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
The education he first received from Sebastiano Zuccati, a native of the
Valteline, though supposed to have been of Trevigi,[47] and next from
Gian Bellini, had the effect of rendering him a minute observer of every
object falling under the senses. To such a degree of excellence did he
carry it, that when, later in life, he wished to compete with Albert
Durer, and produced, at Ferrara, the Christ to whom the Pharisee is seen
offering the piece of money,[48] he executed it with so much exactness
as to surpass even the minuteness which characterises that artist.
Indeed, in several of those figures, the hairs might be numbered, the
skin of the hands, the very pores of the flesh, and the reflection of
objects in the pupils; yet with all this, the work failed not of
success, for where the pictures of Durer appear to diminish and lose
their effect at a distance, this improves in size, and grows, as it
were, upon the spectator. But he never repeated any specimen in this
style, adopting, as is well known, while yet very young, that free and
unshackled manner, first originating with his fellow student, afterwards
his rival, Giorgione. A few of the portraits, indeed, painted by Titian,
during that short period, are not to be distinguished from those of
Giorgione himself. I say during that period, because shortly afterwards
he formed a new style, less bold, clear, and fiery, but one peculiarly
his, the sweetness of which attracts the spectator more by its artless
representation of truth, than by the novelty of its effect. The first
specimen he is known to have produced altogether in the Titian manner,
is preserved in the Sacristy of San Marziale, representing the archangel
Raphael, with Tobias at his side, painted in the thirtieth year of his
age. Following at a short interval, if we are to give credit to Ridolfi,
he next produced that fine representation of our Lord, for the college
of the Carità, one of the grandest pictures, and the richest, perhaps,
in point of figures, which we have now to boast; many of them having
since perished in different conflagrations.
Public-domain text, read in full here on John Shaqi.
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