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
Giulio Carpioni, a pupil to Padovanino, and for the same reason familiar
with the composition of Paul Veronese, has assuredly more vivacity,
power of expression, and poetry than Maffei. He was not, however,
equally inclined to grand proportions, and works upon an extensive
scale. His figures do not usually exceed the size of those of Bassano;
and they are more frequently met with in collections than in churches,
throughout the whole Venetian state. In many noble houses we also find
pictures consisting of bacchanals, dreams, fables, and capricci, or
fancy pieces, as well as histories, all touched with a spirit and a
taste in his tints, which his master himself might have thought worthy
of his pencil. He appears to have produced others for the people, if
indeed they are not the work of his pupils, or of his son Carlo, who is
supposed to have followed, in all points, the example of his father;
though I never met with any piece that was positively genuine. He was,
likewise, a good portrait painter; and in the public Council Hall at
Vicenza, as well as in the church of the Servi at Monte Berico, appear
the portraits of several of the magistrates in that government,
accompanied by their trains; in which, to singular correctness of
feature, we meet with much ideal beauty in his representation of the
Virtues, that he introduced with appropriate and noble inventions. Such
an artist ought to be well known in Venice and Vicenza, where he
flourished during many years. He passed his latter days in Verona, where
his contemporary, Bartolommeo Cittadella, had likewise taken up his
residence; last of the three whom I have just before mentioned. It is
uncertain whether he was a pupil, or only a companion of Carpioni; but
he is indisputably his inferior in point of genius and ability. To the
same school we may add the name of Niccolo Miozzi, of Vicenza, recorded
in the _Gioielli Pittoreschi_ of Boschini; and, though more doubtful,
that of Marcantonio Miozzi, known by his superscription attached to a
sacred subject, in possession of the house of Muttoni, at Rovigo.
Public-domain text, read in full here on John Shaqi.
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