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
Pellegrini, who flourished during the same age, was not a native, though
tracing his origin to Padua; nor did he reside there many years.
The city of Vicenza produced nothing original during this epoch; though
it possessed a school, sprung from that of Paul Veronese and from
Zelotti, of which I promised the reader a series in a more appropriate
part of the work. In regard to its style, this school, in part, belongs
to a better age; but its productions are chiefly so very indifferent,
and so much the result of mechanic art, that it may rather be ascribed
to the present. Vicenza indeed might have had reason to boast, had it
possessed artists at all equal in point of genius to its architects. I
shall first commence with the name of Lucio Bruni, whether a native of
the state or a foreigner is uncertain, an artist who produced, for San
Jacopo, a little altarpiece, representing the marriage of S. Catherine,
executed in 1585, and partaking of the genius of a better age. I have
met with no other notice of him; for as he was probably little known in
times when Italy abounded with the choicest artists, he found no
historian who might have rescued his reputation from oblivion. Yet this
I would willingly do, if not by giving him a rank in this school, at
least including him in the list of artists of the city, where I find
mention of his name. Giannantonio Fasolo received the instructions of
Paul, and for a longer period those of Zelotti; still adhering, however,
to Paul as his first example. At San Rocco there is one of his pictures,
a Probatica, so beautifully decorated with perspective, and so finely
filled with sick figures, in various groups and distances, that Paul
Veronese would not have disclaimed it for his own. There are likewise
three Roman histories in the ceiling of the prefectory palace; Mutius
Scævola before Porsenna, Horatius at the Bridge, and Curtius before the
Gulf; the whole of them nobly executed. By some strange mistake Orlandi
mentions Verona as the place of his birth, and where he exercised his
talents.
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