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
The Dandini family had many scholars, who, with their descendants, have
kept alive the school of Cortona, even to our own days. This school was
not eminent; it requires but little examination, or prolixity of
description. It has produced some good artists; but few of them are
above mediocrity; a fault less to be attributed to their genius, than
the times. The more modern style was esteemed the best: the last master
seemed to discover new maxims in painting, and abolished the old: and
thus artists of little celebrity gave birth to others more minute and
mannered, resembling their prototype in maxims, but inferior in
reputation. About this time it became fashionable to paint with a
certain degree of careless ease, or _Sprezzatura_, as it is styled by
some; and Giordano and some Venetians are applauded for this manner.
Several Florentine artists tried to imitate them, and have produced
works that resemble sketches: this species of mannerism is not uncommon
in other schools. It is unnecessary to be particular, but only to
observe generally that such artists are as rare in choice collections of
pictures, as Andrea del Sarto or Cigoli: the latter are there scarce,
because they painted with great care; the former class because they
painted with very little. In the work entitled _Series of the most
celebrated painters_, we find Antonio Riccianti, Michele Noferi, and
some others whose names are merely mentioned as scholars of Vincenzio;
and Gabbiani is the only one particularly praised. In like manner, among
the pupils of Pietro Dandini we find the names of Gio. Cinqui, whose
portrait is in the ducal gallery, Antonio Puglieschi, of Florence, who
studied under Ciro, and Valerio Baldassari of Pescia; but there is a
particular eulogy bestowed on Fratinelli, whom we shall notice
hereafter. I find also that P. Alberigo Carlini, a Minorite monk of
Pescia, was the pupil of Ottaviano, and attended Conca at Rome. He
painted some good pictures, chiefly in the church of his order at
Pietrasanta. To his we may also add the name of Santarelli, a patrician
of the same country, and who died at Rome.
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