dauphin (died 1670), a pupil of Simon Vouet, came from Lorraine to enter the service of the Prince of Carignano. Charles Emmanuel was succeeded in 1675 by the youthful Victor Amadeus II., who reigned for more than half a century. At first he was devoted to warlike enterprises and to diplomacy ; later on after he had become king of Sicily in 1 7 1 2 he applied himself with greater zeal and ardour to the patronage of art. A prominent painter of the day was the Viennese Daniel Seiter, whose innate heaviness of touch and poverty of colour had been little improved by a course of study at Venice. In 1687 he 220 iiG. 377. CHURCH DELLA CONSOLA1A, TURIN. (Photo. Alinari.) ART IN PIEDMONT received the appointment of painter to the Ducal court, and he painted among other things a whole gallery in the Palazzo Reale. In fact the reign of Victor Amadeus, in spite of its long duration, would have to be considered as artistically one of the least important in the annals of Savoy, had it not happened that, in 1713, while trav- elling in Sicily, he had made the acquaintance, and appreciated the work of, Filippo Juvara or Ju- Varra, the famous architect FIG - 378. CASTELLO DEL VALENTINO, TURIN. of Messina (1685-1 735). f When Juvara arrived in Turin many good examples were to be found there of the Baroque style of architecture ; among these we must reckon, not so much the works of the Orvietan architect Ascanio Vittozzi, who built the church of Corpus Domini in 1610, as those of Carlo Emanuele Lanfranchi, the architect of the Palazzo di Citta (1669, Fig. 374), of Carlo Amadeo Castellamonte, the architect of the Palazzo Ducale (now Reale) at Turin, and of the Castello della Veneria, and the designer of the Piazza San Carlo ; and above all, those of the Modenese Guarino Guarini (1524-1683), to whom we owe the church of San Lorenzo, the Carig- nano Palace (Fig. 376), and a building that is ad- mired above all for the originality of the concep- tion and for the mechanical skill shown in the con- struction the chapel of the Santa Sindone (Fig. 380), adjoining the cathe- dral. Meantime the fact should be noted that in Messina Guarini had suc- cessfully carried out several buildings (among them the celebrated church of the Theatines, the Annunziata), so that Juvara, before 221 FIG. 379. SUPERGA, TURIN. (Photo. Alinari.) ART IN NORTHERN ITALY FIG. 380. CAPPELLA DELLA SINDONE, CATHEDRAL, TURIN. (Photo. Alinari.) coming to Turin, and while still quite a youth, had an opportunity of appreciating the worth of the older architect in his native city and of there studying his work work so full of vivacity and fancy, and at the same time constructively solid and severe. For the rest it was thanks to Guarini that the imposing Italian type of the Baroque was able to assert itself boldly in Piedmont, and to hold the field against the French style, an attempt to impose which had been made in the case of the Castello del Valentino (Fig. 378), built by a pupil of the architect Salamon Debrosse at the command of Cristina (Madama Reale), daughter of Henry IV of France. In 1713 the Ligurian Giovanni Antonio Ricca laid the founda- tion of the Turin University, and he was no doubt looking forward to occupation and fame, when Juvara came upon the scene to deprive him of every hope. When, in fact, the Sicilian architect arrived in Pied- mont, he was already supported by the high estimation of his fellow artists and by the patronage of the Duke, and he was soon able to assert himself, thanks to principles informed by a certain classical simplicity, and influenced by the school of Carlo Fontana. In addi- tion to this, the vivacity and promptness that he showed in the conception and execution of his designs aroused such universal ad- miration, that from every part of Italy, as well as from abroad, he was overwhelmed with requests for sketches and designs for altars, churches, and palaces. Meantime, 222 FIG. 381. GRAND STAIRCASE, PALAZZO MADAMA, TURIN. (Photo. Alinari.) ART IN PIEDMONT in the vicinity of Turin he built the Superga (Fig. 379), admirable for the grandeur of the whole conception ; in the city itself the facade (Fig. 371), and the main staircase (Fig. 381) of the Palazzo Madama, the church of the Carmine, the facade of Santa Cris- tina, where indeed he has thrown to the winds his accustomed restraint ; and, not to speak of other works, in the adjacent district the sumptuous castle at Stu- pinigi (Fig. 382). An architect from Mon- FIG. 382. CASTLE, STUPINIGI. (Photo. Altnari.) dovi, Francesco Gallo (1672-1750), was at work in Piedmont contemporaneously with Juvara, He was at once soldier, topographer, military engineer and architect, and to him we are indebted for more than one building that entitles him to rank as a true artist. All these, how- ever, were surpassed in vigour and in beauty by the gigantic ellip- tical cupola raised by Gallo above the Santuario of Vicoforte, built by Vittozzi (Fig. 383). The Duke had recourse to Gallo repeatedly in connection with plans for fortifica- tions, but he could never succeed in inducing him to abandon his na- tive town and establish himself in Turin. Juvara, of course, left pupils and imitators behind him in Turin. Among the first were G. B. Sac- chetti, who was taken by the master to Spain where he afterwards built the Royal Palace at Madrid ; among the latter we must reckon Bernardo Vittone and Count Benedetto Alfieri who, in the church of SS. Giovanni Battista e Remigio (1756- 1776) at Carignano, shows a certain eccentricity, but also proves his talent (Fig. 384). 223 FIG. 383. CHURCH, VICOFORTE. (Photo. Melano Rossi.) ART IN NORTHERN ITALY FIG. 384. CHURCH OF SS. GIOVANNI BATTISTA AND REMIGIO, CARIGNANO. (Pholo. EcdeSW.) In the domain of painting Claude Beaumont (1694-1766), who had worked in the school of Francesco Trevisani in Rome, rose to distinction. On his return to his native town, Turin, in 1 73 I , Beaumont was appointed painter-in-chief to the king ; here he accu- mulated honours and for- tune, being with justice considered the most im- portant artist of the day in Piedmont. His best known work is the decoration in fresco of the gallery in the Royal Palace, called after him the " Galleria Beau- mont " (Fig. 385). As is well-known, the eighteenth century closed with the abdica- tion of Charles Emmanuel IV. (December, 1 798) and the annexation of Piedmont by the French, who established a provisional government there and appointed a commission " of Arts," whose task it was to select the best pictures and to despatch them to Paris, where they were placed in the Museum of the Louvre. To this organised plun- dering, carried out under the pretext of enriching the public collections of Paris, must be added many ar- bitrary seizures by the French generals and officials for their private advantage. With the restoration of 1814, Victor Emmanuel I. returned to Piedmont and, as in the case of other princes who were restored to their states, he regained posses- FRIUMPH OF VENUS. FIG. 385.- Palazzo Reale, Turin. (BEAUMONT.) (Photo. Charvet.) sion of many of the works of art that had been pre- viously carried away. Of the various artistic movements of the nineteenth century something has already been said when treating of the art of Venice and of Lombardy. In Piedmont also there was an improvement 224 FIG. 386. ULYSSES AND NAUSICAA. (M. D'AZEGLIO.) Museo Civico, Turin. upon the past, only here the development came about under a more distinctly French influence, as may be readily seen in the works of Pietro Bagetti of Turin (1764- 183 5), who painted the victories of the French for Napoleon, and of his fellow citizens, G. B. de Gubernatis (1775-1837), both statesman and land- scape painter, and Luigi Vacca (1771- 1854), to whom we are indebted for the drop- scene of the Carignano theatre, where the spirit of Tiepolo is fused with the lighter touch of the French decorative artists in a composition remarkable for its gaiety and brilliance. Meantime the neo-classic school was making way, thanks especially to the efforts of the sculptors, among whom we must mention Giacomo Spalla, a disciple of Canova, and Vittore Amadeo and Luigi Bernero who were also painters. Piedmont indeed at this time produced some notable painters, but they did not remain there long, attracted above all by the fervour of the artistic life that pre- IBBI i vailed in Milan. Giuseppe i Mazzola (1748-1838), after having studied in Rome and worked at Turin as well as in his native Valduggia, took up his abode in Milan, and there, too, Giovanni Migliara of Alessandria (1785-1837) passed nearly the whole of his life, painting little land- scapes, historical scenes and genre subjects with rare elegance. The subsequent victory of the Romantic School corresponded very closely with the reorganisation brought about by Charles Albert in the Academy of Fine Arts, called at that time the 225 FIG. 387. PALAZZO CARIGNANO, PIAZZA CARLO ALBERTO, TURIN. (Photo. Brogi.) ART IN NORTHERN ITALY Albertina after him, although the institution dated back to the seven- teenth century. Among the most notable masters of this period was Massimo d'Azeglio (1798- 1866, Fig. 386), better known as a statesman and as an author. An impor- tant position was taken by sculpture, thanks to the dis- tinguished work of Carlo Marocchetti (1805-1868), an unequal artist indeed, not always happy in his inspiration, but who attained from time to time to a rare level of excellence, as in PIG. 388 -CATHEDRAL NOVARA. ^ ^^ ^^ of (Photo. Alinan.) ,-, , Tv . .... T t,mmanuel rhihbert. In addition to this, the Turin school of sculpture received support from the teaching of Vincenzo Vela (see pp. 1 77, 1 78) ; among his disciples were Scipione Cassano (d. 1 906), the sculptor of the lifelike figure of Pietro Micca, and Pietro della Vedova (1831- 1898). At a later date the Lombard sculptor, Odoardo Tabacchi (1831-1905, see pp. 177, 178), taught at the Albertina, and his studio produced a band of young artists who do honour to Turin and to Italy at the pres- ent day. It was, however, the landscape painters who were the first to emanci- pate themselves in some degree from the subjection to Romanticism, and to break fresh ground ; and foremost among these we must reckon Antonio Fontanesi ot Reggio Emilia (1818-1882), an erratic and poetical spirit, whose meritorious work was for long years almost entirely neglected. No doubt he felt the influence of the French painters, 226 FIG. 389. A CARAVAN IN THE DESERT. (A. PASINI.) Accademia, Florence. (Photo. Brogi.) ART IN PIEDMONT but this was only in externals in the manner of execution for the Crofoundly emotional, almost religious note which informs his mdscapes is an essentially personal one. Nor did architecture lack notable representatives in Turin in the nineteenth century ; the facade of the Palazzo Carignano confronting the Piazza Carlo Alberto (Fig. 387), is remarkable for its beauty ; this p'alace was built between 1864 and 1871 by Gaetano Ferri of Bologna (died 1897) and Giuseppi Bollati of Novara (1819-1869); equally notable for vigour of conception is the erection originally built for a synagogue, then bought by the city as a national memorial of Victor Emmanuel II. ; from the name of the architect Alessandro Anto- nelli of Ghemme (1798-1888) this has come to be known as the Mole Antondliana (Fig. 390). The constructive skill shown by him in this building, which rises to a height of 1 64 metres, is admirable for the simplicity and the novelty of the means adopted. However, it cannot be said that all the parts combine to form a harmonious whole, and perhaps, from an aesthetic point of view, the cupola of S. Gaudenzio and the cathedral (Fig. 388) at Novara are better evidences of the genius of Antonelli. But enough of Piedmont, which, in spite of the many gifted artists it has produced, yet never attained in the domain of art to the lofty position of other regions, and this in consequence of a failure to combine the local forces and to direct them to the attainment of a definite type. The pages that we have devoted to this land, where names occur sporadically, and facts are but loosely correlated, inevitably reflect the character of the local art. FIG. 3QO. MOLE ANTONELLIANA, TURIN. (Photo. Alinari.) BIBLIOGRAPHY OF CHAPTER XVII Lanzi. Sloria plttorica : Picmonle; Burckhardt, Der Cicerone ; Ricci, Storia dell 'Architettura; Rollins- Villard, Modern Italian Art; Baudi di Vesme, Catalogo delta Pinacoleca di Torino; De Giorgi, Piltori alessandrini, Alessandria, 1836; C. Turletri, S/on'a di Saoigliano, Savigliano, 1883; Callari, Sloria dell'Arte contemporanea; A. Colasanti, Fifty Years of Italian Art- 221 Y2 ART IN NORTHERN ITALY De Gubernatis, Dizionario Jegli artist i Italian! ; M. Michela, Arte moJerna in the vol. Torino, Turin, 1884; F. Negri, Giorgio Alberini pittore, Alessandria, 1815; F. Negri, // Moncaloo, Alessandria, 1 896 ; Clemente Rovere, Descrizione del Reale Palazzo di Torino, Turin, 1 858 ; E. Bonardi, // Palazzo Reale di Torino in Gazzetta del Popolo, Turin, 1 904 ; for Beaumont see Puttini e figure decorative, Turin, Charvet and Grossi ; Alfredo Melani, L 'abate D. Filippo Juoarra in Vila d'arte, 1 909 ; G. Deabate, Clone messinesi e calabresi in Piemonte in the Nuooa Antologia, cxxxix, 1909 ; F. A. Bosio, Belle Arti nella caltedrale torinese e anticaglie nella cappella delta S. Sindone, Turin, 1 857 ; G. C. Chiechio, Francesco Gallo ingegnere e architetto, Turin, 1886; Chiechio, Pitlu re del Santuario di Mondavi, Cuneo, 1890; L. Melano-Rossi, The Santuario of the Madonna di Vicp, London, 1907 ; La basilique de Superga, Turin, 1841 ; G. Caselli, La Mole Anlonelliana in Arte e Storia, 1895; G. Lavini, A lessandro A ntonelli, and G. Caselli, II Santuario di Roccanouarese, architettura di A. A ntonelli in \heArchitettura Italiana, iv, Turin, 1909; L. de Laverque, Statue gquestre d'Emm. Philibert par Marocchetti In the Reoue Francaise, anno vi ; P. Giusti, G. M. Borzanigo, Turin, 1 869 ; M. Calderini, Memorie postume di Francesco Mosso, Turin, 1885; M. Calderini, Antonio Fontanesi, Turin, 1903; E. Thovez, Antonio Fontanesi in Emporium, July, 1901 ; Lorenzo Delleani in Emporium, June, 1898. 228 i'IG. 391. DOOR-HEAD. S. GEORGE AND THE DRAGON, PALAZZO IN VICO MELE, GENOA. (Photo. Alinari.) CHAPTER XVIII SCULPTURE AND ARCHITECTURE IN LIGURIA Aspect of Liguria. Roman Remains. Romanesque Churches. Gothic Churches. General Character of Churches of Genoa. Cathedral of S. Lorenzo. Type of Genoese Palaces. French and Tuscan Influences. Majolica Tiles. Magistri Antelami. The Solari, and other Sculptors. The Gaggini. Galeazzo Alessi. His 'Palaces in Genoa. Later A rchitects. A MARVELLOUS land is Liguria, sloping down to the sea upon the great curve of coast between Lerici and Turbia. There is perhaps no tract of land more varied, even if there be one more beautiful. The whole is a succession of small and half-hidden bays, of rugged rocks, of green meadows, of wooded hills, and of mountains crowned by ancient fortresses. On every side, amidst the luxurious vegeta- tion and the endless throbbing of the sea, there are fishing villages alternating with sumptuous villas ; cities swarming with busy life and with cheerful hostelries ; delicious tranquil bays, with ports or arsenals crowded with men and with labour ; and in the midst lies Genoa, the rich, proud, and magnificent city which dispenses employment and well-being to all the surrounding country, whence from every side she receives the undisputed homage and veneration due to a provident and careful mother. He who believes Liguria to be devoted to gain and contemptuous of the arts does her injustice. True, she has preferred not to be herself a producer ; but, on the other hand, she has eagerly sought for things of beauty and paid for them generously, although she may have had to go to other lands to satisfy her wants. Thus it happens that the region is essentially a home of art, and as such it presents 229 ART IN NORTHERN ITALY itself to one who traverses it without preconceptions, and does not confine his sojourns to the haunts of pleasure. Here are fine Roman remains, such as the bridges over the Bormida at Millesimo and the Centa at Albenga ; the sepulchral monument, known as the Faro, on the brow of the hill near the latter town ; the singular lighthouse tower on the rocky islet opposite Bergeggi ; the theatre at Ventimiglia and the ruins of Luni. Then again, coming to the Middle Ages we find such military works as the Soprana and Vacca gates at Genoa ; the walls of Levanto, of Noli, of Monterosso, and of Porto Venere ; the towers of Noli, of Andora, and of Portofino ; the castle of the Doria at Dolceacqua, and those of Castelnuovo Magra, of Arcola, of Gavone at Finalborgo (Fig. 392), of Sarzana, of Appio, and, surpassing them all, the magnificent fortress of Lerici ; then the Baptistery (Fig. 393) and the lower part of the facade of the cathedral at Albenga (the oldest Christian building in the whole of Liguria, perhaps of the fifth century) ; notable Romanesque churches, such as the cathedral and the baptistery at Ventimiglia ; S. Siro with the adjacent Canonica at S. Remo ; the cathedral at Gavi ; the parish church of Borzonasca, with its exterior arcade supported by lofty wall-strips ; S. Paragorio at Noli ; the convent on the islet of Tino in the Gulf of Spezzia ; the two churches dedicated to St. Bartholomew at San Pier d'Arena and the picturesque ruins of S. Pietro at Porto Venere, planted proudly upon the edge of the black rock that overhangs the sea. Then again we have a whole series of buildings in which the Romanesque arch is married to the ogival, and others in which the ogival has finally triumphed, as in the church of SS. Giacomo e Filippo, and in that of the Castello at Andora (Fig. 395) ; in the ruined church of Valle Cristi near Rapallo (Fig. 394), in the already mentioned cathedral of Albenga (Fig. 396), in the abbeys of Soviore at Monterosso, of S. Maria del Tiglieto at Cervara, of S. Fruttuoso with the tombs of the Dorias (Fig. 397), crouching, as if in fear 230 FIG. 392.