The History of Painting in Italy, Vol. 4 (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. 4 (of 6): From the Period of the Revival of the Fine Arts to the End of the Eighteenth Century
Lanzi, Luigi
Painting -- Italy -- History
From the period of these first efforts, I am of opinion that the art of
painting continued to flourish throughout the state and city of Milan,
though we are not fortunate enough to retain sufficient memorials of it to
compile a full historical account. For little mention has been made by our
oldest writers concerning the artists, except incidentally, as by Vasari in
his Lives of Bramante, of Vinci, and of Carpi, and by Lomazzo, in his
Treatise, and in his Temple, or Theatre[40] of Painting. As little likewise
has been said by several of the more modern writers, nor that always with
good authority, such as Torre, Latuada, Santagostini, whose narratives were
collected by Orlandi, and inserted in his Dictionary. Some supplementary
information has been supplied by _Notices of the Paintings of Italy_ as to
a variety of artists, and their exact age; and by the New Guide to Milan,
truly new and unique until this period in Italy, and reflecting the highest
credit upon the Ab. Bianconi, who not only points out every thing most rare
in the city, but teaches us, by sound rules, how best to distinguish
excellence from mediocrity and inferiority in the art. To this we may add
the name of the Consiglier de' Pagave, who published very interesting
notices relating to this school, in the third, fifth, and eighth volumes of
the new Sienese edition of Vasari. I am also enabled to furnish
considerable information in addition, politely transmitted to me in
manuscript by the last writer, for the present work. From these I am happy
to announce we may become acquainted with the names of new masters, along
with much chronological information of a sounder kind, relating to those
already known, frequently derived from the _Necrologio_ of Milan, which had
been carefully preserved by one of the public functionaries of that city.
Footnote 40: He borrowed the idea of this work from the Theatre
of Giulio Camillo, with whom he compares his own Treatise in
chap. ix. Hence, as in the case of some books which have two
titles, I judge it best to call it by this name (Theatre)
also, as others have done.
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