The History of Painting in Italy, Vol. 5 (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. 5 (of 6): From the Period of the Revival of the Fine Arts to the End of the Eighteenth Century
Lanzi, Luigi
Painting -- Italy -- History
Before proceeding to an improved epoch, we ought here to insert the names
of a few other native artists to whom we already alluded. It is doubtful
whether Aurelio Robertelli ranks in this list, by whom, at Savona, is a
figure of the Virgin painted on a column of the old cathedral, dated 1499,
and transferred to the new one, where it excites the particular veneration
of the people. A little subsequent appeared a painting by Niccolo Corso, at
Genoa, bearing the date of 1503. It represents a history of S. Benedict,
painted in fresco for the villa of Quarto belonging to the Padri Olivetani,
in whose refectory, cloister, and church near the Corso, he was much
employed. Soprani enumerates other histories, of which he extols the
richness of invention, the passionate expression, and especially the
vividness and durability of the colouring. He adds, that were he less hard,
he might rank among the very first of his profession. The same writer
commends Andrea Morinello for an altar-piece formerly seen at S. Martino di
Albaro, dated 1516; an artist very graceful in his countenances, excellent
in portrait, soft and clear in his outlines, and one of the first in those
parts who opened the way for the modern manner. He likewise praises F.
Lorenzo Moreno, a Carmelite, skilled in fresco, who painted the
Annunciation in a cloister of the Carmine, now cut out of the exterior wall
of the building in order to preserve it. Finally he extols an ecclesiastic
of the Franciscan order, by name F. Simon da Carnuli, who, in his church at
Voltri, painted two histories in one large altar-piece in 1519. One of
these represents the Institution of the Eucharist, the other the preaching
of St. Antony. Still it is not free from the hardness peculiar to the age
as regards the figures; but in the architecture of the edifices, and in the
gradual receding of the perspective, it is so perfect that the celebrated
Andrea Doria was eager at any price to purchase it, in order to present it
as a gift to the Escurial. But the people of Voltri refused every offer,
and still keep possession of it. A few others, who enjoyed a degree of
reputation from their sons, will be mentioned along with them in the epoch
of which we shall next proceed to treat.
GENOESE SCHOOL.
EPOCH II.
_Perino and his Followers._
Public-domain text, read in full here on John Shaqi.
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