- CASTEL GAVONE, FINALBORGO. (Photo. Alinari.) SCULPTURE AND ARCHITECTURE IN LIGURIA FIG. 393. BAPTISTERY, ALBENGA. of the wrath of the sea, between the rocks, and in those of Levanto, of Riomaggiore, and finally of S. Salvatore at Cogorno (Fig. 398), confronting the palace of the Fieschi in the little piazza, close by the valley where at all seasons the fresh stream of the Entella runs between banks lined with trees. Nor at Genoa is there any lack of churches belonging to the Romanesque and Gothic periods, such as S. Maria di Castello, S. Donate, SS.Cosme e Damiano, S. Maria delle Vigne, of which the cloisters are of the eleventh century, the tower of the twelfth, while the interior dates from 1 586 ; S. Matteo in its little antique piazza, and S. Giovanni Battista di Pre, remarkable for its lower church and its beautiful Gothic bell- tower (Fig. 399). In these churches the basilican type predominates, with a tympanum and drip mouldings on the facade; the walls are strengthened by pilas- ters, and crowned by blind arcades. Above a single doorway, with simple mouldings, opens a great rose win- dow. Generally, too, the facades and the side walls, and sometimes also the walls of the interior, are faced with bands of black and white marble. The square bell-towers usually terminate in a faceted spire with four pinnacles at the angles, after the French style ; and at Genoa this French influence is shown also in the ornamental details of the cathe- dral dedicated to S. Lawrence, the richest and most interesting church in the whole of Liguria (Figs. 400,40 1 ). The earliest records that we have of this building go back to the last years of the eleventh century, to a time when the 231 FIG. 394. RUINS OF THE CHURCH OF VALLE CRISTI, RAPALLO. (Photo. Alinari.) ART IN NORTHERN ITALY FIG. 3QS. CHURCH OF THE CASTELLO, ANDORA. (Photo. Alinari.) Crusaders, led by Gughelmo Embriaco, had just returned from the East bearing precious relics. The church was consecrated in 1118. To this time belong, at least in part, the side entrances and some sculp- tures in other parts with episodes in the life of the Virgin. The French in- fluence appears, however, in the pilasters and in the relief within the lunette over the main entrance, where a Gothic arch gives evi- dence of a later period of the beginning, perhaps, of the fourteenth century. It represents the Redeemer enclosed in the usual mandorla, between the symbols of the Evangelists, and below it we see the martyrdom of S. Lawrence. To this time also must belong the figure of the so-called Arrotino, carrying in his hand the disk of a sundial, a statue that has been wrongly regarded as represent- ing some saint, such as S. Quirino, holding his emblem of martyrdom, a millstone (Fig. 401). The cathedral was burnt in 1296, and the interior was rebuilt in the course of the following ten years in the pointed style then in favour (Fig. 402). One Marco da Venezia was employed on the work, perhaps the same man who built the cloisters of S. Matteo. Finally, in 1567, Galeazzo Alessi erected the cupola. During the two following centuries the building was degraded by various additions, and only in 1 896 were any important works of res- no 396 ._ CATHEDRAL , ALBENCA . toration undertaken. (Photo. Alinari.) The palace of S. Giorgio is typical of the ancient palaces of Genoa (Fig. 403) : founded shortly after the middle of the thirteenth century, repaired in 232 SCULPTURE AND ARCHITECTURE IN LIGURIA FIG. 397- S. PRUTTUOSO, WITH THE TOMBS OF THE DORIA, PORTOFINO. (Photo. Alinari.) the following century, and enlarged in 1571, the old building was only rescued from destruction and restored within the last few years. It rises in two storeys over the portico, the first with quadruple, the second with triple windows, and it is crowned by an embattled cornice. Of later date are the unique, richly decorated doorways, with architraves carved with sacred subjects the Adoration of the Magi, the Annunciation, or, more often, S. George (Fig. 391). To these we shall return presently. All the Ligurian buildings that have been mentioned so far reveal those foreign influences to which we have already referred. In the vaulting of the church of S. Michele at Ventimiglia we find the revelation of French influence, no less than in the sculptures of the cathedral at Genoa. On the other hand, the further we proceed along the Eastern Riviera towards the Tuscan frontier at the river Magra, the more pronounced are the borrowings from the Tuscan style. The great wheel-windows of the churches between Levanto and Spezzia (Riomaggiore and Monterosso) bear the impress of Pisa. This is still more evi- dent in the decorative work in marble. The capitals, for example, together with the columns, were imported ready finished from the great workshops of the Carrara district. They were articles of commerce throughout the length and breadth of Liguria and even in foreign lands. There was another article of " artistic " commerce which spread 233 FIG. 398. BASILICA OF S. SALVATORE, LAVAGNA. (Photo. Alinari.) ART IN NORTHERN ITALY FIG. 399. CHURCH OF S. GIOVANNI DI PRK, GENOA. (Photo. Noack.) in the opposite direction, from west to east : this was the decorative majolica that had its origin in Spain. The ambrogette (tiles), with which in the thirteenth and fourteenth centuries the pinnacles of the campanili of Albenga and Genoa were covered, and which in the fifteenth and sixteenth cen- turies were used for the lining of walls and for pavements, as in the villa at Carig- nano, show distinct evidence of Hispano- Mauresque origin ; such tiles remained in use until they were replaced by the prod- ucts of the kilns of Savona and of Albissola, an industry that was based on that of Central Italy, from Faenza to Urbino. The artists, however, most active in Liguria were the Lombards, those above all from the Antelamo valley. The re- semblance between the Broletto at Como and the contemporary buildings at Genoa is patent, though they are not absolutely identical. The Genoese artists, indeed, whether native or foreign, did not in the end remain strictly subject to the Lom- bard canons; but, yielding to tech- nical necessities, especially in working the local stone, they ended by creating a distinctly characteristic type of architecture, quite distinct from the original model. _, Already by 1181 we find in Genoa a Martin and an Ottobono, magistri Antelami, a generic name under which it was the habit at that time to include all the maestri who came from the districts of Como and of Lugano. It is probable that the uniformity of the name was in no small measure due to the fact that these men almost always worked in unity, and that they were held together " by bonds of fraternity, by common habits of life, and often also by blood relationship." Thus it came about that these 234 FIG. 4OO. CATHEDRAL OR CHURCH OF S. LORENZO, GENOA. (Photo. Alinari.) SCULPTURE AND ARCHITECTURE IN LIGURIA Maestri Lombardi continued to work as sculptors and builders in Liguria for a very long time. Antonio della Porta of Porlezza worked in the cathedral of Savona (1506), and at Genoa he built the gateway of the edifice erected by Lorenzo Cattaneo near S. Giorgio ( 1 505) and carved the statue of Antonio Doria in the Palazzo di S. Giorgio (1509). Gian Giacomo della Porta (died 1 555) was the author of a number of statues and of the great doors of the houses of the Giustmiam (1515), Salvage (1 532), and Fieschi (1 537) families, also of several fountains together with Niccolb da Corte, with whom, too, he worked at the statues for the Cibo chapel in the cathedral at Genoa. His doorways are no longer crowded with small figures and minute foliage ; they exhibit a bold archi- tectural development with columns and pilasters. In Guglielmo della Porta (1500?- 15 77) we have a greater man, but his presence was soon claimed at Rome, where, among other works, he has left us the tomb of Paul III., a monu- ment which alone would suffice to ensure his fame. There was at work, too, in Genoa, a belated group of that numerous family of the Solari who came originally from the Carona district in the province of Como. A certain Tullio (not to be con- founded with Tullio, the son of that Pietro who was the great founder of the school at Venice : see p. 24) was at work in the last years of the sixteenth century, upon the fountain which stood formerly in the Piazza Soziglia, and one Antonio, later on, upon another fountain formerly in the piazza in front of the Ducal Palace. Daniello, who, like Bernardo Schiaffino, adopted the manner of Bernini in Rome, and who died after 1 702, introduced at Genoa all the pomp of the art he had learned in the Papal city ; a florid example survives in a relief which adorns an altar in S. Maria delle Vigne. He became more refined when brought into contact with Puget, whom he assisted in the works carried out by the latter in Genoa. 235 401. FRAGMENTS OF THE FACADE OF S. LORENZO, GENOA. (Photo. Alinari.) ART IN NORTHERN ITALY The Aprile family also came from Carona, and already by 1 470 we find them in Genoa. At a later date they were employed as sculptors in Spain along with the Gaggini and with members of the Delia Scala family, who, again, were natives of Carona. The close relations between Genoa and Spain resulted in important and frequent commissions for the sculptors who flourished in Liguria. We find Gaspare della Scala in Genoa up to the year 1 494, and there he carved two doors for the Sauli family. The Molinari also worked with the Della Scala, all of them occupied upon various undertakings at Savona. The Sormano family came originally from Osteno, and the oldest member of it decorated with sculpture the sacristy of the Collegiata dell'Assunta at Pra, near Voltri, in 1430. Pace Sormano, for the execution of several pieces of sculpture, entered into partnership with that fanciful sculptor Niccolo da Corte, the author, in 1 530, of the baldacchino over the altar of San Giovanni Battista in the cathedral of Genoa (Fig. 404). It was also in the fifteenth century that the De Aria or De Oria family came down to Genoa from the Valsolda, and before long we find Michele, Giovanni, and Bonino at work decorating the churches and the streets of Genoa and of Savona. Michele, who was also an architect, carved, between 1466 and 1490, four statues for the Palazzo di S. Giorgio. But the work that has brought him most fame is the tomb of the parents of Sixtus IV. in the Sistine chapel at Savona. After that he had recourse, in the execution of the Adorno monument in S. Girolamo di Quarto, to the assistance of Girolamo da Viscardo, a sculptor whose graceful work also found favour in France. Many of the Lombard sculptors were at the same time architects, as, for example, Rocco Lurago, whose imposing yet elegant work has been often confused with that of Galeazzo Alessi. To him we are indebted for the famous Doria-Tursi palace, now the Palazzo Municipale (1 590, Fig. 406), where he was assisted by his brother 236 FIG. 402. INTERIOR OF THE CATHEDRAL OF S. LORENZO, GENOA. (Photo. Noack.) SCULPTURE AND ARCHITECTURE IN LIGURIA FIG. 403. PALAZZO DI S. GIORGIO, GENOA. (Pholo. Alinari.) Giovanni, and by Giacomo and Pietro Carlone, mem- bers of a family that came* originally from the Val d'Intelvi a prolific family that maintained its high artistic standard for fully three centuries. Among its most distinguished mem- bers were Michele, who was at work between 1 497 and 1 520, and Taddeo, who died in 1613. The latter was the author of the church of S. Pietro in Banchi, the decorative part of Nostra Signora della Misericordia near Savona, the fountains before the Palazzo Doria di Fassolo in Genoa, and the doorway of the Palazzo de Ferrari (Fig. 408). Superior to all the others, both on account of their number and of their high attainments, were the Gaggini, some of whom passed from Genoa to Sicily, which is indebted to them for many works of distin- guished merit. Notable examples of their work survive in every style, from the grace of the early Renaissance to the classicism of the late cinque- cento; from the Baroque that fol- lowed this (Giacomo and Giuseppe) to the correct neo-classicism of Canova's day (Giuseppe, 1791- 1867). The founder of the family may be held to be Domenico di Pietro (died 1 492), who came from Bissone in the Lugano district and was already in Genoa by 1 448 ; here he took up his abode and opened a AL R 4 * workshop ; hither he summoned his GENOA. (Photo. Alinari.) relations and began and completed many rich, graceful, and delicate works, at a later date passing on to other tasks at Naples and in Sicily. His most important work, 237 ART IN NORTHERN ITALY FIG. 405. CHAPEL OF S. GIOVANNI, CATHEDRAL, GENOA. (Photo. Alinari.) however, is at Genoa, the design of the chapel of S. Giovanni Battista in the cathedral (Fig. 405), a work carried out by him with the aid of his nephew Elia ; the latter had shortly before returned from Udine, where, together with Lorenzo di Martino of Lugano, he had been employed upon the magnificent Loggia Comunale. After this Elia found other work to do in Genoa, but he, too, finally departed, being summoned to Citta di Castello and to Perugia. Meantime, Giovanni d'Andrea, who was at work between 1460 and 1 49 1 , built the palazzo that was afterwards presented by the Doria. Giovanni di Beltrame, known 1 506), introduced into Genoa those Republic to Andrea as Bissone (he died after carved portals, richly decorated with ornaments and with figures the favourite subject for which was St. George slaying the dragon, as in that of the Palazzo Danovaro (formerly Doria). Giovanni's brother Pace (1450?- 1522?, Figs. 407, 409) was also employed at the Certosa of Pavia, and, along with Antonio della Porta, known as Tamagnino, received commissions for France and for Spain, especially for Seville, in which city may also be found sculptures by Bernardino Gaggini, who flourished between 1513 and 1544. In the face of this stream of artists who descended upon Genoa from the heights of northern Italy, one must not overlook a few men who approached her from the other side, from Tuscany more especially. Matteo Civitali and Andrea San- sovino produced a number of beautiful statues for the chapel of 238 FIG. 406. PALAZZO DORIA-TURSI, GENOA. EXTERIOR. (Photo. Alinari.) SCULPTURE AND ARCHITECTURE IN LIGURIA FIG. 407. STATUE OF FR. LOMEI.LINI, PALAZZO DI S. GIORGIO, GENOA. San Giovanni Battista in the cathedral ; Giovan Angiolo Montorsoli, the wander- ing friar who scattered his works over half Italy, has left us in Genoa the magnificent Palazzo Doria a Fassolo (Fig. 4 1 0), to say nothing of the internal decoration of S. Matteo (Fig. 411); in this latter work he had the assistance of the Bergamasque architect Gian Battista Castello (1509-1579?), who built the Palazzo Imperiale (Fig. 4 1 2) and finally went to Spain on the invitation of Philip II. After the great sack of Rome, Perin del Vaga, the lively Floren- tine decorator, appeared in Genoa ; here in the Palazzo Doria a Fassolo he achieved his most important work, one of the most splendid examples of the Raphaelesque style of decoration, a combination of stucco reliefs and of paintings or "histories" and of grotesques (Fig. 414). Nor must we overlook Gian Bologna, who later on executed some exquisitely graceful statues now in the Uni- versity. But among the many foreign artists who flocked to Genoa to embellish the city, Galeazzo Alessi is supreme ; he was to Genoa what Sansovino was to Venice, Palladio to Vicenza, Michelangelo and Ber- nini to Rome. Alessi was born at Perugia in 1512, and there he received his earliest training under G. B. Capo- rali and Giulio Danti. It was at Rome, however, and by Michel- angelo that so he himself con- fesses the definite direction of his art was determined. On his re- turn to the city of his birth, he found employment in various under- takings, especially at the Rocca Paolina (the castle built by Paul III.), and after having furnished the plans for several sacred 239 FIG. 408. DOOR OF THE PALAZZO DE FERRARI, GENOA. (PflOlO. Alitiari.) ART IN NORTHERN ITALY FIG. 40Q. DOOR OF THE PALAZZO DORIA IN THE VIA CHIOSSONE, GENOA. (Photo. Alinari.) buildings, he betook himself to Genoa in search of better fortune. Here, in 1549, we find him negotiating the con- tract for the erection of the church of S. Maria in Carignano (Fig. 413), to- gether with the hospital and canons' residences. He also undertook the great works on the mole, and erected upon the crescent-shaped embankment a huge portico, in the centre of which a mas- sive gateway, with three arches on the inner side, but only one externally, flanked by two solid gate-houses, gives access to the city. There is reason to believe that Alessi had already taken part in the works connected with the enlargement of the city of Perugia ; certainly in Genoa, starting from the year 1 551 , he devoted himself to the carrying out of the great municipal scheme for the systematic re- building and straightening of the Strada Nuova (now the Strada Garibaldi) ; it was he who designed nearly all the palaces that line this famous street. Of the buildings erected by Galeazzo in Milan we have already spoken (see p. 168). His journeys to Bologna, to Umbria, to Pavia, and his various lesser undertakings we must pass over. He made plans for the Escu- rial, but never went to Spain. He preferred to remain at Genoa, and there he erected the cupola of the cathedral, many new palaces, such as the Cen- turione, the Sauli, the Cambiaso, the Parodi, Spinola, Giorgio Doria, Adorno, Serra, etc., as well as numerous villas for example, the Cambiaso at S. Francesco d'Albaro, the Scassi (Fig. 417), and 240 FIG. 410. PALAZZO DORIA A FASSOLO, GENOA. (Photo. Alinari.) SCULPTURE AND ARCHITECTURE IN LIGURIA FIG. 411. CHURCH OF S. MATTEO, GENOA. INTERIOR. (Photo. Alinart.) the Spinola at San Pier d'Arena; he was thus occupied up to the time of his death, which occurred at the end of the year 1572. It may be said that it was thanks to Alessi's activity that the type of the Genoese palace reached its full development and was fixed once for all. It had been a simple one in the hands of Montorsoli, who was contented to obtain any decorative effect he sought for from painting alone ; with Castello it had become in a measure eclectic ; it remained for Alessi to give it precise and definite character. Gifted with a sentiment for harmony and for gran- deur, he -was able to combine these qualities, even amidst grave difficul- ties, thanks to a happy disposition of the constituent parts and to a refined artistic taste. In accordance with his means and with the locality, he could be now sober and restrained, now profuse and daring. Certain it is that on every occasion when, as regards the building itself, the spacing or the light, he had full liberty for the display of his creative gifts, he produced true masterpieces. In S. Maria in Carignano, although closely following Michelangelo's design for St. Peter's, he succeeded in producing a new effect, by including the Greek cross of the plan within a square ; the minor cupolas, again, do not take the form of satellites of the central dome, but rise independ- ently as lantern-towers. Galeazzo, in his palaces, generally placed above his ground floor a very lofty storey ; at times, however, between the two we find a storey of less height ; and between these, a string-course that projects con- 241 R FIG. 412. HALL OF THE PALAZZO IMPERIALI, GENOA. (Photo. Alinari.) ART IN NORTHERN ITALY FIG. 413. S. MARIA, CARIGNANO, GENOA. (Photo. Alinari.) siderably. Above, the building is completed by a bold cornice and by a balustrade. Still more character- istic are the staircases and the halls, to which access is obtained through the main doorway, which opens ex- actly in the centre. These noble vestibules compensate for the small size of the inner courts ; they serve also to give an air of magnificence to the part of the palace best seen from the narrow street. There is a single flight of stairs (generally to the left) ; in the richer examples there are two ; these stairs are re- solved into the architectonic scheme of the peristyle, and in movement and in variety of line they add Indeed, the expedients adopted to At times the various greatly to the scenic effect, achieve this effect were extraordinary, proprietors came to an agreement that enabled the architect to arrange their respective entrance halls upon the same axis, obtaining by this means a common advantage in the greater perspective effect of their houses. Nor, in Genoa, did the line of ood architects come to an end in e seventeenth or the eighteenth century. Antonio Rocca, who was also a painter, has left us in the little church of S. Torpeto a mar- vellous example of grace and beauty ; while the Comascene, Bartolomeo Bianco, inherited from Alessi his feeling for grandeur, if not his restraint, and, without de- parting from the traditional type, he succeeded in enriching it with some novel elements ; this we may see in the Palazzo dell'Universita (1628, Fig. 415), in the Palazzo Balbi-Senarega (which was 242 FIG. 414. FRAGMENT OF A CEILING, PALAZZO DORIA, GENOA. (Photo. Alinari.) SCULPTURE AND ARCHITECTURE IN LIGURIA enlarged in the eighteenth cen- tury by Pier Antonio Corradi), and in the Palazzo Durazzo Pallavicino ; to this last palace a superb staircase was added by Andrea Tagliafico, who found work also in the transformation of the interior of the Palazzo Serra ; meanwhile Gregorio Pe- tondi erected the Palazzo Balbi ; here, after overcoming by his in- genuity the difficulties of the ground, he built an entrance hall of great scenic effect, where the staircase curves round to form as it were a bridge (Fig. 416). The last work of importance, from an architectural point of view, though not the last building erected in Genoa in the eighteenth century, was the facade of the Palazzo Ducale, which was begun in 1 778 by Simone Can tone (1736-1818). FIG. 415. HALL OF THE PALAZZO DELL'UNIVERSITA, GENOA. (Photo. Brogi.) BIBLIOGRAPHY OF CHAPTER XVIII F. Baldinucci, Notizie Jei professor! del disegno ; G. B. Passeri, Vile di pittori, scultori, architetti; L. Pascoli, Vile Je' pittori, scultori ed architetti moderni ; G. P. Bellori, Le cite del pittori, scultori ed architetti modemi ; G. Baglione, Vile dei pittori, scultori, architetti ed intagliatori del pontificate di Gregorio XIII del I 572 fino ad Urbano VIII nel 1642 ; Cicognara, Storia delta scultura, iii ; Venturi, Storia dell'Arte italiana; F. Alizeri, Guida illus- trative per la cittd di Genova, Genoa, 1 876 ; G. Ratti, Istruzione di quanta pud vedersi di piu hello in Genova in pittura, scultura e architettura, Genoa, 1780; Descrizione di Genova e del Genooesalo, Genoa, 1 846 ; G. Cappi, Genova e le due Riviere, Milan, 1892; Francois Girard, Genes, xs environs et les deux Rivieres, Monaco, 1894; W. Suida, Genua, Leipsic, 1909; Saggio bibliografico sulla Ligun'a, Turin, 1899; C. Razzi, Descrizione delle pitture. sculture e architetture che trovansi in alcune citta delle due Riviere dello Stato ligure, Genoa, 1780; D. Bartolotti, Viaggio nella Liguria marittima, Turin, 1834; G. Cappi, La Cornice, Sanremo, 1877 ; G. Cappi, Da Mentone a Genova, Milan, 1888; C. B. Black, The Riviera, London, 1891 ; Elenco provvisorio dei monument! nazionali, regional! e local! delle provincie di Genova e di Porlomaurizio, Turin, 1896; C. Reynaudi, Guida delta Liguria, Turin, 1897-1900; S. Varni, 243 FIG. 416. HALL AND STAIRCASE, PALAZZO BALBI, GENOA. (Photo. Alinari.) R2 ART IN NORTHERN ITALY Appunti artitsicl sopra LeOanto, Genoa, 1870 ; B. Fossati, Taggia in Natura ej Arte, vi, Milan, 1 897 ; Brunengo, Dissertazione sulla cittd di Savona ; G. V. Verzellino, Delle memorie particolari di Savona, Savona, 1691 ; C. Aru, Notizie sulla Versilia in L'Arte, ix, fasc. vi ; V. Podesta, Memorie storiche di Sestri Levante : L 'Isold ; S. Varni, Elenco del document! artistic! : I, Document! riguardanti le arti della pittura, scultura, architettura ed orejiceria in Genova: II, Document! riguardanti varie opere d'arte eseguite net Duomo di Genova, Genova, 1 86 1 ; F. Alizeri, Notizie del professor! del disegno in Liguria dalla fondazione dell'Accademia, Genoa, 18641869; F. Alizeri, Notizie del professor! di disegno in Liguria dalle origin! al sec. xvi, Genoa, 1870-1883; R. Soprani, Vile del pittori, scultori ed architetti genooesi, Genoa, I 768 ; M. Staglieno, Appunti e document! sopra aioersi artisti poco o nulla conosciuti che operarono in Genooa nel secolo xv, Genoa, 1870; L. A. Cervetto, / Gaggini da Bissone, Milan, 1903; L. Filippini, Elia Gaggini in L'Arte, 1908, 26 ; C. Aru, Gli scultori della Versilia in Bollettino d'Arte, 1908, viii and xi ; P. Toesca, Lo scultore del monumento di Francesco Spinola in Scritti di Storia, Filologia ed Arte, Naples, 1908 ; C. Cimati, Gli artisti pontremolesi dal sec. xv al xix in Arch. star, per le Prooincie parmensi, 1895 ; S. Varni, Delle opere di Nicold da Corte e Guglielmo della Porta in Alii della SocUta ligure di Storia Patria, iv ; C. Cesari, Genooa e alcuni portal! del 400, Milan, 1908 ; G. Poggi, Genova, Palazzo Bianco, Museo di Storia e d'Arte, Genoa, 1908 ; F. Genala, II palazzo di S. Giorgio in Genova, Florence, 1 889 ; A. Merli and T. Belgrano, // palazzo del principe Dona a Fassolo in Genova, Genoa, 1 874 ; E. Mella, Baltisteri di Agrate, Conturbia e di Albenga in Atti della Societa dl Archeologia e Belle Art! per la provincia di Torino, iv, 1883 ; P. Castellini, La basilica del Fieschi a S. Sahatore di Laoagna, Genoa, 1902; Podesta, Arte antica nel duomo di Sarzana, Ganoa, 1 904 ; Neri, La cattedrale di Sarzana, Sarzana, 1 900 ; T. Torteroli, Monument! di pittura, scultura e architettura di Saoona, Savona, 1848. FIG. 417. PALAZZO SCASSI, S. PIER D'ARENA. (Photo. Noack.) 