Part 15

Zannetti, Antonio Maria (_see Letter Z, in Index I._). _On Venetian Painting, and the public Works of the Venetian Masters._ Five books, Venice, 1771, 8vo. Its merit, preface, x. and iii. 1. Cited in the pages which follow, throughout the first book of the same volume. Corrected, iii. 15, 21, 55, 291.

Zani, D. Pietro. _Materials for the History of the Origin and Progress of Engraving in Copper and on Wood._ Parma, 1802, 8vo. i. 134.

Zanotti, Zampietro. _History of the Clementine Academy of Bologna._ _ib._ 1739, 2 vols. 4to. Praised in vol. v. 217, 235. Cited throughout the fourth epoch of the Bolognese school.

---- The same. _Directions for the Progress of Youth in Painting._ Bologna, 1756, 8vo. v. 237.

---- The same. _Description and Illustration of the Pictures of Pellegrino, Tibaldi, and Niccolo Abbati, in the Institute of Bologna._ Venice, 1756, folio, v. 60.

---- The same. _Preface to the Lives of Baruffaldi._ _MS._ v. 282.

Zuccaro, Cav. Federigo. _Idea of Painters, Sculptors, and Architects._ Turin, 1607, folio. It is found inserted also in the sixth vol. of _Lett. Pittor._ ii. 102.

---- The same. _Opuscoli_, edited in Mantua, 1604, 4to., and in Bologna, 1608, 4to. _ib._

---- The same. _Manuscript Annotations on the Lives of Vasari._ _See_ Bottari, tom. v. of the foregoing _Lives_, p. 326. i. 244, ii. 140, 141.

* * * * *

*.* The _MSS._ cited in the Index of Artists are pointed out in the work, where the names of the correspondents are given, who have favoured me with information respecting native or foreign painters. Others, either professors or connoisseurs, from whom I have received any account, either oral or written, are noticed in the Preface. I have also availed myself of their intelligence in the nomenclature and epochs of artists.

THIRD INDEX

_Of some of the most important Matters contained in the Work._

A.

ACADEMY, Florentine, i. 247, 370. Roman, ii. 142, 343. Of foreigners in Rome, ii. 307, 309. Of Perugia, ii. 37. Of Naples, ii. 446. Venetian, iii. 390. Veronese, iii. 381. Mantuan, iv. 30. Modenese, iv. 44. Of Parma, iv. 145. Of Vinci, at Milan, iv. 238. Another in the same city, 285. Another, 329. Bolognese, of the Caracci, v. 103. Continued, 194. Another, called the Clementine, 219. Ferrarese, v. 346. Genoese, 446. Of Turin, v. 473. It is a mistake to suppose academies injurious to the art, i. 248.

Age, Golden, of painting confined to few years, ii. 48. Ends with the Caracci, v. 121. That of some schools earlier, some later, iii. 123.

---- Brazen, owing to the rarity of great artists, iii. 348, 349. Whether latterly a better age is approaching, ii. 342, iv. 145, 146.

Anatomy; cultivated by artists of the fifteenth century, i. 97, iv. 240. Excellence of Michelangiolo in this line, i. 165. Carried to affectation by some of his disciples, i. 230.

Ancient painters. Their methods, i. 44, 45. Their religious societies, i. 42; And civil, i. 396, ii. 11, v. 74. More correct in their small proportions than in their large, i. 29.

Animals, artists who excelled in painting of, i. 72, 398-9, ii. 113, 257, 334, 444, iii. 202, 247, iv. 12, 143, 215, v. 115, 202, 264, 265, 419, 436.

Arts, of Valesio, with which he surpassed Annibal Caracci in good fortune, v. 124. Of other painters, to add to their reputation, v. 251.

B.

_Bambocciate._ A kind of painting not unknown to the ancients, iv. 215. Promoted by Laer, ii. 254; And by others, _ib._ v. 80, 235, 442, 443.

Bassirilievi. Their use in painting since the fifteenth century, i. 404, ii. 364. Artists who thus distinguished themselves, i. 300, ii. 114, v. 432, 433.

Battle-pieces of Giulio Romano, ii. 108. Of Borgognone and his school, i. 330, ii. 253. Of others, iii. 339, iv. 29, 140, v. 268.

