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
birth of Antonello in 1447, and his death at forty-nine years of age,
that is, in 1496. But if this were so, how could he have known Gio. da
Bruggia? Yet if such fact be denied, we must contradict a tradition
which has been generally credited. I should be more inclined to believe
that there is a mistake in his age, and that he died at a more advanced
period of life. Nor on this supposition do we wrong Vasari; others
having remarked what we shall also on a proper opportunity confirm; that
as far as regards Venetian artists, Vasari errs almost in every page
from the want of accurate information. I further believe that respecting
the residence of Antonello in Venice, he wrote with inaccuracy. That he
was there about the year 1450, and communicated his secret to Domenico,
is a fact, which after so many processes made in Florence on the murder
of Domenico, and so much discussion respecting him, must have been well
ascertained, not depending on the report contained in the memoirs of the
painters by Grillandajo, or any other contemporary, in whose writings
Vasari might search for information. But admitting this, I am of
opinion, that Antonello did not reside constantly in Venice from the
year 1450 until his death, as Vasari insinuates. It appears that he
travelled afterwards in several countries, resided for a long time in
Milan, and acquired there a great celebrity; and that he repaired afresh
to Venice, and enjoyed there for some years a public salary. This we
gather from Maurolico, quoted by Hackert: _Ob mirum hic ingenium
Venetiis aliquot annos publicè conductus vixit: Mediolani quoque fuit
percelebris_, (_Hist. Sican. pl. 186, prim. edit._), and if he was not a
contemporary writer, still he was not very far removed from Antonello.
This is the hypothesis I propose in order to reconcile the many
contradictory accounts which we find on this subject in Vasari, Ridolfi,
and Zanetti; and when we come to the Venetian School, I shall not forget
to adduce further proofs in support of it. Others may perhaps succeed
better than I have done in this task, and with that hope I shall console
myself: as in my researches I have no other object than truth, I shall
be equally satisfied whether I discover it myself, or it be communicated
to me by others.
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