Part 27
In the last place we have here to treat of an art that received great improvement during this century in Venice, an art which, though not directed to the increase of copies, is nevertheless of some importance to painting, inasmuch as it favours the duration of ancient productions, by adopting the most judicious means of preserving and restoring them. Such methods were more valuable also to Venice than to any other city, its climate being particularly unfavourable to paintings in oil, owing to the salts with which the air is impregnated, gradually eating away or injuring the colours. For this reason the government very judiciously appointed a number of artists to inspect the public exhibitions, and watch over the preservation of the paintings which were found inclined to decay, restoring them without incurring the risk, as it sometimes happens, of a new one being substituted for an ancient specimen. A studio for this purpose was opened in 1778, consisting of a large saloon at the Santi Giovanni e Paolo, the superintendence of which was entrusted to the care of the learned Peter Edwards, who received the title of President. The various processes adopted in the restoration of each specimen are extremely long and tedious, and executed with surprising accuracy; and in instances where the picture has not suffered too greatly from the effects of injury or time, it returns with renewed youth from the studio, calculated to survive the lapse of many more years.
Other equally useful methods have been adopted by the Republic for the preservation of the fine models that adorn its churches, in order that they should not run the risk of being sold and carried away. Hence it is that the state, even throughout its most diminutive districts and towns, has been enabled to preserve so many valuable paintings; while, at the same time, it has furnished provision for its youthful artists, best calculated to facilitate their improvement. During several centuries the ancient company of painters, ennobled by the names of distinguished pupils, continued to flourish; but there was still wanting the sort of reputation arising from dignity of situation and establishment, from the number and assiduity of its masters, and from the distribution of rewards. Since the year 1724 it was decreed, and confirmed in 1766, that a magnificent academy should be erected, devoted to the fine arts, "upon the plan," as was further stated, "of the principal institutions in Italy and throughout Europe." And it forms indeed an object gratifying to the mind of the most accomplished foreigners, to behold this seat of art, and to cultivate an acquaintance with its objects and pursuits. These views of the government have been promoted by the private individuals of that most splendid body of nobility, an assembly in which the Abate Filippo Farsetti very liberally distinguished himself, by presenting the institution with a large collection of paintings, and casts taken from the finest antique statues. Their successors have displayed the same kind of spirit, nor do they merely afford students access to the study of these monuments; but their finest productions, in every year, are selected according to the judgment of public professors, and rewarded with all the ceremony and munificence worthy of such an institution.
Nor have other nobles and gentlemen throughout the city and the state of Venice been wanting in liberality towards young artists of genius, enabling them to pursue their studies both at home and abroad, until they have completed their education. Few contributions indeed confer so much honour upon families as these; for in addition to the merit of succouring a fellow creature, and a fellow citizen, there are thus expectations to be indulged that some genius may rise up capable of conferring honour upon the arts, and perhaps restoring them to their ancient merit. We have it in our power to record various instances of this liberal spirit; we could mention a number of excellent artists who express their gratitude for the kindness of their patrons, did not the rule we have laid down for ourselves not to introduce the eulogies of living artists, in order to avoid occasion of complaint to such as may be omitted, forbid the enumeration of them. Still I may allude to an instance of it in another branch of the art, which is very generally known, and this is the generous encouragement afforded by their Excellencies Falier and Zulian, to Antonio Canova, the celebrated sculptor, encouragement to which Rome and Italy are in a great degree indebted for such an artist. He suffices to convince us, that though Fortune may indeed deprive our country of her great masterpieces of art, she cannot destroy the genius capable of reproducing them.
[Footnote 87: Melchiori mentions also with commendation, Gio. Batista, father of Antonio, and pupil to Vecchia, who had been unable to assist his son Antonio, left an orphan at a very tender age.]
[Footnote 88: Father Federici mentions also his son Gio. Batista, citing a fine altarpiece of his at Sorigo, and adds, that he would have become celebrated, had he not preferred the ease permitted him by a handsome fortune, to the glory of a great painter.]
[Footnote 89: In the Guide of Verona, of which I availed myself, I only found one picture by Rotari in the refectory at Santa Anastasia. I inquired by whom that of S. Vincenzo, which appeared extremely beautiful, was painted. I received for answer, that it was by Balestra, but it is in fact from the hand of Rotari, and engraved by Valesi.]
[Footnote 90: Melchiori gives us an account of this lady's master, not undeserving of being added to the last edition. This was the noble Gio. Antonio Lazzari, a Venetian, who had talents that rivalled those of Rosalba in crayons, had not his natural timidity proved a bar to his fame. In painting also he attempted little of an inventive character, copying much, and more particularly from Bassano with great success, as we have observed at page 211.]
END OF VOL. III.
J. M'Creery. Tooks Court, Chancery-lane, London.
Transcriber's Notes:
Standardized spacing after apostrophes in Italian names and phrases. Standardized hyphenation. Retained archaic spelling and punctuation, except as noted below. Moved footnotes to the end of each chapter.
Other adjustments:
For consistency in the text, standardized 'bassirilievi', 'bassi rilievi', and 'bassi relievi' as 'bassi relievi'. Changed 'thereis' to 'there is' ...there is made mention of his... Changed 'alter-pieces' to 'altarpieces' ...under one of his altarpieces, we read... Added missing close quotes in Footnotes 21 and 23 ...in the library of Pope Pius,"... ...Hoc Bellunellus nobile pinxit opus."... Added 'in' to ...'in spite of the authority of Vasari'... Deleted duplicate word 'of' ...a picture of the engravings of Parmigiano... Changed 'develope' to 'develop' ...sought to develop itself...