Beau-ideal. How studied by Raffaello, ii. 91, 92. How by the mannerists, ii. 131. How by Guido Reni, v. 142.

Bolognese artists. Did not derive the principles of painting from Florence, only its improvement, v. 14. Shewed the best method of imitation, v. 23. Pre-eminent in the art during two centuries, v. 15.

Borromei. Benefactors of the fine arts at Milan, iv. 284.

C.

Caricatures, i. 331, ii. 295, iii. 285, iv. 242, v. 115.

Chambers of Raffaello, of Pietro da Cortona, &c. _See their names._

Characters of the Italian schools. _See the first or second epoch of each._

Cherubs, boys, genii, by whom well drawn, i. 190, ii. 92, 299, iii. 140, 141, iv. 105, 164, v. 54, 130, 134, 189, 312, 403.

Chiaroscuro. Improved at Florence, i. 73. Brought to perfection in the time of Vinci and of Giorgione, iii. 101, iv. 240. What in Caravaggio, ii. 200. What in Guercino, v. 164.

Chiariscuri, preparations for colouring them, i. 192, ii. 318.

---- of Pietre Commesse, or mosaic, i. 428.

Colouring of the Venetians, iii. 91, 246. Of Raffaello and of the other painters. _See their names._ Altered, ii. 442, iii. 301, v. 220.

Column of Trajan designed, ii. 148. Studied by Giulio Campi, iv. 171. By Cortona, i. 336.

Composition. Crowded in the early times, i. 99. Maxim of Poussin, ii. 237. Of the Caracci, v. 106. Of Cortona, i. 341. Of the Venetians, iii. 71. Of Titian, iii. 115.

Copies. Retouched by the masters, i. 206, 293, ii. 103, 104, iii. 150, v. 133, and elsewhere. Excellent copies, i. 15, iii. 155, 205, 289, v. 149, 169, 386. Rules to distinguish copies from originals, pref. xxviii. Copies of excellent pictures made in Italy, and transferred into foreign royal collections. _See_ Bonavita Bianchi.

Costume. Neglected by many Venetian painters, iii. 349. It is often treated of in the characters of the schools and of artists.

Counsel of learned men listened to by the best painters. By Vinci, iv. 224, 239. By Raffaello, ii. 66. By Poussin, ii. 239. By Coreggio, iv. 97. By Titian, v. 301. By Annibal Caracci, v. 117, 118. By the old Ferrarese, v. 281. By Castello, v. 386.

Crystals. Well represented, ii. 334. Paintings in them, i. 228.

Cupolas. _See_ Gaudenzio Ferrari, Coreggio, Zuccari, Reni, Zampieri, Lanfranco, Cignani, De Matteis.

D.

Death, accelerated by violent passions, iii. 103, iv. 27, and in other places. By defamation, v. 159.

Design, superior to colouring, but less lucrative, i. 250. Various practical processes in designing from life, ii. 90, 435, v. 144, 186.

Diligence, a necessary quality in artists, iii. 189. Commended in Barocci, ii. 183; in Titian, iii. 149; In Coreggio, iv. 83; In Cignani, v. 238; And in others, 224, 343, &c. Very remarkable in Lionardo da Vinci, iv. 241; And in Ercole Grandi, v. 295. Particularly requisite in beginners, iv. 290, v. 94. Ought not to be carried too far, v. 67, 140, 231. Abuse of this maxim, iii. 305.

Drapery, mantles, style of folding. Taste of the ancients, i. 76, ii. 30. Improved greatly by the Venetians, iii. 91; And by the Lombards, iv. 228. Frate contributed much towards its perfection, i. 191. Others praised in this respect, ii. 97, 319, iii. 141, v. 103, 104, 141, 175, 176.

E.

Emulation, youthful, i. 409, ii. 67, iii. 125, v. 116, 179, 183, 334. How exemplified between Pasinelli and Cignani, v. 218. Want of it injurious to the younger Palma, iii. 255, 256; And perhaps to Raffaello, ii. 85.

Encaustic, ii. 343, v. 353.

Engraving on wood, i. 105. On several kinds, and with different colours, pref. xii. iv. 55. On copper, i. 112.

