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
Proceeding from Padua, in the direction of Germany, we meet with some
anonymous paintings, in the districts of Trevigi and Friuli, which
ought, apparently, to be referred to this epoch; so far removed are they
in style from the nobler method, we shall shortly have to describe. The
name of Antonio is well known in Treviso, an artist who produced a S.
Cristoforo, of gigantic stature, tolerably well executed, in San
Niccolo, and that of Liberale da Campo, author of a _Presepio_, which is
placed in the cathedral. Superior to both of these must have been
Giorgio da Trevigi, if we are to believe Rossetti, where he mentions his
introduction into Padua, in 1437, in order to paint the celebrated tower
of the Horologe. There exist other pictures of the fourteenth century,
more or less perfect, interspersed throughout the Marca Trevigiana, and
more particularly in Serravalle. Other places in Italy, indeed, bear the
same name, derived from the inclosed form of the mountains; this,
however, is the largest of the whole, being a rich and ornate city,
where Titian was in the habit of spending some months in the year at the
house of his son-in-law, by way of amusement, and has left there several
memorials of his art. But the whole of the church of the Battuti appears
ornamented in a more antique taste, executed in such a manner, that I
was assured, by a person who witnessed it, that it most of all resembled
a sacred museum of art. The whole must have been the work of the same
artists that we have just been recording in other cities, inasmuch as
the names of no natives are known beyond the single one of Valentina.
He, indeed, verged upon the improved age; but in Ceneda, that boasts
various altarpieces of his hand, as well as in Serravalle itself, where
he painted another, with some saints of the Holy Family, he still
appears a disciple of the ancients, and a copyist of Squarcione, of
Padua. We shall soon discover more celebrated artists rising up in this
province, after the introduction into the Trevigiana, of the method of
the Bellini.
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