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
prolific in the proportion of its population; its artists were numerous
while it had many citizens; but on the decrease of the latter, its
professors of the fine arts also diminished, until every trace of a
school was lost.
The accounts of the early painters of Siena are rather confused during
the three first centuries by the plurality of the Guidi, the Mini, the
Lippi, the Vanni (abbreviations of Giacomo, Filippo, Giovanni), and such
sort of proper names as are used without a surname: hence it is not
sufficient to peruse only such accounts; we must reflect on them and
compare them. They are scattered in many histories of the city,
especially in Ugurgieri, who was pleased to entitle his work _Le Pompe
Sanesi_; in the Diary of Girolamo Gigli; and in several works of the
indefatigable Cav. Gio. Pecci, whom we have before noticed. Many
manuscripts, rich in anecdotes of painting, still remain in the
libraries: of this number are the histories of Sigismondo Tizio, of
Castiglione, who lived at Siena from 1482 to 1528; _the Cathedral of
Siena_, minutely described by Alfonzo Landi; the _Treatise on old_
_Paintings_ of Giulio Mancini; and some _Memoirs_ of Uberto
Benvoglienti, whom Muratori denominates _diligentissimus rerum suæ
patriæ investigator_. From these, and other sources,[248] P. della Valle
has drawn what is contained in the Lettere Sanesi, and repeated in the
notes on Vasari concerning the school of Siena. By the work of Della
Valle it has acquired a celebrity to which it has long been entitled. I
take him for my guide in the documents and anecdotes which he has given
to the public;[249] in the older authorities I follow Vasari and
Baldinucci in many circumstances, but dissent from them in others: and
hostile to error, and anxious for the truth, I shall pursue the same
plan with regard to the historians of the school of Siena. I shall omit
many names of old masters, of whom no works now remain, and here and
there shall add a few modern artists who have come to my knowledge, by
the examination of pictures, or by the perusal of books.
Public-domain text, read in full here on John Shaqi.
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