Envy. Always accompanies merit, ii. 180. Its arts, _ib._ and 399. Accused of poisoning its rivals, i. 421, ii. 178, v. 305, 336, 375. Enabled to triumph for a time, v. 132, 133. Never succeeds in blinding the public, ii. 180, 400. Noble artists answer it only with meritorious works, i. 190, v. 101, The most bitter reply it can receive, i. 190.

Epitaphs of painters too extravagant, i. 271, 272, iv. 115, v. 62. Such as are only just, i. 422, v. 278, 457.

Epochs. Some, though apparently certain, are yet fallacious, iii. 288.

Expression. The soul of painting, ii. 92, _et seq._ Diligence requisite to succeed in it, _ib._ and 58, v. 110, 122.

Eyes. Painted with admirable effect by Camillo Boccaccino, iv. 165.

F.

Ferrara. Boasted classic imitators of each classic style, v. 328.

Florence. Contributed more than any other city to the revival of the fine arts, i. 39, ii. 29. At what time in particular it shone as a new Athens, i. 217. Its school of painting celebrated of old for its design, i. 148. Boasts a series of great masters, and of styles wholly national, i. 365.

Flower-painters, and of fruits, i. 325, ii. 258, 384, 423, iii. 388, iv. 285, 68, 294, v. 205, 266, 353.

Foreign painters. Disliked by the natives, i. 223, 406, ii. 396. When judiciously invited to Italian cities, they have advanced their taste, or at least their decoration, i. 405, iii. 251, iv. 144, 286, v. 364, 448, 9, _et seq._

Fore-shortening. Melozzo discovered and enlarged this kind of painting, v. 42. Improved by Mantegna, iii. 71, iv. 10. Perfected by Coreggio, and by others, i. 418, v. 53, 54. Raffaello left examples of it in architecture, ii. 98. _See also_ Perspective.

Fortune. The merit of artists not to be estimated by it, i. 201, 421.

G.

Genoa. Its splendor of paintings, both in private and public, v. 372.

Gilding in paintings much used by the ancients, i. 46. Abandoned by degrees, i. 96. Used by Raffaello, ii. 69. Up to the time of Cav. d'Arpino, ii. 155.

Goldsmith's art the origin of engraving in copper, i. 112.

Grace. The gift of some painters, i. 151, 152. ii. 95, iv. 124. Affected by others, iv. 124, 129, 175.

Grandeur of manner, in what it consists, ii. 74.

Greeks, ancient. By whom postponed to Michelangiolo, i. 166. Of early times, not wholly uncultivated in painting, i. 3. By them some of our earliest painters were instructed, i. 3, 9, iii. 7, v. 7, 286.

Grotesques. Origin of, ii. 46. Professors, i. 213, 426, ii. 112, 158, iii. 248, iv. 170, v. 93, 305, 374, 450, 451.

H.

Haste, when excessive, blamed, i. 235, ii. 130, 434, iii. 98, 255, v. 64. How corrected in Annibal Caracci, v. 100.

Heads of men, by Raffaello, ii. 92. Of youths, by Guido, in various manners, v. 143, 144, _et seq._ Of old men, ii. 148, 394, v. 145, 160. Of saints, i. 76, ii. 92, 184.

History of Painting. Plan laid down by others, pref. viii. That of the author of this work, and on what model, _ib._ It conveys clearer views of events than _Lives_ or Dictionaries of painters, owing to its connected narratives, pref. iv. Alluded to in the motto, _series juncturaque pollet_, pref. xvii.

I.

Illusions, in paintings, well represented. In men, ii. 79, iii. 204, v. 166, 167. In animals, ii. 257, iii. 283, iv. 13, 229, 252, v. 115.

Imitation. Methods properly observed in this by the Caracci, v. 101. By Guido, v. 138. By others, iii. 302, iv. 117, and in every school. Other methods not to be defended, i. 229, iii. 255, iv. 113, v. 220.

Imitators. Often confounded with the disciples of the best painters, pref. xix. ii. 123.

Inlaid work, iii. 87.

Italy. Never in want of painters, i. 1. Its celebrity in this art, pref. xvii. Rich in great artists little known even there, iv. 258, 302. Other examples in almost every school.

L.

