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
Carlo Caliari, generally entitled Carletto, the diminutive of his name,
from the circumstance of his dying at the early age of twenty-four,[72]
as we find in the register of his parish, owing to his excessive
application to study, was gifted with a genius like that of his father.
His disposition was particularly docile and attentive, and he was the
boast of his parent, whose style he emulated better than any other
artist. But Paul, ambitious that he should even excel him, was
unwilling, that by forming himself upon a single model, he should
succeed only in becoming a feeble sectarist. He sent him, therefore, to
study the school of Bassano, the robustness of which blended with his
own elegance, would, he expected, produce an original manner superior to
either of the other two. At the period when Carletto closed the eyes of
his beloved father, he was only in his sixteenth, or at farthest his
eighteenth year, though he had attained such progress and reputation in
the art as to be enabled to complete several pictures left unfinished by
his parent, nor was he ever in want of commissions. His productions
often appear by the hand of Paul; whether at that time he did not wholly
depend upon his own resources, or that his father, at least, might have
retouched his pieces, is not certain. Skilful judges, indeed, have
pretended to discern, or rather to count the number, of the strokes
traced by the paternal pencil, from their inimitable ease, lightness,
and rapidity. Thus it has occurred in an altarpiece of San Frediano
Vescovo, to which is added St. Catherine, and some other saint, placed
in the Medicean Museum, and bearing the son's name, though boasting at
the same time all the grace of his father. But, wherever Carlo executed
his pieces alone, he is easily distinguishable; his pencil is somewhat
more full and heavy, while his tints are stronger and deeper than those
of his father. We have an instance in his San Agostino, at the church of
La Carità, whose colouring betrays that union of the two schools so much
desired by Paul.
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