244 FIG. 418. CEILING OF THE SALA D'AUTUNNO, BRIGNOLE-SALE GALLERY, GENOA. (D. PIOLA.) (Photo. Noack.) CHAPTER XIX PAINTING IN LIGURIA THE SCHOOLS OF GENOA The Genoese School of Painting. Foreign Artists in Liguria. Tafgia. L.cdo\>ico Brea and His School. Group of Painters at Nice. Luca Cambiaso. Rubens and Vandyck at Genoa. Flemish Painters Working in the City. G. B. Paggi. The Piola Family. // Prele Genooese. Baciccia. Minor A rtists. So far we have seen that with few exceptions Genoa produced neither sculptors nor architects, and that the examples of sculpture and architecture to be found there (the latter, indeed, so happily adapted to their position as to create special types dependent upon technical needs and upon local exigencies) are almost exclusively the work of foreigners. But the same cannot be said of painting, seeing that the town has produced a number of painters, and, what is more important, a true Genoese School arose there, though this was limited in scope and late in origin. We leave to others to collect the earliest scattered records, few and brief, concerning the paintings executed in Liguria from the twelfth to the fourteenth century, more especially in Genoa and Savona, where towards the close of this period there was a pre- ponderance of painters of Tuscan origin. It is of more importance for us to note that by the fifteenth century, as a result of commercial intercourse, we find in Genoa a growing tendency to favour that foreign school of painting which under Flemish influence was spread- ing through Spain, Germany, France, and Italy, chiefly by way of 245 ART IN NORTHERN ITALY the Rhine valley. Innumerable are the paintings, for the most part Flemish, and some of them unquestionably of value, that were to be seen in Genoa in the past : so many were they, indeed, that in spite of the fact that the degenerate descendants of the original purchasers have vied with one another in finding a market for them, not a few still remain in the city. Some of these foreign artists even took up their abode in Liguria. Mention must be made of Alexander of Bruges and of Justus of Ravensburg ; an A nnunciation (Fig. 419) by the latter is preserved in the cloisters of S. Maria di Castello, where, too, Conrad of Germany decorated the vaults with frescoes of Sibyls and Prophets (Fig. 421). Conrad of Germany worked for the most part at Taggia, a pleasant little village between San Remo and Porto Maurizio. There Domenico Emanuele Ma- cario and Lodovico Brea received their art training under his guidance, so that by some, Taggia is regarded as the original home of Genoese painting. Others Sve the merit to Justus of ermany, and others, again find that in the case of those Ligurian painters who show signs of Flemish training we must also take account of Catalan artists, such as Bartolomeo Rubeus, who acquired their technique and formed their style in Flanders, and then carried what they had learned to the Mediterranean coasts to Sicily, to Naples, and to Liguria, where they penetrated as far as the Monferrato country. Indeed, there is a triptych signed by Rubeus in the cathedral of Acqui. That Taggia was for long a favourite resort of artists seems indubitable. In no other town of Liguria, except of course in Genoa, can early paintings be found in such abundance : it boasts several precious works of Brea and of his school, a triptych attributed to Conrad, a polyptych in the style of Canavesio, an altar- piece by Macario, and another by Raffaello de' Rossi. 246 FIG. 410. ANNUNCIATION. RAVENSBURG.) ' Cloister of S. Maria di Castello, Genoa. (Photo. Alinari.) PAINTING IN LIGURIA FIG. 420. CRUCIFIXION. (LODOVICO BREA.) Paizzo Bianco, Genoa. (Photo. Brogi.) On the other hand, while relations with Tuscan painters cannot have ceased altogether, many artists came into Liguria from Piedmont, among them the already- mentioned Mazone, Jacopo, his father, Galeotto Nebea (at work 1497-1518), and Luca Baudo of Novara ; others came from Lombardy (especially after the time when the republic had placed itself under the protection of Filippo Maria Visconti), notably Montorfano, Carlo Braccesco, known also as Carlo del Mantegna, Lorenzo de' Fazoli, Do- nato Bardo of Pavia (Fig. 422), and, before any of these, the strenuous Foppa, who was employed at Genoa, at Rivarolo, and at Savona on several occasions after 1478. Was it indeed possible that the local painters could have resisted the fascina- tion of Foppa's pictures ? Brea's collaboration with him in the triptych at Savona (1490) is not likely to have been without results. Macario, a native of Pigna, a village on the western Riviera, was a Dominican friar, at- tached to the convent of S. Maria della Misericordia at Taggia. He was alive and at work until after 1 522, but as an artist he belongs to the fifteenth century. A notable group of artists flourished at Nice, among them Giacomo Duranti (who painted an altar-piece for the island of Lerins, off the coast of Provence, in 1 454), FIG. 421. CEILING OF THE CLOISTER OF s. MARIA Giovanni Miralieti, and the 01 CASTELLO, GE, (CONRAO OF CERMAN,) ^ ^ Q{ ^ fc ^ family, including Lodovico (1458?-! 5 19, Fig. 420), Antonio, his son (at work 1504-1545), and Francesco (at work 1 530-1 562, Fig. 423), who was eitW his 247 ART IN NORTHERN ITALY FIG. 422. CRUCIFIXION. (BARDO PAVESE.) Gallery, Savona. (Photo. Alinari.) son or his nephew. Among the artists of Nice, Lodovico takes a prominent position, due to the superior refinement of his figures and to the vivacity of his colouring. These men were followed by Teramo Piaggia of Zoagli and by Antonio Semini (1 525-1 591 , Fig. 424), the first a timid painter, held in the bonds of tradition, the second eagei to change his style and to advance in the manner of Pier Francesco Sacchi of Pavia, and above all, in that of Perin del Vaga. Luca Cambiaso (1527-1585, Fig. 425), was the greatest among the artists of Genoa, a man who was so precocious as to have mastered his art at the age of fifteen, and so rapid in execution that he was believed to paint equally well with either hand. Fervently devoted to his art, he did not disdain to listen to the teaching of Alessi and to that of his friend G. B. Castello ; the latter we have seen as an architect (pp. 239 and 241), but he was at the same time a painter of refinement and distinction ; like Luca, he was employed in the Escurial. Eager to know everything and to attempt everything, Cambiaso, when already well advanced in years, went to Florence, to Rome, and to other cities to study the most famous works of the heroes of the Renaissance. His drawings, too, which are to be found in abundance in all the great collections, have been admired for the rapidity of their execution and their dexterity; but their manner- isms, due to an excessive use of an- gular strokes and of calculated fore- shortenings, are more conspicuous than their spontaneity and truth. In some of his paintings, on the other hand, Cambiaso attains to a high level of excellence, thanks to the grandeur of his composition, the well-balanced vigour of his 248 FIG. 423. POPE S. FABIAN. (FRANCESCO BREA.) PAINTING IN LIGURIA FIG. 424. MARTYRDOM OF S. ANDREW. (A. SEMINI.) S. Amhrogio, Genoa. (Photo. Alinari.) chiaroscuro, the beauty of his colour, and the dignity of his figures. The Paradise that he painted in the Escurial was greatly admired, but modern critics find in it much that is unequal and a weakness due, no doubt, to the state of his mind at this time, when, having lost all hope of marrying the lady with whom he was passionately in love, Cambiaso fell into a state of languor and decline. Among the artists who flocked to Genoa at this period were Valeric Corte (1520-1580), a native of Pavia, who brought the manner of Titian from Venice, and his son Cesare (1 550-1613), who followed Cambiaso, and assimilated his delicacy and fine colour. Bernardo Castello (1557-1644) was more akin to the school of Bergamo; intoxicated by the plaudits of the most famous poets of his day, he fell into a hasty and facile style ; he was, however, not without a feeling for grace and a happy gift of invention, as we may see in his illustrations to the Gerusalemme liberata, which found favour with Tasso himself. But the school founded by Castello, and indeed the art of Genoa as a whole, would at this point have been in danger of perishing had not a fresh wave of beneficent foreign influence come to give it renewed vigour. From every side artists of sterling merit flocked to the wealthy and superb queen of the Ligurian coast. As early as 1595 Federico Barocci had enriched the town with the Crucifixion which he painted for the Doge Matteo Senarega. Later on we find here Sofonisba Anguissola of Cremona 249 FIG. 425. PRESENTATION IN THE TEMPLE. (CAMBIASO.) Church of S. Lorenzo, Genoa. (Photo. Noack.) ART IN NORTHERN ITALY FIG. 426. ANNUNCIATION, (o. LOMI.) Gallery, Turin. (Photo. Alinari.) (see p. 190), who brought her fellow-artists together at pleasant gatherings, and Agostino Buonamici, known as Tassi, a talented landscape-painter (he was, indeed, the master of Claude Lorrain), although a man of evil reputation. But of the Italians who came to Genoa the greater number were from Tuscany ; from Siena came Ventura Salimbeni, Ottavio Ghissoni, and Pietro Sorri, a native of S. Gusme, near Castelnuovo Berardenga, and an imitator of Andrea del Sarto ; from Pisa, Cristoforo Roncalli, known as Pomarance, from the place of his birth ; to say nothing of Simone Balli, a Florentine, a refined imitator of the same Andrea ; Balli's master, Aurelio Lomi, and finally the latter's brother Orazio, known as Gentileschi (Fig. 426), an artist so original in his composition and pleasing in his execution that his works were in demand not only in France, but in Spain and in England also. For the rest, the Genoese artist, Gian Battista Paggi (1554- 1627), a cultured and many-sided man, derived from the art of Florence principles of severity and, above all, accuracy of drawing ; at the instigation of his father he had made himself master of the most disparate arts of painting, of sculpture, of music, of fencing, and of horsemanship. As an artist his first master was Luca Cambiaso ; but when, later on, he was banished from Genoa under penalty of death, for having, after long provocation, slain a fellow-citizen, he made his appearance at Florence after a period of wandering. There he gained the favour of the court and became a friend of Gian Bologna ; and there he carried out important works for S. Maria Novella, for the Monastero degli Angioli, for the Annunziata Church, and for other places. Paggi remained in Florence for at least twenty years, that is to say, until 1599, in which year he was enabled to return to Liguria, settling first in Savona and then, a few years later, in Genoa. Meanwhile two artists, whose genius could not fail to exercise an extraordinary influence, made their appearance in Genoa : Peter Paul Rubens and Antony Vandyck. Rubens visited the town in the 250 PAINTING IN LIGURIA summer of 1608, and painted some portraits full of life, as well as some sacred and genre subjects ; he made architectural drawings, too, of several of the palaces, which he published later on at Antwerp. Vandyck visited Genoa in the autumn of 1621, and returned later on ; he painted nearly fifty pictures in the city, among them a series of superb portraits, notable for their beauty of design, of execution, and of sentiment. But these two were not the only Flemish painters who visited Genoa. Many of the pupils of Rubens, of Jordaens, of David Teniers the elder, and of Frans Snyders, taking advantage of the commercial relations between the two countries, and attracted by the reputation that the upper classes of Genoa had acquired as eager lovers of art and of splendour, flocked to the town ; some of them even took up their abode there. There was at the time an abundant demand, not so much for works of sacred art as for decorative paintings for the adornment of rooms in the palaces, and for subjects of genre, battle-pieces, animals, landscapes, and portraits. The activity of this group of Flemish painters (among them we find a few Frenchmen, such as Simon Vouet, and a few Germans, such as Gottfried Wals) continued at Genoa for about twenty years ; for less time, perhaps, than in other parts of Italy, as at Parma, Florence, and above all, in Rome ; but the phase was more intensive and more productive, and this probably for the reason that in the Ligurian capital the Northern artists had not to overcome the re- sistance of flourishing local schools and of weighty traditions. The Genoese, too, for that matter, went to Florence, and to Rome, and in this following in the steps of the Bolognese masters to Parma, where Correggio's masterpieces were to be seen in all their glory ; but on their return to their home the vivacity of the Flemish painters finally drew them within their orbit. Paggi him- self, though trained in the severe school of Florentine draughtsman- ship, became in the end an admirer of Rubens, of Vandyck, and 251 FIG. 427. FRESCO. (G. BENSO.) Church of the Annunziata del Vastato, Genoa. (Photo. Noack.) ART IN NORTHERN ITALY of the others ; he lauded their works and sought their acquaintance ; pointing the way as it were to his own pupils and followers, who thus came to form an intermediate school between the restrained and finished style of the cinquecento painters, and the approaching terribilita of the Naturalists. To this group belong Castellino Castello (1 579-1649), who was so successful a portrait-painter as to win the praise of Vandyck, and Giulio Benso (1601-1668), who abandoned figure subjects to devote himself to architectural and "perspective" pieces, which he treated with great success, as we may see in his fresco at the Annunziata del Vastato (Fig. 427), where, close by, Andrea Ansaldo (1584-1638), his great rival in architectural painting, frescoed a cupola, which shows that while he was a follower of Cambiaso he had enriched his palette with the golden tints of Rubens. Other members of this school are Domenico Fiasella, known from the place of his birth as Sarzana (1589-1669), an artist full of poetry and of repose, prompt and eager both in conception and in execution, but not less so in imitating the works of others, and Francesco Capurro, who, on passing to Modena, abandoned the style of Fia- sella and adopted that of Ribera. Gregorio de Ferrari, too, was a disciple of Fiasella, but before long he took to exaggerating the manner of Piola, and became a fervid devotee of Correggio, not always imitating the best and sanest elements of that artist's work, with the result that his pictures are at times incorrect and confused. On the other hand, in Valeric Castello (1625-1659, Fig. 428), the son of Bernardo, we have an artist who also began as an imitator of Fiasella, but who found in Correggio, in Procaccini, and in Vandyck elements of colour with which to give additional animation to those artistic gifts of his own which are manifested in his brilliant frescoes in S. Marta at Genoa. Capellino was the artistic progenitor of the Piola family : Pellegro (161 7-1640), whom a violent death at the age of twenty- 252 FIG. 428. RAPE OF THE SABINKS. (V. CASTELLO.) Uffizi, Florence. (Pholo. Perazzo.) PAINTING IN LIGURIA FIG. 42Q. CEILING OF THE SALA DI PRIMAVERA. (G. DE FERRARI.) Brignole-Sale Gallery, Genoa. (Photo. Noack.) three prevented from developing the gifts that are revealed in his rare pictures, was an imitator of Andrea del Sarto ; his works show taste and accuracy; Domenico (1628-1 703, Fig. 418) had sentiment and grace, but his composition is commonplace, his effects of light are over-insistent, and his pictures are crowded with unimportant details. Domenico had three sons (Paolo Girolamo Fig. 431 Antonio, and Giovanni Bat- tista) and a nephew (Domenico the younger) who were painters ; but of these, as we shall see, Paolo alone is of importance. A higher level was reached by the artists who issued from the school of Pietro Sorri (1556-1622). He was the master of Giovanni Andrea Carlone (1591 ?-1630, Fig. 430), a talented decorator, who at a later date, along with his brother Giovanni Battista, received instruction from Passignano, the father-in-law and master of Sorri. Of Giovanni, Lanzi writes that he was endowed "with a genius, unsurpassed in his day, for the treatment of historical subjects, that his drawing is accurate and full of grace, that the expression he gave to his figures is penetrating and judiciously determined, above all, that as a fresco-painter his colour is of rare merit." Giovanni Battista (1 595 ?- 1680), who died at a great age, was not inferior to his brother. He worked along with him in the Annunziata del Vastato the beautiful three- aisled church restored by Giacomo della Porta in 1 587 and there they carried out one of the grandest schemes of pictorial decoration of the seventeenth century, a scheme rich in composition, varied and 253 FIG. 43C. CEILING IN THE BRIGNOLE-SALE GALLERY, GENOA. (o. A. CARLONE.) (Photo. Noack.) ART IN NORTHERN ITALY FIG. 431.