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
contemporary, a very able painter, and an exact miniaturist, if we are to
credit Morigia. There is also ranked, among Lomazzo's disciples, a Pietro
Martire Stresi, who acquired some reputation by his copies from Raffaello.
The other branch of Gaudenzio's school, before mentioned, sprung from
Bernardino Lanini of Vercelli, who there produced some excellent early
imitations of the style of Gaudenzio, his master. At S. Giuliano there is a
Pietà, with the date of 1547, which might be ascribed to Gaudenzio, had not
the name of Bernardino been affixed. It is the same with his other
pictures, executed at his native place, when still young, and perhaps the
chief distinction consists in his inferior accuracy of design, and less
force of chiaroscuro. At a riper age he painted with more freedom, and a
good deal in the manner of the naturalists, ranking among the first in
Milan. He had a very lively genius both for conceiving and executing, and
adapted like that of Ferrari for noble histories. The one of S. Catherine,
in the church of that name, near S. Celso, is greatly celebrated, and the
more so, from what Lomazzo has said of it, being full of pictoric spirit in
the features and the attitudes, with colouring like Titian's, and embued
with grace, no less in the face of the saint, which partakes of Guido, than
in the choir of angels, which rivals those of Gaudenzio. If there be any
portion deficient, it is in the want of more care in arranging his drapery.
He was much employed, both for the city and the state, particularly at the
cathedral of Novara, where he painted his Sibyllo, and his Padre Eterno, so
greatly admired by Lomazzo; besides several histories of the Virgin, which
though now deprived of their colour, still attract us by the spirit and
clearness of the design. He was sometimes fond of displaying the manner of
Vinci, as in his picture of the Patient Christ, between two angels, painted
for the church of Ambrogio; so complete in every part, so beautiful and
devotional, combined with so fine a relief, as to be esteemed one of the
most excellent productions that adorn that church.
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Elsewhere in the archive
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account