The History of Painting in Italy, Vol. 2 (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. 2 (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 same may be said of some of his cabinet pictures, which are to be
seen in collections; such is the Virgin adoring the Infant Christ, which
I remarked in the Ambrosian Library at Milan, in the Casa Bolognetti in
Rome, and in a noble house in Cortona, and which I find mentioned also
in the imperial gallery at Vienna. A head of the _Ecce Homo_ has also
been often repeated, and some Holy Families, which he varied in a
singular manner; I have seen a S. Joseph sleeping, and another S.
Joseph, in the Casa Zaccaria, in the act of raising a tapestry; and in
the Repose in Egypt, which was transferred from the sacristy of the
Jesuits at Perugia to the chamber of the Pope, he is represented
plucking some cherries for the Infant Christ, a picture, which seems
painted to rival Correggio. Bellori remarks, that he was so fond of it
that he frequently repeated it.
The school of Barocci extended itself through this duchy and the
neighbouring places; although his best imitator was Vanni of Siena, who
had never studied in Urbino. The disciples of Federigo were very
numerous, but remaining in general in their own country they did not
disseminate the principles, and few of them inherited the true spirit of
their master's style: the most confining themselves to the exterior of
the art of colouring; and even this was deteriorated by the use of large
quantities of cinnabar and azure, colours which their master had
employed with greater moderation; and they were not unfrequently
condemned for this practice, as Bellori and Algarotti remark. The flesh
tints under their pencil often became livid, and the contours too much
charged. I cannot give an accurate catalogue of these scholars, but
independent of the writers on the works in Urbino, and other guides and
traditions in various parts, I am certain, that if they were not
instructed by Barocci himself, they must at all events, from their
country, and from the period at which they flourished, have formed
themselves on his pictures. There is little to be observed respecting
Francesco Baldelli, the nephew and scholar of Federigo. I do not find
any memorial of him, except a picture which he placed in the Capella
Danzetta, of S. Agostino, in Perugia, and which is mentioned by
Crispolti, in his history of that city, at page 133.
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