- IHE SUPPER AT EMMADS. (P. G. PIOLA.) Palazzo Bianco, Genoa. animated in the highest degree in the play of the figures, of the light, and of the colours. The two brothers (Giovanni Andrea more especially) executed their tasks with rare dili- gence and sagacity, and successfully accomplished a vast amount of work in churches, palaces, and houses in Genoa and in other places in Liguria ; they even worked in Milan, where they have left an im- pressive Elevation of the Cross on the vault of S. Antonio Abbate. The other distinguished pupil of Sorri was Bernardo Strozzi (1581-1644, Fig. 432), known also as the Cappucino Genovese and still more often as the Prete Genovese ; it was, however, but for a short time that he remained faithful to his teaching, for having seen some examples of the arrogant naturalism of Michelangelo da Caravaggio, he broke away definitely from his early style. A number of portraits full of life as well as some genre pieces (among them the Beggar in the Roman National Gallery), now scattered through the world, have ensured his reputation as an artist of exceptional vigour, not always free from coarseness and vulgarity. It is impossible to judge him as a decorative fresco- painter out of his native city, where the work that he carried out in certain palaces and churches gives proof of a novelty of general conception, com- bined with vigorous yet harmonious colour. Weary of the limitations imposed upon him by the habit of his order, he attempted to throw off the bonds of the cloister, donning the dress 254 FIG. 432. CHRIST AND THE PHARISEES. (BERNARDO STROZZI.) Uffizi, Florence. (Photo. Perazzo.) PAINTING IN LIGURIA FIG. 433. PORTRAIT OF CLEMENT IX. (BACICCIA.) Accademia di S. Luca, Rome. (Photo. Anderson.) of a secular priest. His superiors, however, after tolerating this for some time, succeeded in getting him into their hands again, and in retaining him as a prisoner for several months. Having made his escape, he betook himself to Venice. There he died, deeply regretted by his admirers and by the disciples whom he had left behind him in Genoa. (See above, p. 81.) Among these disciples mention must be made of Giovanni Andrea de' Ferrari (1598-1669, Fig. 429), an imaginative and powerful painter, whose colour, however, was often dull and turbid ; and of Giovanni Bernardo Carbone (1614-1683), a follower of Vandyck who painted portraits with character and expres- sion (Fig. 435). Giovanni Benedetto Castiglione (1616-1670, Fig. 436) has been reckoned by some as a disciple of Paggi, regardless of the fact that Castiglione was only eleven years old at the time of Paggi's death. Like Ambrogio Samengo, Cas- tiglione must have received his training in the school of Giovanni Andrea de' Ferrari, whose ruddy tones he repeats ; but he attained to a greater unity by the study of the works of the Bassani, and to a superior refinement, thanks to the beneficent influence of Vandyck. A prolific artist and of a lively temperament, his favourite subjects were scenes of pastoral life, or if he turned to historical or Biblical themes, he chose those which gave an opportunity for the introduction of animals. During his lifetime he also had great success at Florence, and at Rome, Venice, and Man- tua ; but afterwards his numerous HO. 434. PENDENTIVE OF THE Cl'POLA OF 8. AGNESE, PIAZZA NAVONA, ROME. (BACICCIA.) 255 ART IN NORTHERN ITALY FIG. 435. PORTRAIT. (G. B. CARBONE.) National Gallery, Borne. (Pholo. Anderson?) pictures were neglected and even confused with the very mediocre productions of his son Francesco, so that his reputation, which is now again on the ascendant, thanks to the admiration felt for his en- gravings, suffered an eclipse. Raffaele Soprani is better known by his lives of the Genoese artists than by his work as a painter. The effect of the plague of 1657 upon Genoese art and artists can only be compared with the events in Rome after the sack of 1 527. Those who survived, seeing all around them solitude, grief and anguish, sought for solace and work in exile. Among these was Gio- vanni Battista Gaulli, known as Baciccia (1639-1 709), whose pro- digious activity found a field in Rome, whither various other Li- gurian artists flocked at this period, attracted by the fame of Pietro Berrettini da Cortona and of Carlo Maratta. Among them was Domenico Parodi (1668-1740), who has left us a decorative masterpiece in the saloon of the Palazzo Negroni. But we must now turn to Baciccia, an artist formed in the school of Rome, where he lived and carried out works in fresco on a large scale ; in some respects he may be regarded as the greatest of the Genoese artists. He received only his earliest training in Genoa, for when only eleven years old he seized an opportu- nity of embarking for Civi- tavecchia and making his way to Rome. There he took up his abode with a French painter who employed him in making copies of his pictures. But his career 256 FIG. 436. YOUNG WOMAN AND CHILD. (G. B. CASTIGLIONE.) Museo Nazionale, Naples. (Photo. Brogi.) PAINTING IN LIGURIA may be said to have commenced only on the day that the great arbiter at that time in art matters, Lorenzo Bernini, took him under his protection. At first he painted a number of portraits and small fanciful subjects (quadretti d'invenzione), later on altar-pieces, and then he turned to the decoration of cupolas and ceilings (Fig. 434). The greatest of his paintings is the ceiling of the Gesu, a work upon which he was occupied for at least fifteen years. Here he painted the Triumph of the Name of Jesus with a crowd of angels and of saints, filled with ecstatic joy, amid dancing lights and colours, gilded clouds rising as vapour between the architectural mouldings, upon which he represents them as casting passing shadows. To waste time upon a detailed search for defects here and there in the rendering of varied and difficult foreshortenings would belittle the critic rather than the painter. Baciccia, of course, was no Correggio, but no work of its class or of its day in Rome shows equal life or gives equal pleasure. The Triumph of the Order of S. Francis, painted by him subsequently upon the vault of the SS. Apostoli, is in many respects inferior. As years went on Baciccia's talent declined, perhaps as a consequence of his grief at the suicide of his son, and the death of Bernini, whose counsels he had so happily followed. But even at an advanced age he did some excellent work. He was much admired as a portrait-painter and with good reason. His portrait of Clement IX. is painted in the style of Velazquez, and its grasp of character and mastery of technique make it but little inferior to the portraits of the great Spaniard (Fig. 433). At the beginning of the eighteenth century, Giuseppe Palmieri (1674-1 740), an admirer of Castiglione, showed talent as an animal- painter ; but although his colour was effective, he was a bad draughtsman. So again Pier Paolo Raggi (1646 ?-1 724), painter of wild bacchanalian scenes, a man of irascible temperament, betrays the influence of Castiglione in his work, and the same may be said of Carlo Antonio Tavella, known as Solfarolo (1668-1738), a 257 s FIG. 437. FOREST SCENE WITH PRAYING HERMITS. (MAGNASCO.) Uffizi, Florence. (Photo. Perazso.) ART IN NORTHERN ITALY native of Milan and a pupil in that town of Tempesta ; he worked afterwards at Genoa. Alessandro Magnasco, known as Lissandrino (1681-1742), is a most lively and entertaining artist; there is a charming vivacity in his little slim figures, drawn with rapid brush strokes against a background of ruins and landscape, lit here and there by dazzling gleams of light that contrast sharply with large dark masses (Fig. 437). But the Genoese school was destined to eclipse for a time, under the most conflicting influences ; nor was it in the power of the Accademia Ligustica to restore it, although dur- ing the nineteenth century this Academy produced several artists of merit : among painters, Santo Ber- ne. 438. NAVIGATION. (N. BARAB1NO.) Palazzo Comunale, Genoa. (Photo. Brogi.) telli, who has left us some notable frescoes, above all at Arenzano ; and Niccolo Barabino of S. Pier d'Arena ( 1 83 1 - 1 89 1 ), who, although established in Florence, carried out many works in Genoa, in the Celesia, Pignone, and Orsini palaces, as well as in the Mumcipio (Fig. 438) ; among sculptors, Santo Varni (1807-1885), a faithful and correct adherent of the neo-classical school ; and among architects, Carlo Barabino (1 768-1835), the designer of the Palazzo dell' Accademia and of the Carlo Felice theatre, which building, as well as the Villa Pallavicini at Pegli, was decorated by Michele Canzio (1784-1868). BIBLIOGRAPHY OF CHAPTER XIX F. Baldinucci, Notizie del professor! del disegno; G. B. Passed, Vile dei pittori, scultori ed architetti', L. Pascoli, Vile di pittori, scultori ed architetti moderni', G. Baglione, Vite dei pittori, scultori, architelti e inlagliatori del pontificate di Gregorio XIII del 1572 fino ad Urbano VIII nel 1 642 ; Lanzi, Storia Pittance ', Lermolieff, Kunstkritische Sludien : Berenson, The North Italian Painters', Crowe and Cavalcaselle, A History of Painting in North Italy, Venturi, Storia deliarte italiana, v ; F. Alizeri, Cuida illustrative per la citta di Genooa ; G. Ratti, Istruzioni di quanta pud oerdersi di piit hello in Genooa in pittura, scultura e architetlura ; Descrizione di Genooa e del Genooesato : G. Cappi, Genooa e le due riviere', F. Girard, Genes, ses enoirons el les deux Kioieres ; W. Suida, Genua '. Saggio bibliografico sulla Liguria ', G. Razzi, Descrizione delle pitture, sculture e architetture che trooansi in alcune citta delle due riviere dello stato ligure ', D. Bartolotti, Viaggio nella Liguria marittima ; G. Cappi, La Cornice ', G. Cappi, Da Mentone a Genooa; C. B. Black, The Rioiera; C. Reynaudi, Guida delta Liguria; S. Vami, Appunti artistica sopra Leoanto: Brunengo, Diisertazione sulla citta di Saoona; G. V. Verzellino, Delle memorie particolari di Savona ', V. Podesta, Memorie storiche di Sestri Leoante : L 'Isola ', S. Vami, Elenco dei document! artistici. I. Document! riguardanti le arti della pittura, scultura, architettura ed oreficeria in Genooa. II. Documenti riguardanti uarie opere d'arte eseguite nel 258 PAINTING IN LIGURIA Daomo di Genooa ', F. Alizeri, Notizie del professor! del disegno in Liguria dalla fonJazione dell'Accademia', F. Alizeri, Notizie del professori di disegno in Liguria dalle origin! al sec. XVI', R. Soprani, Vile del pittori, scultori ed architetti genooesi ; M. Staglieno, Appunti e docu- ment! sopra diversi artisti poco o nulla conosciuti che operarono in Genooa nel sec. XV ; L. A. Cervetto, / Gaggini da Bissone', T. Torteroli, Monument! di pittura, scultura e architettura di Savona', G. Rossi, Una Famiglia di pittori in Liguria in Arte e Storia, v, 1886; G. Rossi, Pittori piemontesi nella Liguria, Florence, 1891 ; G. Bres, Notizie intorno a! pittori Nicesi, Gioo. Miralieti, Ludovico Brea, Bartolomeo Bensa, Genoa, 1903 ; O. Grosso, Pittura genooese in the Rfaista Ligure, vi, 1908: O. Grosso, Calalogo del quadri delle gallerie di Palazzo Bianco e Rosso, Genoa, 1 909 ; G. Rossi, / maestri di Ludooico Brea in Giomale ligustico, xxi ; F. Pellari, Bartolomeo Rubeus e il trittico firmato delta cattedrale di Acqui in L'Arte, x, 1907 ; M. Menotti, Van Duck a Genooa in A rchioio Storico dell' A tie, 1 897 ; L. A. Cervetto, // quadra di Pellegro Piola e la corporazione degli Orefici in Rioista Ligure, Genoa, 1907: A. Negri, Domenico Ubaldini delta Puligo a Genava in Giomale ligustico, iv ; G. Sforza, // pittore sarzanese Domenico Fiasella e la famiglia Cuba in Giomale ligustico, xxi ; S. Vami, D'una tavola di Franceschino da Castelnuooo Scrfvia in Giomale ligustico, i ; S. Vami, Delle opere eseguite a Genova da Siloio Corsini, Genoa, 1 868 : D. Sant' Ambrogio, Un grandioso dipinto in Milano del pittore Benedetto Castiglione delta il Grechetto, Milan, 1907 ; A. Venturi, Niccold Barabino in Nuooa Antologia, 1891 ; E. de Fonseca, Niccolo Barabino, Florence, 1892: Dell'arte del disegno e del principal! artisti in Liguria (1777-1862), Genoa, 1862; G. Campori, Memorie biograjiche degli scultori architetti, pittori, etc. ... in Prooincia di Massa, Movena, 1873. 259 FIG. 439. RELIEF ON THE FACADE OF THE CATHEDRAL, MODENA. (Photo. Alinari.) CHAPTER XX EMILIA ARCHITECTURE AND SCULPTURE TO THE TIME OF THE RENAISSANCE The Emilia Defined. Relics of the Byzantine, Romanesque, and Gothic Periods. The Rise of the Communes and the Religious Orders. Piacenza. Castell' Arqualo. Borgo San Donnino. Parma, Cathedral and Baptistery. Cathedral of Modena. Cathedral of Ferrara. The Towers of Bologna. Gothic Churches at Bologna. Sculpture: Jacopo della Quercia. THE northern slopes of the Apen- nines from the River Trebbia to Rimini, the long and tortuous course of the Po from Piacenza to the sea, the Adriatic from Punta della Maestra to La Cattolica these are the limits of the happy region known as Emilia, from that mag- nificent road, wide and straight, which traverses it for a length of more than two hundred miles, a road that was constructed by Marcus /Emilius Lepidus 187 years before Christ, and which even to-day passes through walled towns, strongholds, and cities famous in history Pia- cenza, Parma, Reggio, Modena, 260 FIG. 440. CATHEDRAL, PIACENZA. (Photo. Alinari.) EMILIA Bologna, Imola, Faenza, Forli, Cesena, and Rimini. Under the name of Emilia, it is usual to comprise the district of Romagna, a region whose boundaries have never been sharply defined, either in ancient or modern times. Indeed, while Dante, when he declares it to be comprised " Fra il Po ed il monte, la marina e il Reno," appears to include within its boundaries both Ferrara and Bologna ; at the present day, restricted to the two provinces of Ravenna and Forli, it cannot even claim Imola. However this may be, we cannot fail to recognise in this land as a whole not only the rich fertility of the soil, but a marvellous vitality in the spirit of the inhabitants. During the whole of the long period of the Renaissance theie was in fact no other region of Italy which comprised so many independent Courts, each " a home of culture." While Milan, Venice, Florence, Rome, and Naples concentrated the intellectual life of a wide surrounding district, leav- ing the lesser cities to a certain degree in the shade, in Emilia, every centre, however small, had its own Court, renowned for its culture and for its artistic importance. Of Roman monuments, in which the district was rich, many ruins and fragments survive, but apart from the long and splendid bridge and the triumphal arch at Rimini, both dating from the time of Augustus, the only remains in a tolerable state of preservation are a few unimportant bridges on the Via Emilia. Among the excavations the most important are those of the ancient city Velleia, situated among the hills of the Piacenza district, between the Chero and the Arda. On the other hand, for the so-called Byzantine period, the region boasts the most conspicuous city in all Italy, Ravenna, a city of which we have already spoken, and for the two succeeding periods, those of Romanesque and Gothic art, a vast number of monuments, many of them glorious examples. 261 FIG. 441. FACADE OF THE CHURCH, POMPOSA. (Photo. Cassarini.) ART IN NORTHERN ITALY FIG. 442. PALAZZO COMUNALE, PIACENZA. (Photo. Alinari.) As in other districts, few of these buildings, of course, are of an earlier date than the twelfth century ; it was, indeed, only in the course of that century that life in Italy attained to a certain degree of culture, or at least to an individual character and form of expression. How- ever, we may find in Emilia some notable ex- amples even of the archi- tecture of that long period of preparation which ex- tended from the ninth to the eleventh century ; S. Maria di Pomposa, for instance, built in the ninth century (Fig. 441), with a tower dating from 1 063 ; the parish church of S. Leo ; S. Stefano at Bologna ; the so-called Palace of Theodoric at Ravenna (see p. 9), as well as other early buildings. We find little evidence of oriental or other foreign influence ; nearly everything appears to be a growth from early native types, more especially those of Ravenna. It was this continuity of development that saved the country from sudden and incongruous changes, and favoured a slow and gradual evolution of archi- tectural forms. The terra- cotta decorations of the church at Pomposa, not moulded, but modelled by hand, are identical with those formerly in the con- ' 'i- temporary monastery of S. Alberto, nearer to Ravenna, and also with those found in Ravenna itself, which latter were used as material in the palace that once belonged to Guido Novella da Polenta (examples of both are now in the city museum). In this terra-cotta we 262 FIG. 443. CASTLE AND CHURCH, CASTELL'ARQUATO. (Photo. Cassarini.) EMILIA have a product characteristic of Ravenna, and one of great interest as illustrating the art of the time. The predilection for buildings with a central space continued dur- ing the eleventh century and even to a later date, with variations in the details. The use of independent baptisteries also, a practice that had by this time been discontinued in other regions, was long retained in Emilia (as also in Lombardy and in Venetia) ; but in course of time even here it gradually fell into disuse, as the practice of baptism by immersion was abandoned, and the baptismal font took its place within the cathedral or parish church. In the meantime, as the communes and the great communities of the Franciscans and the Dominicans grew in strength, an ever-increasing desire for their em- bellishment with buildings of im- portance manifested itself in the newly awakened cities ; and in every important centre in the Emilian province superb edifices arose. At Piacenza, where indeed huge churches such as S. Savino and S. Antonino were already in exist- ence, the cathedral was begun in 1122, and finished a full century later (Fig. 440). On the west front four wall-strips indicate the division of the interior into three naves, access to which is given by three doorways, each of which is approached through a porch of two storeys. Above the central door is a rose window ; above each side door is a gallery with an arcade supported by small columns, similar to that which runs along the tympanum and follows its inclination. On the facade the two periods of construction may be distinguished by the diversity of the materials ; so again in the interior (in plan a Latin cross) the Romanesque style is followed up to the vaulting of the side aisles, in contrast to the ogival arches which in the nave rise from the galleries to the higher central vault. The Palazzo del Comune (Fig. 442), founded in 1 28 1 , is no less beautiful than the cathedral. The lower storey consists of a marble portico of five pointed arches ; the upper storey is of brick and is pierced by windows with three, 263 FIG. 444. CATHEDRAL, BORGO S. DONNINO. (Photo. Alinari.) ART IN NORTHERN ITALY four, and even five lights, decorated with superb terra-cotta reliefs. The church of S. Francesco is of the same date ; it is perhaps modelled upon the church of the same name at Bologna. The Gothic architecture of these build- ings may, perhaps, show traces of a foreign in- fluence, which made its way into Italy more espe- cially with the Cistercians ; but this influence is con- fined to certain constructive formulae. In fact the Italian architecture of the FIG. 44S--CATHEDRAL AND BAPTISTERY, PARMA. ^^^ and f Ourte enth (Photo. Altnan.) . , centuries shows features that have little in common with the essential tradition of the true Gothic style, namely, the proportions between width and height in the nave, a predilection for wide surfaces reserved for pictorial deco- ration, and the use of the simplest polygonal form of pilaster. Thanks to a charming group of buildings, Castell* Arquato is a very oasis of mediaeval architecture and well deserves the name of " the Emilian San Gimignano." Crown- ing the hill on which it stands, the Castle of the Visconti, the Palazzo Pubblico, the church (Fig. 443), and the Canons' residence are mirrored in the Arda, the beautiful river that, lower down, runs close to the Abbey of Chiaravalle della Colomba, founded about the year 1135 by Bernard de Fontaine; of this building the three-aisled church with its cross-vaulted roof and the magnificent fourteenth-century cloisters still exist. Again, on the Via Emilia, we find Borgo San Donnino, which boasts one of the most beautiful Romanesque cathedrals of the 264 FIG. 446. BAPTISTERY, PARMA. (INTERIOR.) (Photo. Alinari.) EMILIA FIG. 447. CATHEDRAL AND GHIRLANDINA, MODENA. (Photo. Alinari.) district, a building begun about the year I 100, but carried on in a very leisurely fashion. The exterior of the apse with the open loggia and the unfinished facade adorned with sculptures attributed to Bene- detto Antelami, are of great interest (Fig. 444). At Parma, in addition to the magnificent cathedral (begun in 1058 and completed in the thir- teenth century), with its vast cupola over the crossing of the nave and the transepts, and its portal by Giovanni Bono da Bissone, we have one of the largest and most beau- tiful baptisteries in Italy (Fig. 445). It was founded towards the end of the twelfth century ; externally it is octagonal, while the interior has sixteen sides ; both inside and out it is surrounded by open loggias (Fig. 446) ; it is richly adorned on the exterior by sculptures attributed to Antelami and the internal walls are covered with frescoes of the Romanesque period. The attribution of the sculptures both of the cathedral at Borgo San Donnino and of the Baptistery at Parma to Benedetto Antelami (see p. 234) is a matter of dis- pute at the present time. His Descent from the Cross, however, which once formed a part of a frieze in the cathedral at Parma and bears the date 1 1 78, points to him as a man who was desirous of rising above the rude FIG. 448. CATHEDRAL. MODENA. (Photo. Alinari.) i , f S 1 level or his day. At Reggio Emilia and at Bologna the lines of the Romanesque cathedrals are smothered by the later restorations and reconstruc- tions, but at Modena the old building rises conspicuously in its original grandeur (Figs. 447, 448). It was begun by Lanfranco in 265 ART IN NORTHERN ITALY FIG. 44Q. CATHEDRAL, FERRARA. (Photo. Alinari.) 