The History of Painting in Italy, Vol. 1 (of 6): From the Period of the Revival of the Fine Arts to the End of the Eighteenth CenturyLanzi, Luigi
History
The History of Painting in Italy, Vol. 1 (of 6): From the Period of the Revival of the Fine Arts to the End of the Eighteenth Century
Lanzi, Luigi
Painting -- Italy -- History
In the ducal palace at Poggio a Caiano, there is a fresco picture of
Cæsar, seated in a hall, ornamented with statues, on a lofty seat, to
whom a great variety of exotic birds and wild animals are presented as
the tribute of his victories; a work of itself sufficient to mark Andrea
as a painter eminent in perspective, in a knowledge of the antique, and
in every excellence of painting. The order for ornamenting that palace
came from Leo X.; and Andrea, who had there to contend with Franciabigio
and Pontormo, exerted all his energy to please that encourager of art,
and to surpass his competitors. The other artists seem to have been
discouraged, and did not proceed: some years after Alessandro Allori put
a finishing hand to the hall. The royal palace possesses a treasure in
the oil pictures of Andrea. Independent of the S. Francis, the
Assumption, and other pictures, collected by the family of the Medici,
the Grand Duke Leopold purchased a very fine _Pietà_ from the nuns of
Lugo, and placed it in the Tribune as an honour to the school. The
introduction of S. Peter and S. Paul in that piece, contrary to
historical facts, is not the error of the painter who represented them
so admirably, but of those who commissioned the picture. Critics have
remarked a slight defect in the dead Christ, which they think sustains
itself more, and has a greater fulness of the veins, than is suitable to
a dead body: but this is immaterial in a picture the other parts of
which are designed, coloured, and composed, so as to excite
astonishment. A Last Supper, if it were not confined to the cloisters of
the monastery of S. Salvi, would, perhaps, be equally admired. The
soldiers who besieged Florence in 1529, and destroyed the suburbs of the
city, undoubtedly admired it: after demolishing the belfry, the church,
and part of the monastery, they were astonished on beholding this Last
Supper, and had not resolution to destroy it; imitating that Demetrius
who, at the siege of Rhodes, is said to have respected nothing but a
picture by Protegenes.[170]
Public-domain text, read in full here on John Shaqi.
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