Landscapes. Various styles, i. 324, ii. 170. Titian opened the true path, iii. 246. How much this art is indebted to Annibal Caracci, v. 120, 201, 202. To Poussin, ii. 240. Three celebrated landscape painters, ii. 242. Others in each school. _See the close of their epochs._

Libraries decorated. The Vatican, ii. 149. Venetian, of St. Mark's, iii. 161, 243, v. 411. Paduan, of the university, iii. 168. Bolognese, of the Padri Scopetini, v. 54. Of the Padri Olivetani, v. 153. Royal, of Turin, v. 484.

Licentious figures. Caused much remorse in Agostino Caracci, v. 116. Gave the appellation of libertine to Cav. Liberi, iii. 306.

Light. Its effects admirably exhibited by some artists, ii. 25, 77, 204, 248, iii. 148, 200.

Loggia of Baffaello, ii. 80. Continued, 146.

M.

Mannerists, or sectarists, i. 57, ii. 131, iii. 255, iv. 183, 306, v. 219.

Masters, their various methods, i. 261, ii. 106, iv. 15, v. 99, 183, 184, 395. Liberality in teaching, i. 298, ii. 87. Jealous of their disciples' talents, i. 163, 203, ii. 125, 280, iii. 151, 267, v. 368, 369. Skill in directing them best, i. 325, iv. 21, v. 255, 256, 266, 267.

Maxims of great masters carried to too great lengths by their schools, ii. 442, iv. 112, v. 2, 3.

Mediocrity, Artists of, not to be wholly excluded from a history of the arts, pref. xii. Not however to be minutely studied, i. 270, 271, and often throughout the work.

Miniaturists. Masters of the oldest painters, i. 76, 376, ii. 11, iii. 14, v. 11, 12. Miniatures, i. 60, 99, 328, 376, 391, iii. 80, iv. 5, v. 290, 451, 452. Of Giulio Clovio, iv. 24.

Misfortunes and passions sometimes occasion decline in the art, ii. 116, v. 184, 188, 381.

Modena. Inventions made by this school, iv. 73.

Monuments, ancient. Origin of the best design in Italy, i. 4, iii. 7. Studied by great painters, i. 92, ii. 66, 237, 246, iii. 38, 140, iv. 15, v. 117, 163, 416, 263, 264.

Mosaic-workers, i. 6, 34. The art improved by them at Venice, iii. 250. Perfected at Rome, ii. 341.

N.

Naples. Antiquity and talent of this school. ii. 345.

Native places of painters often contested, and why. _See_ Anselmi, D'Alessi, Amalteo, Ardente, Diana Mantovana, Jacopo da Bologna, Lotto, Menabuoi, &c.

Naturalists, without taste, ii. 200, _et seq._ iii. 276. Of some choice, i. 147, 308, iii. 152, v. 164, 165, 371, 372.

Niello, or Niellatori, i. 110.

Nobles who assisted students of the fine arts, when deserving, i. 357, iii. 390, v. 346.

Nuptials, Aldobrandine, observed by Poussin for composition. ii. 238.

O.

Objects of pictoric history, pref. xvi.

Oil, commencement of painting in, i. 81, ii. 355, iii. 41.

Opinions on the same painter different, pref. xxxiv. The historian ought to collect the most authentic and popular, _ib._ Painters ought to be estimated by their mature labours, conducted with most care, i. 301; As these may be almost termed their second editions, v. 424. More accurately estimated where they painted most, pref. xxxiii.

Ornamental work of grand palaces, all directed by a single artist, i. 233, ii. 81, iv. 22, 170, v. 369.

P.

Painting on different kinds of marble, i. 279, 288, with the secret of staining them with colours, i. 432. Another invention of F. Sebastiano del Piombo, iii. 107. Painting on dressed leather, ii. 176, on earthen vases, ii. 171, on glass, i. 224.

Perspective well understood by the ancients, iii. 48, 249. Particularly cultivated by the Lombards, iv. 217. Excellent professors of it. _ib._, and tom. i. 215, 274, 425, 426, ii. 24, 335, iii. 48, 249, 270. Its revival at Bologna, v. 205, 206, _et seq._ _See also the end of last epoch of the same school, as well as in other schools._

_Pietre dure_, works in _commesso_, or variegated stone, more particularly conducted at Florence, and sometimes with the minuteness of the mosaic worker, i. 332.