1 099, consecrated in 1 1 84, and completed at a later date. At the present day it is the most complete building of the period in Emilia. On the facade are sculptures by Wiligelmo (Fig. 439), who more than seventy years before the time of Antelami, eager to make an advance upon the past, attained to a certain decorative grandeur that places him on a higher level than Niccolo, his fellow-workman. Nor must we pass over the pride of the Modenese, the famous campanile of the cathedral, the Ghir- landina, built between I224and1319(Fig.447). The cathedral of Ferrara (Fig. 449), consecrated in 1 135, must have been even more imposing, but the interior was only too effectually modernised in 1712. Among the earliest sculptors we again find a Niccolo and a Guglielmo or Wiligelmo, whom we must hold to be the same men as those who worked at Modena ; and perhaps also in S. Silvestro at Nonantola, another notable Romanesque church. But, subsequently, the building at Ferrara went on slowly for cen- turies, so that it was not until the middle of the fourteenth century, at a time, that is to say, when the Gothic style had triumphed, that the facade was finally completed by craftsmen, among whom we may recognise the sculptor of the portal of S. Giovanni Evangelista at Ravenna (Fig. 450). The group of buildings that surround the church of S. Stefano at Bologna (Fig. 451) is more interesting than beautiful. We have here a crowd of churches, cloisters, and crypts, deficient in grandeur 266 FIG. 450. DOOR OF S. GIOVANNI EVANGELISTA, RAVENNA. (Photo. Alinari.) EMILIA FIG. 451. GROUP OF CHURCHES KNOWN AS S. STEFANO, BOLOGNA. (PholO dell' Emilia.) and without sculptural decoration buildings that have been erected, pulled down, rebuilt and tormented in every way. Nor do we find any important monuments of the Romanesque period in Romagna with the excep- tion of the cathedral of S. Leo, which dates from 1 1 73, and part of S. Mer- curiale at Forli (Fig. 452), which was rebuilt after a fire which took place in that same year ; it was then adorned with a portal on which a Romanesque sculptor carved an Adora- tion of the Magi, of interest for the realistic and rather comicalattitudes of some of the figures. At Bologna, however, more than anywhere else, the towers there were once more than two hundred of them are very singular. Their construction goes back to the communal period, that is to say, to the twelfth and thirteenth centuries. The thickness of the walls at the lower part is in some cases greater than the internal space. As these walls ascend they become thinner, being gradually reduced by several projections in- ternally and by a single one on the outside, varying in form and height. The wall consists of two facings of very substantial brickwork, the one on the outside, the other within, between which an irregular mass of pebbles and lime has been beaten down. The base, which is almost always sloping, is faced with long slabs of alabaster from the adjacent Monte Donate. In addition to the narrow doorways with lintels of alabaster supported by two brackets, over which curves a blind arch (generally pointed), we invariably find on these towers another 267 FIG. 452. S. MERCURIALE, FORI.: (Photo. Alinari.) ART IN NORTHERN ITALY opening at the height of ten or twelve metres, which no doubt com- municated with the adjacent houses. Finally the windows, few in number, are narrow and round-headed (Fig. 453). Bologna compensates for her actual poverty in Romanesque churches by the numerous imposing buildings in the Gothic style which were erected in the thirteenth and fourteenth centuries. With few ex- ceptions S. Domenico and S. Giacomo, for example, which have undergone changes, especially in the inside these have preserved their FIG. 453. THE TWO TOWERS, BOLOGNA. i TL ' J J (Photo. Aiinari.) original aspect. Ihere are indeed many towns in Emilia possessing sacred and civil buildings where the Gothic style makes some show, whether triumphing completely or superadded to earlier buildings ; but nowhere else but in Bologna can we find examples that illustrate the continuous and complete development of the style ; from S. Francesco, a three-aisled church (Figs. 454 and 455), begun in 1236, under the manifest in- fluence of French Gothic, to S. Martino, to S. Maria dei Servi attributed to Andrea Manfredi and finally to S. Petronio (Fig. 456), the famous work of Antonio di Vincenzo (1350? 1401 ?). Employed at first on various mili- tary works at the castles of Cento, of Pieve di Cento and others in the neighbourhood, and on the walls and the gates of Bologna, Vincenzo at length found full scope for his constructive abilities and for his taste as an artist in the erection of S. Petronio and of the Campanile of S. Francesco, one of the most beautiful towers in all Italy, an exquisitely proportioned 268 FIG. 454. S. FRANCESCO, BOLOGNA. INTERIOR. (Photo. Alinari.) EMILIA FIG. 455. S. FRANCESCO, BOLOGNA. (Photo. deU'Emilia.) structure covered with a graceful network of terra-cotta decoration (Fig. 455). We may also mention Fieravante Fieravanti, who rebuilt the Palazzo Pub- , , blico (1425-1428, Fig. 460). Sculpture in Bologna at this time was almost en- tirely a foreign importation. We find among the sculp- tors but few names of Bolognese artists ; there were, however, some Tus- cans, and many Venetians, among them the brothers Jacobello and Pier Paolo dalle Masegne (the authors of the great marble reredos in S. Francesco 1 388-96, Fig. 459). The sculptors of the imposing and animated bas-reliefs on the first side windows of San Petronio were Venetians Girolamo Barosso and Francesco Dardi. But it was a Sienese sculptor, Jacopo della Quercia, who was destined to bring the light and the warmth of the Renaissance into Bologna. Jacopo was summoned to the city in 1425 by the Arch- bishop D'Arles and entrusted with the decoration of the central door of S. Petronio (Fig. 457). Already famous for the Fonte Gaia at Siena, he carved in the arch of this doorway thirty-two half figures of Patriarchs and of Prophets with God the Father in the centre, and fifteen subjects from the Old and the New Testament upon the pilasters and upon the architrave, which he crowned with a superb figure of the Virgin and Child (Fig. 458). This vast undertaking left unfinished by Jacopo amidst endless disputes with the churchwardens, and repeated inter- ruptions and renewals of work on his part remains the most 269 FIG. 456. S. PETRONIO, BOLOGNA. INTERIOR. (Photo. Alinari.) ART IN NORTHERN ITALY FIG. 457. S. PETRONIO, BOLOGNA. THE GREAT DOOR. (Photo. Alinari.) exquisite work of sculpture in Bologna, admirable both for its architectural proportions and for the novel energy with which the reliefs are conceived and carried out. It excited the admiration of Michelangelo when, still a youth, he came to Bologna to carve some of the statues for the shrine of S. Dominic and when, again, at a later date, he modelled, cast, and placed above Jacopo's porch the statue of Julius II. The im- pressions received on these occasions were not rapidly effaced ; proof of this may be found in some of the compositions and figures in the Sistine Chapel. BIBLIOGRAPHY OF CHAPTER XX. A. Venturi, Sloria dell'arte italiana, iii-v ; A. Venturi, Unbekannle and vergessene Kiinstler der Emilia in Jahrbuch d. Ktiniglich. Preuss. Kunstsamml., xi, 183; V. Marchese, Memorie del piu insigni pittori, scutlori e archilefti domenicani, Bologna, 1 878-79 : A. Beltramelli, Da Comacchio ad Argenta, Bergamo, 1905 ; Descrizione del monument! e delle pitture di Piacenza, Parma, 1828; L. Carabelli, Guida ai monument! storici ed artistic! di Piacenza, Lodi, 1841 ; 1_. Ambiveri, Cli artist! piacentini, Piacenza, 1 879 ; G. Tiraboschi, Biblioteca modenese, vol. vi, Mod., 1786; G. B. Venturi, Notizie di artisti reggiani non ricordati dal Tiraboschi, Modena, 1 883 ; P. Donati, Nuooa Descrizione di Parma, Parma, 1824; G. Bertoluzzi, Guida di Parma, Parma, 1 830 ; P. Martini, Guida di Parma, Parma, 1871; J. Kohte, A us Parma in Blatter f. Architektur und Kunsthandv>-rk, 1900, n. 9 : G. Agnelli, Ferrara e Pomposa, Bergamo, 1 906 ; A. Messeri and A. Calzi, Faenza nella storia e nell'arte, Faenza, 1909; G. Pazi, Guida di Ferrara, Ferrara, 1875; A. Crespellani, Guida di Modena, Modena, 1879; L. Vedriani, Raccolta de'pittori, scultori e architteti modenesi piu celebri, Modena, 1662 ; L. Ricci, Ccrografia del tern- tori di Modena, Reggio ecc., Modena, 1 788 ; G. Bertoni, Atlante storico paleografico del Duomo di Modena, Modena, 1 909 ; Luigi Rinaldi, Castelvetro e le sue chiese, Modena, 1 909 ; G. Bianconi, Guida di Bologna, Bologna, 1835; L.Weber, Bo/ogmz, Leipsic, 1902; C. Ricci, Guida di Bologna, Bologna, 1 908 ; Pierre de Bouchaud, Bologna, Paris, 1 909 ; E. Calzini and G. Mazzatinti, Guida di Forti, Forli, 1893, L. Tonini, Storia di Rimini'. G. Gozzadini, ./Vote per studi sull'architettura civile in Bologna dal sec. XIII al XVI, Modena, 1877; L. Molossi, Vocabolario topografico dei ducati di Parma, Piacenza e Guastalla, Parma, 183234; R. Faccioli, Relazione dei lavori com- piuti dall'Ufficio regionale per la conservazione dei monu- ment! dell'Emilia, Bologna, 1898 and 1901 : V. Maestri, Di alcune costruzioni medioevali dell'Apennino modenese, Modena, 1895-98 : G. Campori, Gli architetti e ingegneri degli Estensi dall sec. XIII al XVI, Modena, 1882 ; I. Kohte, Die Kathedrale von Piacenza in Blatter ftir A rchi- tekturundKunsthandn>erk,n.7, 1900; Consolidamento e FIG. 458. VIRGIN AND CHILD. (jACOPO DELLA QUERCIA.) S. Petronio, Bologna. (Photo. Alinari.) 270 EMILIA ristauro del duomo di Piacenza, Piacenza, 1906, L. Cerri, La cattedrale di Piacenza prima e dopo i ristauri, in Arch. Star, per le proo. parmensi, ix, 1909; G. B. Toschi, Le sculture di Benedetto Antelami a Borgo S. Donnino in Archioio ^ Storico dell'Arte, i, 1888; Lopez, Cenni intorno alia oita e alle opere di Benedetto Antelami in Vendemmiatore, Parma, 1846; M. G. Zimmer- mann, Oberitalienische Plastik er i works in this branch (Photo. Alinari.) of art are due to foreigners. At Bologna and at Ra- venna we have already seen Venetian sculptors at work, and the Lombards and Tuscans we find everywhere. We have already mentioned a few: limiting ourselves to the more important attribu- tions, we may here add that Andrea da Fiesole and Jacopo Lanfrani have left us various examples of their skill in Bologna ; that Niccolo Baroncelli, Domenico di Paris, Antonio Rossellino, and Ambrogio da Milano worked at Ferrara ; Benedetto da Maiano at Faenza (here, however, we find in Pietro Barilotto fl. 1 528-1 552 a clever native sculptor) ; Gian Francesco d'Agrate at Parma ; the brothers Gazzaniga at Borgo S. Donnino. At a later date we find Leone Leoni at Guastalla and Francesco Mochi at Piacenza, with a troop of FIG. 474DooRWAY OF CORPUS DOMINI, assistants. At Bologna, Michel- BOUXSNA. (Photo, dell' Emilia.) angelo, Gabriele and Zaccaria Zacchi of Volterra, Giovan An- giolo Montorsoli, and Giambologna were all at work ; but the man who sojourned there for a longer time and exercised a greater 282 EMILIA FIG. 475. PALAZZO FAVA, BOLOGNA. (Photo. Alinari.) influence than any of these was Niccolo Pericoli, known as Tribolo (1 485-1 550). Niccolo dall'Arca, again, was not of Emilian birth he was a Slavonian but seeing that he passed nearly the whole of his life in the province, we may regard him as a native artist, and if in his work we find evidence of exotic in- fluences, we can see that, none the less, he owed much to works of art already existing in Bologna, as well as to those two vigorous Ferrarese painters, Cosme Tura and Francesco del Cossa. The more decorative parts of the pictures by Cosme in the Berlin Museum, as well as those of the fresco by Cossa in the Barac- cano church at Bologna, the wide and deep folds of the drapery in the tempera painting by the same Cossa in the Bologna Gallery, show marked and unmistakable affinities with the sculpture of Niccolo, who, for that matter, was a younger man, and, working as he did at Bologna during the same years as the Ferrarese painters, was not likely to escape the influence of their vigorous style, which must inevitably have ap- pealed to him. However that may be, Niccolo, bold to the verge of violence in the expressions and in the gestures of his " Maries " wailing and contorting themselves around the dead Christ (1463) imitating in this the gestures of the hired mourners of the contempo- rary funerals, whose ex- cesses had to be restrained by legal enactments (Fig. 480) was solemn and restrained in the Madonna in the Palazzo Pubblico (1478, Fig. 481), and in the canopy of the shrine of S. 283 FIG. 476. MADONNA DELLA STECCATA, PARMA. (Photo. Alinari.) ART IN NORTHERN ITALY FIG. 477. S. GIOVANNI EVANGELISTA, PARMA. (Photo. Alinari.) Dominic (1469-1473, Fig. 483) he achieved an exceptional grace. These and other works he completed before his death in 1 494 ; but in spite of labours so successful Niccolo died in poverty. Niccolo's so-called " Delia Vita " Maries are, if we are not mistaken, the earliest life-sized terra-cotta figures, executed in the round, to be found in Emilia. On Jacopo della Quercia's tomb of the Vari family, there are indeed bas-reliefs and small sym- bolical statues, but this work found no imitators. Spe- randio's tomb of Alexander V. is later by some twenty years. Hence there can be no doubt that it was at Bologna, in the school of Niccolo, rather than in his native town, in that of Galeotto Pavesi, that the gifted Guido Mazzoni of Modena (who was already at work in 1470), known as Modanino, and also as Paganino, learned his art. From Modena Guido passed on to Busseto, to Reggio, to Cremona, to Venice, to Naples, and to Tours, whence, in 1 507, he made his way back to his native town. He returned later to France, in the service of Louis XII., and on the death of that king in 1515, he again took up his abode in Modena, and there he died three years later, an old man, respected and wealthy. Works by him are to be found in many of the above - mentioned towns. But the most beautiful, perhaps, and certainly the most characteristic, are those he executed for his native city, more especially the Pieta in S. Giovanni (Fig. 482) and the Nativity in 284 FIG. 478. S. S1STO, PIACENZA. (Photo. Alinari.) EMILIA the cathedral, works whose only fault lies in the composition. It may be said that actual truth of life has never been more vividly seized and more exactly rendered than in these works. Less lofty in his aim, less synthetic than Niccolo, indeed, like his contemporary, T i 1 m a n n Riemenschneider, crudely analytic in spirit, Guido does not spare us a single wrinkle, a hair, a fold of drapery, or a grimace. Yet all is rendered without losing sight of the general expression of the figure, which he attains without FIG 479 ._ MADONNA DI CAMPAGNAi PIAC ENZA. any of the violence of his (Photo. AUnari.) master. Meanwhile, by his side, a numerous and successful school of terracottists grew up in Modena. Andrea, Camillo, and Paolo Bisogni have been much admired for their ornamental work. But Antonio Begarelli (1498-1565) is on a much higher level, thanks to his charming figures, often picturesquely arranged in groups, and so sweet in expression that they look like works by Correggio translated into terra-cotta. There can be no doubt that Begarelli came into contact with the great master at Parma, where we may see some graceful statues by him in the church of S. Giovanni Evange- lista. When will some- one write the his- tory of the terra- cottists of Modena ? They were at work for a longer period and with greater success than is gen- erally believed. In 1 573 the monks of S. Vitale at Ravenna placed an order at Modena for a series of cherubs in terra-cotta for the decoration of an entablature, 285 FIG. 480. PIETA. (NICCOLO DALL'ARCA.) Church della Vita, Bologna. (Photo, dell' Emilia.) ART IN NORTHERN ITALY FIG. 481. VIRGIN AND CHILD. (N. DALL'ARCA.) Palazzo Comunale, Bologna. (Photo. dell'Emttia.) a circumstance that raises a doubt whether some of the decorative terra-cotta found in various places in Emilia, and generally held to be of Bolognese origin, may not really have come from Modena. In any case it was Bologna that produced what is perhaps the richest series in this art, and one good reason for this may be found in the fact that this hard material successfully resists the action of the severe frosts that soon destroy any external deco.ation carved in the soft and friable local sandstone. The guilds of the Bolognese masters owned extensive kilns in which decora- tive bricks, shaped in moulds of wood, or sometimes of metal, were fired (Fig. 484). Entablatures and other decora- tions were then constructed by dis- posing these bricks in various fashions and thus obtaining various effects. The earliest cotti made their appearance in the thirteenth century, the latest in the sixteenth. The men of the Baroque period thought them too common, and they had to make way for the foliage and the little plump Cupids of plaster-of-Paris or of stucco, now to a large extent cracked and broken, while the terra-cotta work has suffered less than marble itself during all these centuries. Following the example of Niccolo dall'Arca and of Mazzoni, Vincenzo Onofrio and Al- fonso Lombardi (1497- 1 53 7), whose real name was Cittadella, modelled in clay and sent to the kilns reliefs and statues of large dimensions. In the case of the statues of the latter artist the main con- ception is a pictorial and naturalistic one, but in sculptured groups he aimed at a more satisfactory effect by a more closely knit structure and by a better idealisation of the individual figures. Among the most admired 286 FIG. 482. PIETA. (GUIDO MAZZONI.) Church of S. Giovanni, Modena. (Photo. Alinari.) EMILIA of his works may be classed the reliefs upon the plinth of the shrine of S. Dominic, the group of the Death of the Virgin in the Delia Vita Oratory, and the Resurrection of Christ in the lunette over one of the lesser doors of S. Petronio (Fig. 486). Now it is a fact that must not be overlooked that it was to take a part in these works that Tribolo came to Bologna from Florence. It was he who brought to the former town the " Roman " style, touched by the influence of the work of the Sansovini, and by that of Michelangelo. At Reggio we find that vigorous and prolific artist, Bartolomeo Spani (1467-1540?), of whom we have already spoken, hesitating between the claims of the old and the new art. His nephew Prospero, known as Clementi, who died at a great age in 1 584, fol- lowing with tempered energy in the wake of Michelangelo, made a name for himself, justified by such works, among others, as the Adam and Eve (Fig. 461) on the fa$ade of the cathedral of Reggio which was begun by him, the Fossa tomb in the same church, and the shrine and the statue of S. Bernardo degh Uberti in the crypt of the cathedral at Parma. Clementi may be accepted as the last of the great sculptors of Emilia, unless we are prepared to give that position to the Bolognese Alessandro Algardi (1592-1654), whose work is to be found not so much in his native country as in Rome ; there, in S. Peter's, we may see his much-praised tomb of Leo XI. (Fig. 485), and in the Palazzo dei Conservatori his statue of Innocent X., which vies in energy and majesty with that of Urban VIII. by Bernini, which stands opposite to it. His fagade to the church of S. Ignazio is one of the most imposing in Rome, being free from the extravagance rife at the time in such works. After this time the art of the sculptor fell into the most complete mannerism, and the artists of the day contented themselves with turning out to order figures and decorations of marble for the tombs and facades of churches, and stucco-work for interiors. 