The History of Painting in Italy, Vol. 3 (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. 3 (of 6): From the Period of the Revival of the Fine Arts to the End of the Eighteenth Century
Lanzi, Luigi
Painting -- Italy -- History
Dionisio Battaglia distinguished himself by an altarpiece of Santa
Barbara, mentioned by Pozzo as being at Santa Eufemia; no less than did
Scalabrino by his two scriptural histories placed at San Zeno. Two other
artists of the same period are very deserving of mention, both on
account of their productions and their pupils; Niccolo Giolfino (in
Vasari called Ursino) the master of Farinato; and Antonio Badile, the
tutor and the uncle of Caliari. Giolfino, or Golfino, according to
Ridolfi, partakes something of the dryness of the Quattrocentisti, less
select and animated than the best of his contemporaries, his colours not
very vivid, but pleasing and harmonious. Most probably educated by some
one of these miniaturists, he succeeded better in pictures upon a small
than upon a large scale, such as in his Resurrection of Lazarus, to be
seen in the church of Nazareth. Born in 1480, Badile flourished during
another eighty years, and was the first, perhaps, of any in Verona, to
exhibit painting altogether free from traces of antiquity, while he
excelled no less in external forms than in depicting the inward
affections and passions of the mind. He was moreover the author, at the
same time, of a peculiar softness, yet freedom of hand; though it is not
known from whom he acquired it. He affixed to his works only the first
syllable of his name, formed in a cypher. His picture of the raising of
Lazarus, painted for San Bernardino, and another with some holy bishops
at San Nazaro, both so much commended by Ridolfi, serve to shew from
what source his two pupils, Paolo and Zelotti, derived that elegant
manner, which they mutually improved by assisting one another. A similar
style was for some years displayed by Orlando Fiacco, or Flacco, from
which he is supposed to have been a scholar of Badile, though Vasari,
who extols him particularly in portrait, gives him to another school.
However this may be, it is certain he inclined to a boldness of style,
approaching that of Caravaggio. He flourished but a short period, during
which he acquired more merit than fortune.
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