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 — John Shaqi
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
Notwithstanding my diligence I do not presume to offer this as a work to
which much might not be added. It has never happened that a history,
embracing so many objects, is at once produced perfect; though it may
gradually be rendered so. The history earliest in point of time,
becomes, in the end, the least in authority; and its greatest merit is
in having paved the way to more finished performances. Perfection is
still less to be expected in a compendium. The reader is here presented
with the names of many artists and authors; but many others might have
been admitted, whom want of leisure or opportunity, but not of respect,
has obliged us to omit. Here he will find a variety of opinions; but to
these many others might have been added. There is no man, of whom all
think alike. Baillet, just before mentioned, is a proof of this, with
regard to writers on literary subjects; and he who thinks the task
worthy of his pains might demonstrate it much more fully with respect to
different painters. Each judges by principles peculiar to himself:
Bonarruoti stigmatized as drivelling, Pietro Perugino and Francia, both
luminaries of the art; Guido, if we may credit history, was disapproved
of by Cortona; Caravaggio by Zucchero; Guercino by Guido; and, what
seems more extraordinary, Domenichino by most of the artists who
flourished at Rome, when he painted his finest pictures.[20] Had these
artists written of their rivals they either would have condemned them,
or spoken less favourably of them than unprejudiced individuals. Hence
it is that connoisseurs will frequently be found to approach nearer the
truth, in forming their estimate, than artists; the former adopt the
impartial feelings of the public, while the latter allow themselves to
be influenced by motives of envy or of prejudice. Innumerable similar
disputes are still maintained concerning several artists, who, like
different kinds of aliment, are found to be disagreeable or grateful to
different palates. To hold the happy mean, exempted from all party
spirit, is as impossible as to reconcile the opinions of mankind, which
are as multifarious as are the individuals of the species.
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