287 FIG. 483. TOMB OF S. DOMINIC, BOLOGNA. (Photo, dell' Emilia.) ART IN NORTHERN ITALY In the other cities of Emilia we hear of few sculptors at this time, although the art was not extinct. About the middle of the sixteenth century Ferrara was the scene of the activity of Lodovico Ranzi, who was subsequently engaged upon the Palazzo Pubblico at Brescia, while Andrea Ferrari (1673-1 744) found abundant occupation there towards the end of the succeeding century ; he worked in marble, in stucco, and in terra-cotta, showing himself a cold and mannered, but quiet and refined artist. Clever decorative sculptors abounded at this time in greater numbers than ever, and at Parma the French sculptor, G. supreme. B. Boudard, was BIBLIOGRAPHY OF CHAPTER XXI. FIG. 484. TERRA-COTTAS. Museo Civico, Bologna. (Photo, ddl' Emilia.) For workc of a general character, guides to cities, &c., see the Bibliography to Chapter XX. G. Ferrari-Moreni, Contribute alia storia artistica modenese in Atti e memorie delta R. Deputa- zione di Storia Patria per le provincie modencsi, 1899, vol. ix; F. Manfredini, Delle arti del disegno e degli artisti della prooincia di Modena dal 1 777 al 1862, Modena, 1862 ; L. Vedriani, Raccolta dei pittori, scultori ed architetti modenesi, Modena, 1 662 ; A. Venturi, La scoltura emiliana del Rinascimento. i: Modena in Archivio Storico dell'Arte, 1889; A. Venturi, / primordi del Rinascimento artistico a Ferrara in Rivisla Storica italiana, 1884; A. Venturi, L'Arte a Ferrara net periodo di Bono d'Este, ibid., 1886; A. Venturi, Beitrage zur Geschichte der Ferrarischen Kumt in Jahrb. der Kdnigl. Preuss. Kunslsammlungen, viii, 71 ; G. Gruyer, L'Art ferrarais a I'epoque des Princes d'Este, Paris, 1897; G. A. Landi, Raccolta di alcune facciate di palazzi e cortili pid ragguardevoli di Bologna, Bologna, n. d. ; A. Bolognini Amorini, Vile dei pittori ed artifici bolognesi, Bologna, 1841-42; A. Bertolotti, Ariisti bolognesi, ferraresi ecc. delgid Stato Pontificio in Roma nei sec. XV-XVUI, Bologna, 1885 ; F. Malaguzzj-Valeri, La scultura a Bologna nel 400 in Repertorium flir Kunstwissenschaft, xxii ; F. Malaguzzi-Valerj. L'Architeltura a Bologna nel Rinascimento, Rocca S. Casciano, 1899; F. Malaguzzi-Valeri, Le terrecolte bolognesi in Emporium, 1899, x; H. Semper, F. O. Schulze, and W. Barth, Carpi, Dresden, 1 882 ; L. Orsini, /mo/a e la valle del Santerno, Bergamo, 1 907 ; G. B. Venturi, Notizie di artisti reggiani, Modena, 1882; F. Malaguzzi-Valeri, Notizie di artisti reggiani, Reggio Em-lia, 1892; G. Marcello Valgimigli, Dei pittori e degli artisti faentini, Faenza, 1869; L. M. V. T., / castetti del Piacentino: Torano, Rezzano e Monte Santo, Piacenza, 1901-2; L. Marinelli, Le rocche d'Imola e di Forti in Emporium, 1 904 ; A. Rubbiani, La facciata dello Spirito Santo in Val d'Aoosa, Bologna, 1904; Ch. Yriarte, Les arts a la cour des Malatesta au XV siecle in Gazette des Beaux Arts, 2, xix, 19 ; Yriarte, Un condottiere au XV siecle. Rimini, Paris, 1882; V. Lonati, Sigismondo di Pandolfo Malatetta'm Emporium, xiv, 1901 ; L. Mari- nelli, La rocca Malatestiana di Cesena, Reggio Emilia, 1907; C. Ricci, // castello di Torchiara in Sanli ed Artisti, Bologna, 1910; L. Cerri, // castello di Montechiaro, Piacenza, 1899; A. Colasanti, Due nooelle del Boccaccio nella pittura del Quattrocento in Emporium, 1904; E. Burmeister, Der bilderische Schmuck des Tempio Malatestiano zu Rimini, Breslau, 1891 ; A. Higgins, Notes on the Church of St. Francis or Tempio Malatestiano at Rimini in Archaologia, 1892; C. Grigioni, / costruttori del tempio Malatestiano in Rimini. Matteo de' Posit, in Rat*, bibl. dell'arte ital. 1908-9-10; G. Mancini, Leon Battista Albert!, Florence, 1882; E. Londi, Leon Battista Alberti architetto, Florence, 1906; Per Leon Battista Albert!, numero unico, Bologna, 1904 ; R. Cessi, // so"giorno di Lorenzo e L. B. Alberti a Padova in Arch. Star. Ital., 1 909 ; C. Grigioni, Matteo Nut! in La Romagna, vi, Forll, 1 909 ; C. Cesari, La chiesa di Fomo 288 EMILIA in Rassegna d'Arte, 1909; C. Grigioni, Per la storia dell'Arte in Forli in Boll. Jella Societd fra gli amid dell'Arte per la Prooincia di Forll, 1895, n. 4; L. Arduini, Gil scultori del Tempio Malatestiano di Rimini, Rome, 1907; A. Pointner, Die Werke des Florentinischen Bildhauers Agostino d' Antonio di Duccio, Strasburg, 1909; G. Grauss, // Duomo di Faenza, Faenza, 1891 ; G. Agnelli, // palazzo di Lodooico il Moro a Ferrara, Ferrara, 1902; A. Maiaguzzi-Valeri, La chiesa delta Ma- donna di Galliera in Bologna in Archivio Storico dell'Arte, 1893; A. Rubbiani, // conoento olioetano di S. Michele in Bosco sopra Bologna in Archivio Storico dell'Arte, viii, 1895; A. Rubbiani, La facciata delta Santa in Bologna in Rasxgna d'Arte, v, 1905; F. Malaguzzi-Valeri. La chiesa delta Santa a Bologna in Archivio Storico dell'Arte, x, 1897 ; G. Zucchini, La facciata del Palazzo del Podesta, Bologna, 1909; L. Sighinoln, L'architettura bentioolesca in Bologna e il Palazzo del Podesta Bologna, 1909; L. Bel- trami, Aristotele da Bologna, Milan, 1888; F. Malagola, Delle cose operate in Mosca da Aristotele Fioraoanti, Bologna, 1877; F. Maiaguzzi-Valeri, La chiesa e il conoento di S. Giooanni in Monte a Bologna in Archioio Storico dell'Arte, JL', A. Bacchi della Lega, La chiesa di S. Giovanni in Monte a Bologna, Bologna, 1904; E. Ravaglia, // portico e la chiesa di S. Bartolomeo in Bologna in Bol- lettino d'arte del Ministero della Pubblica Instruzione, iii, 1909; N. Pelicelli, La chiesa della Steccata, Parma, 1901 ; A. Ronchini, // Torchiarino da Parma in Atti e memorie delle Provincie Parmensi, vol. iii ; L. Scarabelli, Smeraldo Smeraldi ingegnere parmigiano, Parma, 1845; A. Coma, Storia ed Arte in S. Maria di Campagna di Piacenza, Bergamo, 1908; L. Marinelli, La Rocca Brancaleone in Ravenna, Bologna, 1906; C. Ricci, Monu- ment! oeneziani nella Piazza di Raoenna in Rivista d'Arte, Florence, 1905; C. Ricci, La slatua di Guidarello Guidarelli in Emporium, xiii, 1901 ; Patrizi, // Giambologna, Milan, 1905; W. Bode, Le opere di Niccold dell'Arca in L'Arte, ii, 1899: C. von Fabriczy, Niccold doll' Area, Sonderabdruck aus dem Beiheft zum Jahrbuch der KOnigl. Preussischen Kunstsamml., 1898, 19; L. Aldovrandi, // sepolcro di S. Maria delta Vila in Bologna e Niccold dall'Arca in L'Arte, ii, 1899; F. T. Bonora, Intorno alia cappella nella quale si venera il sepolcro del S. P. Domenico, Bologna, 1 883 ; F. T. Bonora, L 'area di S. Domenico e Michelangelo, Bologna, 1875; A. Venturi, Di un insigne artista modenese del sec. XV: Guido Mazzoni in A rchivio Storico italiano, 1887; A. Moschetti, Parziale ricupero di un capolaooro del Maz- zoni in L 'A rle, x, Rome, 1 907 ; W. Bode, Sperandio Manfaoano; A. Venturi, Sperandio da Mantooa in Archivio Storico dell'Arte, i, 1888; C. Malagola, Di Sperindio . . . in Faenza in Atti e Memorie della R. Depulazione di Storia Potria per le provincie di Romagna, serie iii, vol. i, Bologna, 1 883 ; H. Mackowsky, Sperandio Mantooano in Jahrb. der Konigl. Preuss. Kunstsamml., xix, 171 ; N. Mal- vezzi, Alessandro V papa a Bologna (with a note by A. Rubbiani upon the tomb of Alexander V), Bologna, 1893; G. Franciosi, DeH'animo e dcH'arte di Antonio Begarelli, Modena, 1879; A. Rubbiani, Un'opera ienorata di Vincenzo Onofriom Arch. Star. dell'Arte, viii, Rome, 1895 ; Adolfo Gottschewski, Ueber die Porlrals der Caterina Sforza and uber den Bildhauer Vtncenzo Onofrt, Strabur, 1908; E. Ridolfi, La 289 u FIG. 485. MONUMENT TO LEO XI. (AL. ALGARDI.) S. Peter's, Rome. (Photo. Anderson.) FIG. 486. RESURRECTION OF CHRIST. (ALFONSO LOMBARDI.) S Petronio, Bologna. (Photo, dell' Emilia.) ART IN NORTHERN ITALY Jala della morte di Alfonso Lombard! in Archioio Storico dell'Arte, viii, 1895 ; W. Braghirolli, Alfonso CiUadella in Alii e Memorie delta R. Accademia Virgiliana, Mantua, 1874-78; A. Saffi, Della vita e delle opere di M. Properzia de'Rossi, Forll, 1840; M. A. Gualandi, Memorie intomo a Properzia de'Rossi Scultrice, Bologna, 1854; G. Ferrari, Bartolomeo Spani mL'Arte, 1899; F. Fontanesi, Di Prospero Spani detto il Clemente, Reggio, 1826; R. Coteleni, Prospero Spani, Reggio Emilia, 1 903 ; C. Campori, Ricordi di Giuseppe Obici scultore modenex, Modena, 1865; F. Picco, Alessio Tramello, architetto da Piacenza, Emporium for Jan., 1910; E. Coulson James, Bologna, London, 1909. 290 FIG. 487. DUCAL PALACE, NOW THE MILITARY SCHOOL, MODENA. (PkotO. CHAPTER XXII EMILIA ARCHITECTURE FROM THE TIME OF VIGNOLA TO THE NINE- TEENTH CENTURY Jacopo Vignola and Sebastiano Serlio. The TibalJi or Pellegrini Family. The Bibiena Family, The Scenographic School of Bologna. Architecture at Modena and Reggio Emilia. G. B. Aleotti. E. Petitot at Parma. Architects of Romagna. The Neo-classic Movement. Gioo. Franc. Bonamici and Luca Danesi. IN the domain of architecture, from about the middle of the sixteenth century onwards, Emilia takes a more important position, and this was more especially due to a man of genius who was born in the heart of the country Jacopo Barozzi (1507-1573), known as Vignola, from the place of his birth in the territory of Modena. His canon of the " five orders," together with the books on architecture by the Bolognese Sebastiano Serlio (1475-1552, Fig. 488), were the manuals, we might almost say the codes, whence the architects of all Europe derived their theoretical knowledge. But Vignola, although, like all his contemporaries, he regarded the writings of the classic Vitruvius with the greatest reverence, was anything but a dry and methodical " Vitruvian." 291 U 2 ART IN NORTHERN ITALY In his works he showed himself a versatile artist, gifted with a vigorous imagination, one who succeeded in freeing himself from the Michelangelesque tradition, and in pro- ducing works of original inspiration. At first he applied himself to painting at Bologna, but seeing that he derived little profit from this art, " he turned his whole attention " so Ignatio Danti tells us " to the study of architecture and of perspective," and in these departments he before long manifested all the brilliancy of his genius. Thence he passed on to Rome, to trace the canons of Vitruvius in the monuments of antiquity, and after that to France, together with Primaticcio, who was in- debted to him for the perspective drawings which he turned to account in his paintings FIG. 488.-WINDOW OF THE a t Fontainebleau. Later on he returned PALAZZO COMUNALE, BOLOGNA. t o Bologna, as architect to the church of (Photo, dell 'Emilia.) $. Petronio, being charged with the prep- aration of a design for the facade. But he was not prepared to waste his time in sterile contentions with malignant opponents, although he had the support of Giulio Romano and of Cristoforo Lom- bardo. So, meantime, " he proceeded with incredible labour with the construc- tion of the ship canal at Bologna"; he also built the imposing Palazzo Bocchi (1 545) in the same city, and the tower of the Palazzo Isolani at Mi- nerbio. After this he returned to Rome at the summons of Pope Julius III, for whom he built the charming suburban villa known to this day as the Villa Giulia. After the death of this Pope he entered the service of Cardinal Farnese, for whom he designed two buildings that have 292 FIG. 489. PALAZZO FARNESE, CAPRAROLA. (Photo. Moscioni.) EMILIA FIG. 490. CISTERN ACCADEMIA, BOLOGNA. (Photo. dell'EmUia.) become famous the gigantic and magnificent palace at Caprarola (Fig. 489), and the church of the Gesii. With this Caprarola palace and its colossal unfinished pendant at Piacenza, Vignola created a type of building which has been nearly always adopted by the Farnese family hence the term Farnesian. During the remainder of the sixteenth century and throughout the two following centuries a suc- cession of architects flourished in Emilia, who, if none of them rose to the level of Vignola, have adorned the land with many notable buildings. At Bologna we find first Antonio Morandi, known as Terribilia (d. 1 568), the architect of the Archiginnasio, and of the Marconi (formerly Orsi) and Marescotti Palaces; then his nephew Francesco (d. 1603), who designed the graceful cistern formerly in the Semplici garden (Fig. 490), but now preserved in the Accademia di Belle Arti ; Bartolomeo Triachini, who designed the austere court of the Palazzo Celesi, now the University (Fig. 491), and also the frowning Pa- lazzo Malvezzi-Medici. The earliest member of the Tibaldi or Pellegrini family of artists is Ti- baldo, who built the convent of S. Gregorio. His son Pellegrino (1527-1597), of whom we have already spoken at some length on page 165, and to whom, as a painter, we shall have to return later on, did not work much in Bologna as an architect, but the imposing facade of the above mentioned Palazzo Celesi would suffice to establish his reputation in this branch ; here the classical forms are 293 FIG. 491. COURT OF THE UNIVERSITY, BOLOGNA. (Photo dell' 'Emilia.) ART IN NORTHERN ITALY FIG. 492. S. MARIA DELLA VITA, BOLOGNA. (Photo, dell' Emilia.) interpreted with a masterly liberty, perhaps due to his painter's point of view. His brother Domenico erected many more buildings, per- haps of equal grandeur, but cer- tainly not in such good taste ; we have evidence of this in the Palaz- zo Malvezzi-Campeggi (formerly Magnani), which has a cramped look with its heavy mouldings, to say nothing of the portico of the Gabella, and the palace of the Archbishop, buildings simple in outline, but rather ponderous. In the seventeenth century the skill and activity of the Bolognese architects appear to slacken to some extent. Nevertheless, such notable architects flourished as Bartolomeo Provaglia (d. 1672), to whom we owe the vigorously conceived Porta Galliera and the Palazzo Davia-Bargellini (Fig. 493), and the Padre G. B. Ber- gonzoni (1628-1692), the builder of S. Maria della Vita (Fig. 492) ; to this church a cupola was added a century later by that Giuseppe Tubertini who, in the hall for the Giuoco del Pallone (1822), gave a touch of classic feeling to his design, in perfect harmony with the athletic exercise for which the building was destined. It was in the seventeenth century also that the long series of the Bibiena family started in Bologna : they were builders of palaces and churches, but more notably designers of theatres and of theatrical decora- tion ; as such they were very famous and in request at all the courts of Europe. It was with them that the scenographic school of Bologna attained to its greatest splendour, a school that began with Serlio and ended with Francesco Cocchi 294 FIG. 493. PALAZZO DAVIA-BARGELLINI, BOLOGNA. (Photo, dell' Emilia.) EMILIA FIG. 494. THEATRICAL SCENE. (c. BIBIENA.) (From an Engraving.) (1788-1865), Valentino Solmi (1810-1866), and Domenico Ferri (1808-1865) ; the last of these went to Paris about the year 1850, and played an important part in the revival of French scenography. We begin with Giovanni MariaGalli(1619-1665), known as Bibiena (s/c), who, along with his family, made his way to Bologna from his native town of Bibbiena, not far from Arezzo, to study under Albani. His sons were Ferdinando (1657-1 743) and Francesco (1659-1 739) ; Ferdinando was the father of Giuseppe (1696-1756) and Antonio (1700-1774); Antonio of Alessandro (d. 1760); Giuseppe of Carlo (1725-1787). The first of the great theatrical artists of this family was Ferdinando who, after passing through the studio of Carlo Cignani, turned his attention to architecture, and together with Mauro Aldobrandini (1649-1680), K'aced himself under Giacomo Antonio Mannini (1646-1732). e then made a triumphal progress through foreign capitals, and it would be impossible to follow his steps and those of other members of his family without devoting a volume to the task. Francesco meantime did not confine himself to architectural work in canvas, paper and wood. He erected, among other buildings, in his native town, the beautiful Arco del Meloncello (Fig. 495), the grace- ful curves of which accentuate the junction of three roads. Antonio, however, was the most eminent member of the family. His scenic arrangements were regarded as marvels by his contemporaries, and we may still admire his decorative work and his theatres, of which he built a great number, both in Italy and abroad ; among the few of these that survive, the most important 295 FIG. 495. ARCO DEL MELONCELLO, BOLOGNA. (Photo, dell' Emilia.) FIG. 496. MADONNA DI SAN LUCA, BOLOGNA. (Photo, dell' Emilia.) is the Teatro Comunale at Bologna (1756). If, as we have said, the general aspect of Bologna had served to promote the taste for scenographic effect among the native artists, the prevalence of this taste has in its turn proved an incentive to the construction by the architects of ambitious and boldly conceived buildings. We have evidence of this in the work of Alfonzo Torre- giani (d. 1 764), more especially in the Rusconi and Montanari (for- merly Aldrovandi) Palaces ; in that of Carlo Francesco Dotti (d. 1 780), who crowned the Guardia hill so majestically with the Church of the Madonna di S. Luca (Fig. 4%), and in that of Angelo Venturoli (1 749-1825), in the atrium of whose Palazzo Hercolani (Fig. 497) we find a classical scene in the manner of Basoli or of Cocchi. Nor should we forget that this last architect had as a pupil Giuseppe Mengoni (1 82/-1 877) also of Emilian birth who shows the boldness of the scene- painter in his Galleria (Fig. 288) at Milan, and in the Savings Bank at Bologna (Fig. 498). Another pupil of Venturoli was Tito Azzolini (1837-1907), the architect of the Scalea della Montagnola at Bologna and of the Savings Bank at Pistoia. For the most imposing buildings at Modena, that is to say, for the Ducal Palace (1635, Fig. 487) and the Collegio di S. Carlo (1 664), we are indebted to a great Roman architect, Bartolomeo Avanzini ; but there has been no lack of good artists in the city and surrounding district ; nor was the pseudo- classical period deficient in archi- tects. Reggio owes its theatre to a Modenese architect, and it was an artist of Ferrara, Alessandro Balbi, who commenced the imposing church of the Madonna della 296 FIG. 4Q7. PALAZZO HERCOLANI, BOLOGNA. (Pholo. dell' Emilia.) EMILIA FIG. 498. SAVINGS BANK, BOLOGNA. (Photo dell' Emilia.) Ghiara( 1597, Fig. 499). Reggio, however, claims Francesco Pac- chioni, who completed the work, and was also the architect of the Benedictine monastery ; and above all, Gaspare Vigarani (1586- 1663), who, thanks to his expe- rience as a scene-painter, was master of a vivacity of composition which is shown in his designs for the Oratory of S. Girolamo at Reggio (1646), for the church of S. Giorgio at Modena, and for the Villa Malmusi (Fig. 501) in the neighbourhood of that city. Ferrara boasts other excellent architects, in addition to Balbi. But the most celebrated among them perhaps the only man of real distinction is G. B. Aleotti (1546- 1636), known as Argenta from the charming little city in the Ferrara district that gave him birth. For more than twenty years he was in the service of the Duke Alfonso II., and then in that of the civic authorities of Ferrara. He superintended with skill works of hydraulic and military engineer- ing, and meantime built the facade of the Gesu church, and the church of S. Carlo, as well as the Teatro degl'Intrepidi, a building much admired by his contemporaries, which was burnt to the ground in 1679. But as a compensation we still have his famous Teatro Farnese at Parma (Fig. 500), still admired as one of the largest and most beautiful in Europe, and of interest because the architect combined certain classical elements derived from ancient theatres with mod- ern requirements, erecting rows of boxes above the semi-circular tiers of seats, and arranging the opening of the stage and 297 FIG. 499. MADONNA DELLA GHIARA, REGGIO EMILIA. (Photo. Fantuzzi.) ART IN NORTHERN ITALY FIG. 5OO. FARNESE THEATRE, PARMA. (Photo. Alinari.) the drop-scene above the cavaea. Parma commissioned Alessi to build the majestic Jesuit College, now the University ; but we must not infer from this that there were no good na- tive architects among the citizens. The presence of Ennemond Petitot in the eighteenth century has in- deed helped to give a cer- tain French air of gaiety to the city; to him we owe the laying out of the " Stradone," a basilica of trees, the Palazzo del Governo, the fajade of S. Pietro, and finally the enlargement of the Palazzo del Giardino, built in 1 564 by Giovanni Boscoli. The buildings erected at the instance of Marie Louise, chief among which is the Teatro Regio (1621) by Nicola Bettoli also contribute not a little to the pleasing and aristocratic air of Parma. At Piacenza again the restrained and harmonious buildings of the Renaissance alternate with such imposing erections as the church of S. Agostino (1570) and the Mandelli and Marazzani-Visconti palaces ; but we do not know the architects of these buildings. Lotario Tomba, however, is the acknowl- edged author of the fa$ade of the Palazzo del Governo (1781). Passing from Bologna towards Ro- magna we see no change in the character of the architecture. Every city here boasts artists of dis- tinction. At Imola, in ad- dition to Lorenzo and Cosimo Mattoni, we find Cosimo Morelli, one of the most prominent architects of Romagna in the eighteenth century ; he built the church of S. Agostino in his 298 FIG. 5OI. VILLA MALMUSI, NEAR MODENA. (Photo. Fanluzzi.) EMILIA FIG. 502. CATHEDRAL, RAVENNA (Photo. Ricci.) native city and recon- structed or altered S. Cas- siano and the Palazzo Comunale. Faenzais justly proud of the fountain erected by Domenico Castelli (at work 1621), who derived his sobriquet of Fontanino from this work. In-rthe next century it produced Giuseppe Pistocchi, the designer of such elegant buildings as the Gessi and Magnanuti Palaces in Faenza and of the cupola of the cathedral at Ravenna (Fig. 502). At Forli the Baroque period produced several churches and a multitude of palaces. Frate Giuseppe Merenda (at work 1 722-1 770), who built the churches of the Carmine and of the Suffragio, as well as the hospital and chapel of S. Pelle- grino, was one of the most distinguished architects of this town. In neo-classic times Giulio Zambianchi, who rebuilt the cathedral in 1 84 1 , was a notable figure. At Cesena we find the Theatine, Matteo Zaccolini, who died of the plague in 1630; in addition to being an architect, he was a distinguished master of perspec- tive, and as such the teacher of Poussin and of Domenichino. At Rimini, Giovanni Francesco Bonamici (d. 1 759) had a great reputa- tion ; his buildings at Pe- saro also, and at Fano, Sinigaglia and Ravenna, have a certain majesty ; but it is difficult to forgive him the destruction of many admirable ancient buildings in order to make room for his own productions. For its theatre Rimini is in- debted to the Modenese FIG - S03.