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 Cav. Bernini, a man of more talents as an architect than as a
sculptor, was under Urban VIII. and Innocent X., and also until the year
1680, in which he died, the arbiter of the public taste in Rome. The
enemy of Sacchi and the benefactor of Cortona, he obtained more employ
for his friend than for his rival; and this was easily accomplished, as
Cortona was rapid as well as laborious, while Sacchi was slow and
irresolute, qualities which rendered him unacceptable even to his own
patrons. In course of time Bernini began to favour Romanelli, to the
prejudice of Pietro; and, instructing that artist and Baciccio in his
principles, he influenced them to the adoption of his own style, which,
though it possessed considerable beauty, was nevertheless mannered,
particularly in the folds of the drapery. The way being thus opened to
caprice, they abandoned the true, and substituted false precepts of art,
and many years had not elapsed before pernicious principles appeared in
the schools of the painters, and particularly in that of Cortona. Some
went so far as to censure the imitation of Raffaello, as Bellori attests
in the Life of Carlo Maratta, (p. 102,) and others ridiculed, as
useless, the study of nature, preferring to copy, in a servile manner,
the works of other artists. These effects are visible in the pictures of
the time. All the countenances, although by different artists, have a
fulness in the lips and nose like those of Pietro, and have all a sort
of family resemblance, so much are they alike; a defect which Bottari
says is the only fault of Pietro, but it is not the only fault of his
school. Every one was anxious to avoid the labour of study, and to
promote facility at the expense of correct design; the errors in which
they endeavoured to conceal by overcharging rather than discriminating
the contours. No one can be desirous that I should enter into further
particulars, when we are treating of matters so very near our own times,
and whoever is free from prejudice may judge for himself. I now return
to the state of the Roman School about one hundred and twenty years
back.
Public-domain text, read in full here on John Shaqi.
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