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
Having taken a hasty view of the other cities of the state, we must
dwell some little while on that of Verona, which, from the beginning of
the century, until the present time, has enjoyed a high degree of
reputation. Though ravaged by the plague, we have already seen how it
again flourished, with the aid of other Italian schools, to which we
might add that of the French, inasmuch as Louis Dorigny, a Parisian, and
pupil of Le Brun, arriving in Italy at an early age, devoted himself to
the study of Roman and Venetian models. He established himself at
Verona, where, having for some time employed his talents, and obtained
several pupils, he died in the year 1742. He also left works behind him
in Venice, the most esteemed of which adorns the church of San
Silvestro, as well as in other cities, both of the state and of all
Italy. He resided likewise with Prince Eugene in Germany.
There was another foreigner, who, about the same period, became a
resident at Verona. His name was Simone Brentana, a Venetian, well
versed in literature, as well as in the information necessary to form an
artist. He devoted himself with extreme assiduity to the works of
Tintoretto, whom he emulated in his pictorial enthusiasm, which scarcely
permitted him to bestow sufficient time upon the completion of his
labours. In his forms and colouring he partakes of the Roman manner of
his time, and displays something extremely novel and original in his
compositions. His pictures were sought after to adorn the galleries of
sovereigns, no less than for private persons. Several are to be met with
in the churches of the state, and in that of S. Sebastiano at Verona is
one representing the Titular Saint, well drawn, without drapery, in the
act of consummating his Martyrdom, while an angel is supporting him in
his arms, a figure both in aspect and in attitude extremely graceful.
Girolamo Ruggieri, an artist born at Vicenza, was pupil to Cornelio
Dusman of Amsterdam, and having established himself at Verona, he there
produced several history pieces, landscapes, and battle scenes, in the
Flemish style.
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