-cHURCH OF THE ANNUNZIATA, PARMA. architect Luigi Poletti (1792-1869), better known as the restorer of S. Paolo at Rome, a majestic but inanimate work, than for his other really elegant 299 ART IN NORTHERN ITALY FIG. 504. S. PAOLO FUORI LE MURA, ROME. (Photo. Alinari.) buildings. Ravenna num- bers among the best of her architects Bernardino Tavella, who produced a work of real grandeur in the interior of S. Maria in Porto (1553). Luca Danesi (1598-1672) is the reputed architect of the Palazzo Rasponi delle Teste, a building erected more than thirty years after his death ! How- ever, the Theatine church of S. Maria della Pieta at Ferrara gives a good idea of the solid nature of his art. On the other hand, we have in Ravenna many beautiful examples of the work of Morigia (1743-1795), who also built the facade of the cathedral of Urbino. In the fa9ade of S. Maria in Porto (Fig. 505), in spite of a tendency to Ba- roque overloading in parts, he shows his first strivings towards that neo-classic ideal of repose which he successfully achieved in the Fabbrica dell' Orologio. It may be thought that I have dwelt somewhat unduly on a period that has been neglected hitherto by our art historians. But FIG. 505. s. MARIA IN PORTO, RAVENNA. the contempt with which (Photo. Ricd.) the buildings of this age have been regarded, and the oblivion into which its architects have lapsed, are giving way before a renewed interest, which cannot be ignored. BIBLIOGRAPHY OF CHAPTER XXII. For general works on the art of Emilia, guides to cities, &c., see the bibliography to Chapters XX and XXI. Crespi, Viie. dei pittori bolognesi, Bologna, 1769: Pascoli, Vite del pittori, scultori ed architetti modern!, Rome, 1736; G. P. Zanotti, Storia dell'Accademia Clementina in Bologna, Bologna, 1 739 ; A. Ricci, Storia dell'architettura italiana ', Gurlitt, Geschichte des Barockslils in Italien ; O. Raschdorff, Palast Architektur Von Oberitalien and Toscana von XIII 300 EMILIA bis XVII Jahrhundert ; Memorie e stud! intorno a Jacopo Barozzi, Vignola, 1908 (see especially the chapter containing an ample bibliography of Vignola) ; C. Fabriczy, review of the work of Willich upon Vignola in Repertorium, 1 908 ; L. Sighinolfi, // vero architetto del palazzo del Banchl in Resto del Carlino for Dec. 25, 1909; A. Ronchini, Giovanni Boscoli e la Pilottam Atti e Memorie delta R. Deputazione di Storia Patria per le Prooincie Modenesi e Parmensi, iii, 1864; D. Bandi, Giambattista Aleotti architetto, Argenta, 1878; Glauco Lombardi, // teatro Famese in A rchivio Storico delle Prooincie Parmensi, ix, Parma, 1 909 ; Scaletta, // Fonte pubblico di Faenza, Faenza, 1904; M. Valgimigli, La torre defforologio e il fonte pubblico di Faenza, Faenza, 1873; A. Messeri and A. Calzj, Faenza nella Storia e neU'Arte, Faenza, 1909 ; D. Manzini, Storia dell'insigne basilica di S. Prospero in Reggio Emilia, Reggio Emilia, 1880; C. Campori, Biografia di Luigi Poletti, Modena, 1881; L. Amadesi, La Metropolitana, di Ravenna, Bologna, 1 748 ; F. Mordani, Uomini illustri di Ravenna in Operette, i, Florence, 1874. 301 FIG. 506. ADORATION OF THE MAGI. (FRANCIA.) Dresden Gallery. CHAPTER XXIII EMILIA THE PAINTING OF THE FOURTEENTH AND FIFTEENTH CENTURIES The Three Great Centres of Painting, Ferrara, Bologna, and Parma. Byzantine Decoration in the Baptistery of Parma. Fourteenth Century Painters. Lippo di Dalmasio. Tommaso and Barnaba da Modena. Serafino Serafini. Marco Zoppo. The School of Ferrara. Cosmt Tura, Fr. del Cossa and Ercole Robert!. B. Parenzano. FT. Bianchi-Ferrara. Mazzolino. L'Ortolano. L. Costa at Bologna and Mantua. Francia.--Timoteo Vili. Conflicting Tendencies Among Minor Painters. Melozzo daForli. EMILIA has had three great centres of painting : Ferrara, Bologna, and Parma. But seeing that the influence of each of these centres has at times extended over nearly the whole of the region, nay, at certain moments over the whole of Italy, and has even passed the frontier, it will be well to examine them in relation one to another and in accordance with the development of the various schools and their various fortunes. In former days, extensive remains of Romanesque painting were to be found in this district, but of the so-called Byzantine frescoes on the cupola of S. Vitale at Ravenna and of those in the Santo Sepolcro at Bologna, to say nothing of those on the facade of the cathedral at Reggio, little or nothing now survives. The sole really imposing work of this kind still in existence is the decoration of the cupola of the Baptistery at Parma. However, here and there, 302 EMILIA FIG. 507. DEATH OF THE VIRGIN. (CIOV. AND PIETRO DA RIMINI.) S. Maria in Porto Fuori, Ravenna. (Photo. dell'Emttia.) in many parts of Emilia, we come upon examples of Romanesque frescoes that suffice for the deter- mination of the artistic and techni- cal qualities of the school, and provide us with the names of a few artists. Notable groups of fourteenth century painters are to be found above all in Romagna. Here we have Baldassarre (at work 1354), and Guglielmo of Forli ; Ottaviano and Pace of Faenza ; Giuliano (already at work in 1307), Pietro and Giovanni Baronzio of Rimini (flourished about the middle of the fourteenth century) ; all these artists worked from the Marches (Urbino and Castel Durante) to Bologna, to Ferrara (where, in 1 380, we find Laudadio Rambaldo), and to Pomposa. At Ravenna in the church of S. Maria in Porto Fuori (Fig. 507) they have left us what are perhaps the most notable examples of their capabilities, both as regards execution and sentiment. At Forli and at Faenza the grand example of Giotto appears to have been followed more directly, while at Rimini we find rather an echo of the painters of the Marches, more especially the decorators of the great chapel of S. Nicholas at Tolentino. The contemporary school of Bo- logna appears to have been of even less importance. Among the many painters the only prominent names are Vitale Cavalli, known as "delle Madonne" (at work 1340-1359, Fig. 508), Jacopo Avanzo(Fig. 509), and above all Lippo Scannabecchi (1352?-l415?)-the son of Dal- masio, also a painter (1324-1390?) who has attained to a greater rep- utation and has given his name to 303 FIG. 508. VIRGIN AND CHILD. (VITALE CAVALLI.) Gallery, Bologna. (Photo. dell'EmUia.) ART IN NORTHERN ITALY FIG. 509. CRUCIFIXION. (jACOPO AVANZO.) Palazzo Colonna, Rome. the school (Fig. 5 1 0). But Lippo, even in his last years, remained faithful to the formulae of the trecento, while on the other hand Bittino of Faenza (at work 1398-1409, Fig. 511) has left us at Rimini good evidence of his attempts at an improved style. But the most notable of all the Emilian painters of the trecento are the Modenese. We have already spoken of Tommaso ; at Treviso we may see paintings by him admirable for their realistic tendency and for their nobility of sentiment (see p. 40). Less monu- mental in character, but not less lofty, was the work of Barnaba (Fig. 512), who, in 1367, is mentioned with the title of painter, in the will of his father Ottobello. Barnaba did not find scope for his activity in his own country ; he pitched his tent in other lands and finally took up his abode in Genoa, where there are records of him as late as 1 383. Serafmo Serafini also (at work 1 348-1 385, Fig. 5 1 3) left his native city for Ferrara, but perhaps returned to Modena and passed his last years there ; of this we seem to have evidence in the great altar- piece he painted for the cathedral, a work finished in 1 384. Two of the best of the fourteenth century paintings in the Baptistery at Parma (here, however, Romanesque work predominates) are by Niccolb da Reggio (at work 1363- 1377) and by Bertolino da Piacenza. But enough of the fourteenth century ! Nor need we linger over the painters of the first half of the following century. Many names are recorded and many works of the period survive ; but we know nothing of the productions of the former, and the latter are for the most part indifferent. Emilia owes it to the school of Padua that her painting was definitely detached 304 FIG. 510. CORONATION OF THE VIRGIN. (LIPPO DI DALMASIO.) Gallery, Bologna. (Photo, dell' Emilia.') EMILIA from the exhausted formulae of the trecento and vigorously launched into naturalism. It was by Squarcione that the Bolognese painter Marco Zoppo (1433-1498, Fig. 515) was formed; he went to Squarcione's studio at the age of twenty and remained with him a little more than two years, after which we find him at Venice. He also studied the work of Tura, and, like all the young artists who at that time flocked to Padua, the powerful art of Donatello. His manner is not so weak as it appears to some. Above all we must recognise in him a marked personality which distinguishes him from his fellow artists, as well as much energy in his research of form and character, a research that in his day amounted to a beneficent mission ; it was a reaction against the feebleness of the old painting. But the battle was fought out more completely by the painters of Ferrara, where a remark- able school of painting was in course of forma- tion, a school which combined the forms of Pisanello, of Squarcione, and of Pier della Fran- cesca, with the most independent manifestations, while preserving a vigorous northern stamp that was all its own. It was by these men rather than by Zoppo that the new birth of painting at Bologna and at Modena was brought about. Apart from the severe and Squarcionesque Bono da Ferrara, who flourished about 1460 (Fig. 5 1 4), we recognise as the founders of this remarkable school Cosimo Tura, known as Cosme (1429 ?- 1495), Francesco del Cossa (1435-1477) and Ercole Roberti (1450 ?- 1496V There can be little doubt that Cosimo encountered Mantegna at Padua while the latter was working in the church of the Eremitani, and that he drew strength from the study of that artist's resolute figures ; he was filled with admiration for what we may call the scientific spirit, the love of perspective and of antique 305 x FIG. 511. EPISODES IN THE LIFE OF S. JULIAN. (BITTINO DA FAENZA.) S. Giuliano, Rimini. (Photo. Alinari.) ART IN NORTHERN ITALY FIG. 512. VIRGIN AND CHILD. (BARNABA DA MODENA.) Estense Gallery, Modena. (Photo. Alinari.) beauty which was universal at Padua at this time. In return, Borso appointed Cosimo his ducal painter, and from this time forth, sought after and re- nowned, he worked at a long series of frescoes, pictures of sacred subjects, and portraits. His works, like all crude rendering of truth, give little pleasure on first acquaintance. An uneasy spirit, as Adolf o Venturi has said, he "con- fines the lineaments of his heads between strongly marked zygomic arches, and so stretches and moulds his closely- fitting metallic draperies to the body that the muscles seem strained, the veins distended, and the skin drawn tightly over the bones of his figures." However, as we gradually penetrate into the spirit of this great painter, we discover treasures of kindliness and beauty that fascinate us at last. Few works of the time bear the impresss of these qualities more strongly than his Annun- ciation in the cathedral at Ferrara (Fig. 516). The activity of Tura was almost entirely confined to work executed at Ferrara for the Este family : that of Cossa and of Roberti, on the other hand, was shared between that city and Bologna ; they worked now for the Este, now for the Bentivoglio princes. Cossa's visit to Bologna may be referred to the year 1470. At that time, though little over thirty, he had already a con- siderable reputation. When very young he had modelled in clay, but, passing to the art of painting, he had advanced with giant strides, triumphing notably in his work at the Schifanoia, FIG. 513. POLYPTYCH. VIRGIN AND SAINTS. (SERAFINO SERAFINI.) Cathedral, Modena. (Photo. Anderson.) 306 EMILIA FIG. 514. s. JEROME. (BONO DA FERRARA.) National Gallery, London. (Photo. Anderson.) where one whole wall still attests his vigour, his fertility, and the felicity of his genius. The frescoes he painted in the palace of the Bentivoglio at Bologna had completely perished as early as 1 507, together with those of Costa and of Francia ; and the like fate has befallen the frescoes begun by him and finished by Roberti in the Garganelli chapel in the cathe- dral. On the other hand, Bologna still preserves a picture by him in the Baraccano church, and in the picture gallery a tempera painting, broad and impressive in style, but of such a rugged realism that we cannot but wonder it should be the work of the same hand as the frescoes in the Schifanoia, the predella of the Vatican, and other works, in which he combines elaborate treat- ment with a charming sense of beauty. The art of Cossa, in contradiction to the general belief, had numerous imitators. At Bologna we have proof of this in a number of tempera paintings in S. Petronio and in S. Giovanni in Monte and at Modena in the works of the r Erri family, and of Bartolomeo Bonascia (at work 1468, d. 1527), the author of the powerful Pieta in the Galleria Estense (Fig. 5 1 7), painted in 1485. We thus see that the origin of the second school of Modena is to be sought at Ferrara and more particularly in Cossa. Nor is the presence in this school of elements de- rived from Pier della Francesca and from Squarcione to be regarded as evi- dence against this statement, for these are also constituent elements of the Ferrarese school. In support of this opinion we have documentary evi- dence, showing the close artistic rela- tions between Modena and Ferrara. FIG. siS- PIETA. (MARCO ZOPPO.) Ateneo, Pesaro. (Photo. Alinari.) 307 x2 ART IN NORTHERN ITALY FIG. 516. ANNUNCIATION. (COSME TURA.) Cathedral, Ferrara. (Photo. AHnari.) Among the various families of painters which flourished at this time in Modena, that of the Erri takes a prominent position ; notable examples of their work are the altar- piece in the Galleria Estense (Fig. 522) and some frescoes in the abbey of Nonantola. The former was painted by Agnolo (at work 1449-1465) and by Bartplomeo, who survived to a later date, and who continued the frescoes in the palace of Borso d'Este at Sassuolo. Benedetto (at work 1436-1453) and Pellegrino (1454-1497) ap- pear to have worked in the same manner, while a little later on, Annibale was a follower of Costa and of Francia. Ercole Roberti ( 1 440 ?- 1 496) was a less tortuous and rugged painter than Tura or Cossa, but he was their equal in imagination, vivacity, and nobility of sentiment. The Pala Portuense (altar-piece from S. Maria in rorta Fuori, Ravenna, Fig. 519) of the Brera (the predella is at Dresden), painted in 1480, is his most important surviving work ; in view of this painting we can well believe that the praise given by Vasari to the lost frescoes in the Cappella Garganelli in Bologna is in no way exaggerated. Ercole was painter to the Duke of Ferrara, in receipt of high payment, and the favourite of Eleonora of Aragon, of Cardinal Ippolito, and of the young Alfonso, who took him with him to Rome. In 1490 he was commissioned to design the magnificent decora- tions for the marriage of Isabella d'Este. A prolific and indus- trious painter, Roberti executed many works in FIG. 517. PIETA. (BARTOLOMEO BONASCIA.) Estense Gallery, Modena. (Photo. AHnari.) 308 EMILIA FIG. 518. FEMININE PURSUITS. (FRANC. DEL COSSA.) Schifanoia Palace, Ferrara. (Photo. Anderson.) the course of his short life. In these the characteristic leanness of his figures serves to accentuate the dramatic agitation that informs them. He exercised a varied but un- mistakable influence upon many of his contemporaries ; upon Bernardo Parenzano or Parentino for in- stance (see p. 101), an eclectic spirit, who also owed something to Mantegna and to Domenico Mo- rone ; upon the Modenese, Fran- cesco Bianchi-Ferrari, known as Frare (at work 1481-1510), an artist who, in spite of the searching severity of his types, did not neglect the expression of sentiment ; of this we have better evidence in his Crucifixion in the Galleria Es- tense (Fig. 520) than in his An- nunciation, which was finished by Gian Antonio Scaccieri ; upon Michele Coltellini, who flourished between 1 490 and 1 520 ; and even upon such famous artists as Costa and Francia. Lodovico Mazzoli, known as Maz- zolino (1478-1 528), who also owed something to Boccaccino (see above, p. 192), produced an infinite num- ber of little pictures, careful in execu- tion, rich in colour and full of anima- tion ; but he constantly repeated himself, and his types are often grotesque. On the other hand, Gian Battista Benvenuti, known as Ortolano, an artist who at the first had some affinity with him, soon revealed himself as a man of quite another fibre, distinguished by a spirit of grandeur and by a dramatic intensity of colour; his solemn De- scent from the Cross (Fig. 523), in the Borghese Gallery, may be ranked as one of the most notable productions 309 FIG. 510. ALTAR-PIECE. PALA PORTUENSE. (ERCOLE ROBERTI ) Brera, Milan. (Photo. Anderson.) ART IN NORTHERN ITALY FIG. 520. CRUCIFIXION. (FRANCESCO BIANCHI-FERRARI.) Estense Gallery, Modena. (Photo. Alinari.) of the school of Ferrara. The life of Ercole Grandi (1465?-1535?, Fig. 521) was prolonged to a later date, but his art made no advance ; to the end he remained in substance a quattrocentist, and this in spite of the stronger light with which he suffused his pictures after the example of Costa and of Francia. It was these last painters who initiated a new and successful period of art in Bologna. Lorenzo Costa (1460- 153 5) made his way from Ferrara to Bologna in 1483, and remained there for long, indeed up to the fall of the Bentivoglio family in 1 506, after which he passed on to Mantua to take the place lately occupied by Man- tegna. The old Ferrarese writers make him the master of Francia ; those of Bologna, on the other hand, call him his pupil. The truth is, that these two gave each other mutual support, working together amicably in various places, as in the destroyed palace of the Bentivoglio, in the little church of S. Cecilia, in the Misericordia Church and elsewhere. That Costa learnt much from Roberti is evident from his Triumphs and from the portraits of the family of Giovanni II Bentivoglio (Fig. 525) which adorn the chapel erected by the latter in S. Giacomo. In course of time, attracted by the grace of Francia, and his splendour of colour, he modified his style. His life was prolonged, so that he outlived Leonardo, FIG. 521. PIETA. Gallery, Ferrara. (ERCOLE GRAXDI.) (Photo. Anderson.) 