Plagues in Italy proved injurious to painting, ii. 262, iii. 273, v. 419.

Play obscured many excellent qualities of Guido, v. 143. Caused the death of Schedone, iv. 59.

Pleasure renders artists less correct, ii. 402, v. 64.

Portraits, very excellent, ii. 79, 237, iii. 146. Celebrated portrait painters of the Venetian school; _see_ Titian, Contarino, Morone, Tinelli, Ghislandi. Others of every school, at the close of their respective epochs.

Q.

Quadratura, _see_ Perspective.

Quattrocentisti. Artists of the fourteenth century, their dry but exact design, i. 103. They professed various arts at once. Simple in their composition, iii. 45, v. 26, and elsewhere.

Question respecting the superior dignity of painting and sculpture, i. 253.

R.

Removing of paintings from walls to canvass, v. 350.

Revival of painting in Italy. Its origin, i. 1.

Restoration of ancient paintings, when cautiously conducted, highly useful, ii. 84, iii. 294. Recommended by Bonarruoti and by the Caracci, at Bologna and Florence, v. 14. School for such art at Venice, iii. 389. Not successfully applied to the Supper of Vinci, at Milan, iv. 247; To various Venetian pictures, by Bombelli, iii. 294, and elsewhere. Method discovered at Siena, i. 455.

Rome, dignifies the ideas brought by foreign artists from other parts, ii. 16. Character of the school, ii. 105. Circumstances which there assisted the progress of the art, ii. 341.

S.

Saloon, royal, in the Vatican, ii. 127. Others at Rome, i. 277, ii. 128, 203, 204. Of the Pitti, at Florence, i. 300. Of the Palazzo Vecchio, i. 192, 248. Of the ducal palace at Venice, iii. 192, 225, &c. In Genoa, v. 243.

Scagliola, works in, i. 346, iv. 70.

Sea views, painters of, i. 326, ii. 248, 332, 444, iii. 385, v. 204.

Slowness of artists, remarked in Ricciarelli, ii. 127. Punished in Laureti, ii. 151. Proverbial with some, i. 161, 416, v. 97. Injurious, 267, 268, 343. Corrected in Agostino Caracci, v. 97. _See also_ Diligence.

Selection of style to be made according to the genius and disposition of the artist, i. 248, 307, 416.

Surnames of painters, confounded and altered, _see_ Lamberto, Da Leccio, Sanmartino, &c. Derived by masters from their native place, and sometimes from that of their residence. _See_ Orsi, Lotto, &c. Murati, ii. 41, iii. 120.

Statues, of Bonarruoti, i. 165, 166. Of Verrocchio, i. 151. Where it may be observed, that the Horse of Venice, which was cast by him, and did not succeed, was newly cast by Alessandro Leopardo, a Venetian. _Temanza._ Modelled by Vinci, _ib._; by Raffaello, ii. 82.

Symbolical representations of living personages, borrowed from the history of illustrious ancients, i. 257, ii. 68.

T.

Tastes in painting, laudable, though different, i. 231. A certain taste not to be hastily changed at an advanced age, i. 205, 308, 417, v. 195, 196, and elsewhere.

Tapestries, i. 45, 6, ii. 82, 343, v. 207, 308.

Tenebrosi. A sect of painters in Venice, iii. 276, and in Bologna, v. 194. Partly occasioned by the bad priming colours, used also elsewhere, i. 283, iii. 276, v. 108; And the models of Caravaggio badly imitated, iv. 185.

Theatres. Artists distinguished for decorating them, i. 217, 18. iv. 70.

U.

Unity of History, neglected by Raffaello, ii. 101; By Coreggio, iv. 108. _See also_ v. 470, 471.

Urbino, ill provided with aids and conveniences for the art in the time of Raffaello, ii. 53.

V.

Variety, not studied by Pietro Perugino, nor by Bassano, ii. 31, iii. 201. Neglected by Taddeo Zuccari, ii. 135; and by the mannerists, ii. 264, iii. 207, v. 438, 439.

Varnish, _see_ Restoration of ancient paintings.