310 EMILIA FIG. 522. CORONATION OF THE VIRGIN. (AGNOLO AND BART. ERRI.) Estense Gallery, Modena. (Photo. Alinari.) Raphael, and even Correggio, but in his later years he had not suffi- cient vigour to master the "modern manner." Thus it happened that his passage to Rome in 1 503 had absolutely no influence upon his essentially conservative spirit. How- ever, Costa is a pleasing artist, never wanting in nobility in his aims ; he is indeed now and then somewhat common-place and slovenly in his composition, but when treating simple subjects, he is well balanced, and even at times rises to a certain grandeur, as we may see in his great panel in the Cappella Baciocchi in S. Pe- tronio (1492), a work which, for vigour of colour above all, appears to me his masterpiece. He also painted some good portraits, and in landscape excelled Francia himself. The art of Ferrara, as a whole, was great in its method, in its searching endeavour for a stern realism, but it is at times hard, not to say brutal. It seems almost to contemn any assistance from senti- ment or pure beauty. It is as a consequence of this that Francia, who succeeded in fusing a sweet and expressive charm with the technical elements of the school, in the end overshadowed the fame of his predecessors, who had prepared the way for him by their firm adherence to their artistic principles. Francesco Raibolini was born in Bologna about 1 450 and died there in 1517; his name, Francia, is merely an abbreviation or corrup- tion, usual at the time, of Francesco. A refl an< ^ versatile artist, he no. 523.-p.ETA. (ORTOLANO.) . Borghese Gallery, Rome. (Photo. Anderson.) painted on panels, OH walls and OH 311 ART IN NORTHERN ITALY FIG. 524. VIRGIN AND CHILD WITH SAINTS. (FRANCIA.) Gallery, Parma. (Photo. Alinari.) glass, he cut dies for coins, he en- graved nielli, and as a goldsmith pro- duced some exquisite works. Inde- fatigable as a craftsman, within a period of twenty years of labour, he, like Raphael, did the work of four men, and gathered around him a swarm of pupils attracted by his fame both as an artist and as a kind and accomplished master. As a painter Francia excelled in the enamelled smoothness of his colour, a manner of painting to which he adhered even after the intro- duction of new technical methods, and in the expression of sentiment, but his resources were not great and his imagination was limited (Fig. 506). Yet when we gaze upon his Ma- donnas, with their sweet, dreamy faces, so full of feminine suavity and of tranquil piety, we learn to love him (Fig. 524). When, on the other hand, the subject calls for dramatic vigour, his weak- ness is manifest. He is unable to synthesise the various elements, and, as if to deceive himself, he loses himself in a thousand de- tails ; this we see nowhere more clearly than in his Burial of S. Cecilia. But this does not lessen our regret for the loss of the grand series of frescoes by him which perished with the Bentivoglio Palace. Among the pupils of Francia we now recognise as the most important his son Giacomo (1485- 1557); his nephew Giulio (d. 1 540) and Timoteo Viti of Urbino (1467-1524), who on his return to his native town became the master of Raphael, and who be- fore long completely changed his style. Gian Maria Chiodarolo (at 312 FIG. 525. THE FAMILY OF GIOVANNI BENTIVOGLIO. (LORENZO COSTA.) Church of S. Giacomo, Bologna. (Photo. ddl'Emilia.) EMILIA FIG. 526. S. AUGUSTINE BAPTISED BY S. AMBROSE. (AMICO ASPERTINI.) Church of S. Frediano, Lucca. (Photo. Alinari.) work 1490-1520), and Amico Aspertini (1474-1552, Fig. 526), though they have been described as disciples of Francia, were rather imitators of Costa, and as regards Aspertini, of Roberti. Apart from these, Pellegrino Munari (1460?- 1523? Fig. 527) of Modena is noted by Vasari as "the ornament of his age." He was at first a follower of Bianchi and then of Costa. Attracted by the fame of Raphael he betook himself to Rome ; but it was not in his power to change the style of his art and make a fresh start ; on his return to his native town Munari was assassinated. Mario Meloni of Carpi, who flourished in the early years of the sixteenth century, added to his admiration of Francia and of Costa a reverence for Perugino. An echo of the art of the two great painters of the Bentivoglio regime reached as far as Parma, with Gian Francesco Maineri (at work 1486-1504) and Ales- sandro Araldi (1460?- 1 528), the latter an indifferent artist, who also borrowed from Man- tegna, from Leonardo, from Raphael, and from Pintoricchio, treasuring up motives from all these painters to combine them in his mediocre works (Fig. 528). In general, the artists at Parma at this time were not successful in following resolutely any definite artistic direction, but wasted their gifts in a thou- sand tentative efforts. Benedetto Bembo and other decorative FIG. 527. VIRGIN AND CHILD WITH SAINTS. (PELLEGRINO MUNARI.) Church of S. Pietro, Modena. (Photo. Alinari.) 313 ART IN NORTHERN ITALY FIG. 528. DISPUTE OF S. CATHERINE. (AL. ARALDI.) Cell of S. Catherine, at Parma. (Photo. Anderson.) painters introduced the manner of the Cremonese (see p. 191); Francesco Tacconi (d. 1 491 ?), although himself a native of Cremona, brought in that of the Bellini (see p. 56) as did also Cristoforo Caselli, known as Temperelli (1500?- 1521). Filippo Mazzola (1460 ?-1 505), as a portrait painter (Fig. 529), shows himself a clever follower of Antonel- lo da Messina, and other artists also worked on the lines of the Venetians. The art of Jacopo Loschi (1425?- 1504) is on the other hand less easy to define. Wavering between the various currents, Loschi is perhaps to be regarded as the pupil of Bartolomeo Grossi (d. 1468), a Cremo- nesque painter ; he worked with him for some time and married his daughter ; in 1 496 we find him established at Carpi where he died. He had brothers who were painters, among them Giovanni, the author of a picture still in existence at Pesaro. The sons of Jacopo remained at Carpi under the protection of the Pio family, and it was there that Cosimo and Bernardino worked. In like manner, in Romagna, painters seemed at this time unable to follow any defi- nite path or to fuse into a whole the various influences that, like little timid streamlets, descended to them from the Venetian terri- tory, from Bologna, from Tuscany, and from the Marches. At first we find Giovanni Francesco da Rimini (at work 1458-1471, Fig. 530) following the manner of Bonfigli of Perugia ; his paintings are to be found in all the tract of country from Bologna as far as Atri, where he worked with others in the apse of the Cathedral. Then at Faenza, 314 FIG. 529. PORTRAIT OF A MAN. (F. MAZZOLA.) Brera, Milan. (Photo. Alinari.) EMILIA FIG. 530. ANGELS BRINGING BREAD TO S. DOMINIC AND HIS DISCIPLES. (GIOV. FRANC. DA RIMINI.) Ateneo, Pesaro. (Photo. I. I. d'Arli Grafiche.) where a crowd of minor artists made their living by decorating the famous ceramic wares, we find Leonardo Scaletti (who died before 1495, Fig. 531) wavering between Pier della Fran- cesca and the Ferrarese ; Giovanni da Oriolo (or da Riolo, at work 1449- 1461), an adherent of the latter school ; and at a later time G. B. Utili (at work 1505-1 5 15), faithful to the example of r ollaiolo, of Verrocchio and of Ghir- landaio (Fig. 533). At Ravenna the in- fluence of Bellini dies out with Rondinelli. It is in- deed impossible to admit that Bernardino (1460?- 1509) and Francesco Zaganelli (1465?- 1531), known as Cotignola from the place of their birth, derived their art from his school ; their works reveal distinctly the influence of Ferrara, more especially that of Ercole Roberti, as well as that of Palmezzano of Forh. Among the painters of Romagna, however, only one great artist is to be found Melozzo degli Ambrosi, more commonly known as Melozzo da Fora (1438- 1 494). In the past various opinions have been current concerning the origin of Melozzo's art. Of late, the reasonable opinion has gained ground that Melozzo was trained in the studio of Pier della Francesca who, we know, had worked at Rimini and in the adjacent Marches. There is also an undeniable affinity between the art of Melozzo and that of Justus of Ghent, and we have proof of this in the attribution, now to the one painter and now to the other, of certain allegorical figures of Music, of Rhetoric, 315 FIG. 531. VIRGIN AND CHILD WITH SAINTS. (LEONARDO SCALETTI.) Gallery, Faenza. (Photo. Alinari.) ART IN NORTHERN ITALY FIG. 532. VIRGIN AND CHILD WITH SAINTS. (FRANC. AND BERNARDINO DA COTIGNOLA.) Brera, Milan. (Photo. I. I. d'Arti Grafiche.) of Astronomy, and of Dialectics (formerly at Urbino, now in Berlin and in London), as also of the por- trait of Federico da Montefeltro with his son Guidobaldo, in the Barberini Gallery at Rome. It is not unlikely that the affinity between the works of the two men has its origin in the fact that Piero influenced both of them ; but it may also be possible that the paintings of Melozzo made an impression upon Justus. Justus made his appearance at Urbino in 1 473 ; at this date Melozzo was thirty-six, and had already completed some notable works ; for more than a year he had been employed by Sixtus IV upon the great decoration of the apse of the church of the Holy Apostles at Rome, a work barbarously destroyed in 1711, when only a few fragments, now divided between the Quirinal and the Sacristy of St. Peter's, were preserved. But the painting by which the same Pope was pleased to record the founda- tion of the Vatican library, and the appointment of Platina as librarian in the presence of four other per- sonages (Fig. 535), still survives in Rome. On the one hand, the vigour with which each figure is here de- fined, gives proof of the surpassing power of Melozzo in the searching rendering of character, while the Angel of the Annunciation in the Uffizi, and the angels saved from (he church of the Holy Apostles (Fig. 537), on the other hand, reveal a lofty and exquisite feeling for grace and beauty. These, to- gether with the paintings on the little cupola at Lore to, show a 316 FIG. 533. VIRGIN AND CHILD WITH SAINTS. (G. B. UTILI.) Accademia, Ravenna. (Photo. I. I. d'Arti Grafiche.) EMILIA FIG. 534. VIRGIN AND CHILD. (BALDASSARRE CARRARI.) Massari Collection, Ferrara. knowledge of perspective worthy of a follower of Piero. Unfortunately, Melozzo did not found such a school as might have been hoped for. His pupil and assistant Marco Palmezzano (1456-1538?, Fig. 536) derived indeed from him a certain solidity of colour and nobility of com- position, but not his spirit of fresh in- spiration and of vigorous life. Palmez- zano was a prolific painter, whose work is accurate and conscientious, but the soul of the master is not to be found in his figures. Some echo of Melozzo reached the Imola painter, Gaspare Sacchi, who died after 1 52 1 ; it reached too Baldassarre Carrari, the younger (1460?-! 518?, Fig. 534)-on the whole a follower of Costa and of Ron- dmelh and, by way of Palmezzano, was transmitted to the two Zaganelli ; but before long the glorious sound died away, and very different voices echoed on every side. BIBLIOGRAPHY OF CHAPTER XXIII For works of a general character upon the art of Emilia, guides to cities, ficc., consult also the bibli- ography to chapters XX and XXI. Vasari, Le Vite ; Baldinucci, Notizie dei professor! del dixgno ; Lanzi, Storia pittorica ; Rosini, Sloria delta pittura italiana; Crowe and Cavalcaselle, History of Painting in Italy; Meyer, Allgemeines KUnstler Lexikon; U. Thieme and F. Becker, Allgemeines Lexikon der bildenden Kiinstler; J. Burckhardt, Le Cicerone ; Morelli, Le opere dei maestri Italian!; Morelli, Delia pittura italiana; Berenson, North Italian Painters of the Renaissance; C. 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Malaguzzi-Valeri, La miniatura a Bologna in Archioio Storico Italiano, 1 896 ; F. Malaguzzi-Valeri, / coJici miniali di Nicold di Giacomo da Bologna e de.Ua sua scuola in Bologna in Alt! e Memorie della R. Depulazione di Storia Palria per la Romagna, 1892 ; F. Malaguzzi-Valeri, La collezione delle miniature dell' Archioio di Stato di Bologna in Archioio Storico dell'Arte, 1894; F. Malaguzzi-Valeri, Catalogo delle miniature e dtsegni passed uti dall'Archivio di Stato di Bologna in Atti e Memorie delta R. Deputazione di Storia Palria per la Romagna, 1898; L. Ciaccio, Appunti iniomo alia miniatura bolognese del secolo XV, Pseudo Nicold e Nicold di Giacomo in L'Arle, x, 1907 ; R. Baldani, La piltura a Bologna nel sec. XIV , Bologna, 1908; L. Fran, Un polittico di Vitale da Bologna in Rassegna d'Arte, 1909; V. Lazzarini, Document! relatioi alia pittura padovana del sec. 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Gruyer, Cosimo Tura, Paris, 1 892 ; F. Harck, Die Fresken im Palazzo Schiffanoia zu Ferrara in Jahrb. der Ko'nigl. Preuss. Kunstsamml. v, 99; A. Venturi, Cli affreachi del palazzo di 318 FIG. 536. CRUCIFIXION. (M. PALMEZZANO.) Uffizi, Florence. (Photo. Anderson.) EMILIA Schifanoia in Ferrara, Bologna, 1 885 : W. Bode, Der Herbst von Francesco Cossa in Jer Berliner Gallerie in Jahrb. Jer Konigl. Preuss. Kunstsamml., xvi, 88; L. Frati, La morte di Francesco del Cossa in L'Arte, 1900, fasc. v-viii; A. Venturi, Ercole de' Roberti in Archioio Storico dell'Arte, 1889; F. Harck in Repertorium fur Kunstrcissenschaft, 1894, 312; A. Venturi, Ercole Grandi in Arch. Star. dell'Arte, \, 1888; G. Gruyer, Les livres a gravures sur bois publics d Ferrare in Gazette des Beaux-Arts, 2, xxxviii, 89; A. Venturi, Francesco Bianchi, Ferrari in L'Arte, i, 1898; Frizzoni, // Museo Borromeo in Milanom Archivio Storico dell Arts, 1890, 363; A. . Venturi, Un quadra di Bernardo Parenzano in L'Arte, 1898, 357; A. Venturi, Appunti sul Museo Cioico di Verona in Madonna Verona, 1907, n. 1 ; A. Munoz, Dipinti di Bernardino Parenzano nel Museo Cioico di Vicenza in Bollettino d'Arte, ii, 7 ; G. Baruffaldi, Vite di Benedetto Coda e Domenico Panetti, Padua, 1 847 ; G. Baruffaldi, Vita di Lodovico Mazzolino, Ferrara, 1 843 ; A. Venturi, Lodovico Mazzolino in Archioio Storico dell'Arte, iii, 1890; A. Venturi, Lorenzo Costa in A rchioio Storico dell' A lie, i, 1 888 ; E. Jacobsen, Lorenzo Costa und Francesco Francia in Jahrb. der Ksnigl. Preuss. Kunstsamml., xx, 159; I. A. Calvi, Memorie della vita e delle opere di Franc. Raibolini detto il Francia, Bologna, 1812 ; T. Gerevich, Francesco Francia in Ross. d'Arte, viii, 1908; C. Ricci, La Madonna del Terremoto dipinta dal Francia in Vita Italiana, 1 897 ; L. Frati, Un contralto autografo del Francia in Nuooa Anlologia, 1907, 16; Montgomery Carmichael, Francia's Masterpiece, London, 1909; G. Cantalamessa, II Francia e gli eredi del Francia in Saggi di critica d'Arte, Bologna, 1890; E. Jacobsen, / seguaci del Costa e del Francia a Bologna in L'Arte, 1905; L. Tesri, Simone del Marti- nazzi alias Simone delle Spade in Arte, viii, 1905; A. Venturi, Amico Aspertini in Archioio Storico dell'Arte, iv, 1891 ; A. Fabriczy, Un taccuino di Amico Aspertini in L'Arte, viii, 1905; A. Ronchini, // pittore Daniele da Parma, Parma, n. d. ; G. F. Ferrari-Moreni, Intomo a un dipinto in taoola di Pellegrino Munari, Modena, 1 867 ; C. Ricci, A lessandro e. Josafat A raldi in Rassegna d'Arte, iii, 1903; C. Ricci, Filiftpo Mazzola in Napoli Nobilissima, vii, 1898; A. Moschetti, // maestro di Filippo Mazzola, Padua, 1908; Gioo. Franc, pittore da Rimini in Bollettino delta Societci fra gli amid dell' Arte per la prooincia di Forli, Forli, 1895, n. 2; C. Ricci, Gioo. Francesco da Rimini in Rassegna d'Arte, ii and iii, 1902-1903; C. Malagola; Memorie Storiche sulle maioliche di Faenza, Bologna, 1880; F. Argnani, Le ceramiche e maioliche faenline, Faenza, 1 889, and // rinascimento delle ceramiche maiolicate in Faenza, Faenza, 1 898 ; P. Toesca, Di un pittore emiliano del Rinascimento in L'Arte, x, 1907 : C. Ricci, Un gruppo di quadri di G. B. Utili in Rioista d'Arte, iv, 1906; C. Ricci, / Cotignola in Rassegna d'Arte, iv, 1904; P. Gianuizzi, Antonio da Faenza in Arte e Storia, xiii, 1894; F. Argnani, Sul pittore Giooanni da Oriolo, Faenza, 1 899 : A. Venturi, / pittori degli Erri o del R. in Archivio Storico dell'Arte, vii, 1894; F. Malaguzzi-Valeri, Alcune notizie sui pittori Maineri in Archioio Storico dell'Arte, iv, 1891 ; A. Venturi, Gian Francesco Maineri da Parma in L'Arte, x, 1907; Alcune memorie intorno al pittore Marco Melozzo da Forlt, Forli, 1834; A. Schmarsow, Melozzo da Forli, Berlin, 1886: Schmarsow, Ottaoiano Ubaldini in Melozzos Bild und Giooanni Santis Versen in Jahrb. der Ksnigl. Preuss. Kunstsamml., viii, 67 : C. Grigioni, Per la sloria della pittura in Forli in the Bollettino delta Societal fra gli amid dell'Arte per la Prooincia di Forli, 1895, nos. 5 and 9: C. Grigioni, Notizie biografiche su Melozzo da Forli in the same Bollettino, Forli, 1895, n. 1 1 ; Notizie inedite di Marco Melozzo in the same Bollettino, 1895, n. 3 : A. Venturi, Melozzo da Forli in the same Bollettino, 1894; nos. 7-8; W. Bode, L'Astronomia di Melozzo da Forli in Jahrbuch der Ksnigl. Preuss. Kunst- sammlungen, vii, Berlin, 1886, 229: E. Milntz, Les peintures de Melozzo da Forli et de ses contemporains d la Bibliotheque du Vatican d'apres les Registres de Platina in Gazette des Beaux-Arts, 2, xii, 369; A. Munoz, Studi su Melozzo da Forli in Bollettino d'Arte, ii, 1908; E. Calzini, Memorie su Melozzo da Forli, Forli, 1892: G. Cantalamessa, L'affresco dell Annun- ziazione al Pantheon in Bollettino d'Arte, 1909: G. Casati, Intorno a Marco Palmezzani, Forli 1844: E. Calzini, Marco Palmezzano in Arch. Star. dell'Arte, vii, 1894; C. Grigioni, Baldassarre Carrari il giooane in Arte e Storia, xv, 1896; C. Campori, Gli arlisti Italian! e stranieri rvuli Stall Estensi, Modena, 1855: M. Cam, Dei Canozzi o Genesini Lendinaresi maestri di Legname del sec. XV, Lendinara, 1878. FIG. 537. ANGEL. (MELOZZO DA FORLl.) Sacristy of S. Peter's, Rome. (Photo. Anderson.} 319 FIG. 538. C/ESAR CAUSES MEMORIALS OF POMPEY TO BE BURNT. (FRANC. PRIMATICCIO.) Palazzo del Te, Mantua. (Photo. Alinari.) CHAPTER XXIV EMILIA THE PAINTING OF THE SIXTEENTH CENTURY. CORREGGIO The "Nero Manner" of the Renaissance Painters. Influence of Raphael in Emilia. His Imitators and Disciples. // Garofalo. Dosso Dossi. Birth and Early Years of Correggio. Altar-piece of S. Francesco. Decoration in the Convent of S. Paolo. His Work at Parma: S. Giovanni Eoangelista and the Cathedral. Characteristics of His Art. His Disciples, Parmigianino, Anselmi, Rondani, and Lelio Oral. VASARI relates that Michelangelo scoffed at the work of Francia, and that meeting with one of the artist's sons, a very handsome youth, he said to him : " The figures your father has begotten are more beautiful than those he has painted." He relates, too, of the same Francia that when he opened the case containing the S. Cecilia that had been sent him by Raphael "so great was his amazement at the sight of it, and so great his admiration that, recognising the error of his ways and the foolish presumption of his own mad confidence, he was so overwhelmed with grief that within a short space of time he died." Whether true or untrue, these anecdotes of Vasan's 1 , like his story that Verrocchio, after seeing an angel by Leonardo, abandoned the art of painting, are of interest as evidence of the emotion aroused in the older artists who flourished towards the end of the fifteenth and in the first twenty years of the sixteenth century, at the sight of the works of the new generation. 1 The second is disproved by the dates. 320 VIRGIN AND CHILD WITH S. JEROME (KNOWN AS IL G1ORNO) Corrtggio (Gallery. Farm.) S MEMORIALS OF POMPEY TO BE Bl Pala/./o o, of that when he opened -;ning the 1 been sent him by Raphael "so great was his : ;. and so great his admiration that, ivs and the foolish , -f his !ied." Whether true or untrue, these k.e his story that Verrocchio, after seeing an ndoned the art of painting, are of interest m aroused in the older artists who flourished '( ath and in the first twenty years of the He ^ight of the work* of the new generation. nd is disproved by the