Virgin, Holy. Ancient Images of, i. 2, 348, ii. 9, 346, iv. 209, v. 67. Some painters celebrated for their Madonnas, i. 198, 310, ii. 95, 220, 278, 284, 315, iii. 52, 59, 116, 117, iv. 96, 261, 315, v. 19, 26, 106, 180, 224, 261, 314, 451, 462.

W.

Wax, used by the ancients in painting, i. 88.

Works, connected with painting, considered by historians of the art, pref. xii. Written on painting, criticised by Algarotti, pref. xi.

THE END.

J. M'Creery, Tooks Court, Chancery-lane, London.

Critical Opinions on

LANZI'S HISTORY OF PAINTING IN ITALY,

TRANSLATED BY THOMAS ROSCOE.

FROM THE EDINBURGH REVIEW.

"When we consider the number of painters, the great quantity of historical matter, the numerous anecdotes, the solid and sensible criticism, and the vast mass of valuable information, and especially the astonishing variety of original and striking ideas, that are expressed in a brief, terse style, in six volumes, we are surprised at the comprehensive shortness of THIS HIGHLY ESTIMABLE WORK. We are delighted to find much of the ancient simplicity in the ELEGANT AND CLASSICAL STYLE OF THESE GOLDEN PAGES, from which, more than from any other book, and perhaps as much as it can be derived from books, we are able to attain an idea of the wonderful genius of the Italians for the Fine Arts. IT IS WELL ADAPTED TO FORM THE TASTE CORRECTLY; AND IS A FAITHFUL GUIDE TO TRAVELLERS, many of whom, having examined the works upon which Lanzi delivers his opinion, with his review in their hands, have bestowed upon him this expressive, strong, and hearty panegyric, 'HE IS A FINE FELLOW.'

"Mr. Roscoe deserves and will receive the thanks of all lovers of the Fine Arts, for his valuable contribution towards the advancement of objects which they have much at heart, and which may be considered of high importance. He has here afforded his countrymen another opportunity to acquire some knowledge of the Fine Arts, and of their history, which assists the mind in reflecting upon the productions of the great masters; teaches us to admire them upon sound principles, and redoubles the pleasure of contemplating them; and so shews the truth of the ancient saying, that the most wise are the most happy. THIS KNOWLEDGE, MOREOVER, FORMS, IN THE PRESENT DAY, A NECESSARY PART OF POLITE EDUCATION."

FROM THE LITERARY GAZETTE.

"LANZI'S HISTORY OF PAINTING HAS LONG AND JUSTLY ENJOYED THE HIGHEST REPUTATION UPON THE CONTINENT. From 1795 to the present time, (during which period a considerable number of editions have appeared) it has increased in fame, and widened its circle, as a WORK OF GREAT ORIGINAL TALENT ON THE GENERAL SUBJECT OF THE FINE ARTS, AND ONE OF MUCH AUTHORITY FOR REFERENCE. Altogether, the Arts owe a debt of the deepest gratitude to the man, with whom Mr. Roscoe has, by this excellent translation, put it in the power of every English reader to become familiarly acquainted. And we will say, that in so doing he has enabled them to enjoy a very great pleasure. Unlike the majority of works upon Science or Art, Lanzi has contrived to render his work at once FULL OF INTERESTING INFORMATION AND AGREEABLE INCIDENT. There is nothing dry about the narrative; but, on the contrary, it seems to us that NO ONE WHO EVER ADMIRED A FINE PICTURE, CAN TURN OVER A PAGE OF THIS PUBLICATION WITHOUT BEING ATTRACTED TO PROCEED, and without feeling an increase of appetite grow with what it feeds on. In truth, WE ARE OURSELVES SO DELIGHTED WITH THE HISTORY, that we do not exaggerate our opinion of its merits, when we transcribe as our own the panegyric of the Cavalier Boni, already alluded to. (_See Lit. Gat. No. 567._) It is, however, difficult to convey a just idea of a work composed upon so enlarged and complete a scale; which embraces a period of about six centuries, and fourteen Italian schools, but treated with such rapidity and precision, as to form in itself a compendium of whatever we meet with in so many volumes of guides, catalogues, descriptions of churches and palaces, and in so many lives of artists, throughout the whole of Italy."

FROM THE MONTHLY REVIEW.