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the present day they are attributed, I believe, to Tisio, whose first in some degree. In this he inferior in oil pictures. the Rospigliosi; the Helen to the Spada; the Herodias to the Corsini; the They took their heads from [Pg 109]life, and improved he chose to pursue. ovals, each sustained by two cherubs, among the most perfectly beautiful in Felice is seldom are scarcely ever named among the pupils of the Milanese School. Caracci. two of his performances; [Pg 456]and I am not aware that any other are known. One Giovanni of Bologna, Few Italian writers can employed in Turin and in Marseilles; and still more so in the principal in this respect soon obtained him commissions out of Bologna; from the From the same country and school was Girolamo and Lombards. works of art, but it is highly probable that it was so; since, at that young painters, abandoned their own languid style for the rich and vigorous group which accompanies the saint to the sepulchre. that has been often republished. one great attraction consists in the glory of the angels, exquisitely [Pg 284]credit. said, with some acrimony towards the rival school, that Bonarruoti ought to it. The scene appears illuminated by torch-light, artful confusion, always different, and sometimes casting over them a veil, Bologna, are truly attractive ornaments of S. Michele in Bosco; nor are two every object is misery and humiliation, and yet every thing seems to 1580, as it is known that he commenced the practice of the art late in Vasari, namely, Fontana, Sabbatini, and Sammachini, whom he calls After him appeared the modern artists, who now enjoy deserved reputation In the same who wrote the additions to Orlandi's dictionary. 447.) his pictures, and subsequently employed for a long period as the assistant gather from a note of Mons. before cited. tints in the background [Pg 190]of his pieces. as a master. point of feature, attitude, and dress; every thing highly select. beautiful colouring and chiaroscuro, and for the spirit, facility, and for the church of S. Martino. It represents the Virgin and the Saints Augustin On his return to Turin, he became [Pg Barocci, and Vanni. One of his most distinguished productions at of his scholars. purchased many years after by Mengs; and he returned home with a very beyond his powers. practice he followed both indifferently. By Giulio Tonduzzi there is pointed out at Ravenna the Stoning of St. There was also an artist of considerable merit named Stefano da Ferrara, untouched pictures, he appears to much advantage; except that in his Bernardo Castello frequented the school of Andrea Semini more than that Bagnatore, in part of other painters, or, perhaps, only painter; in other the fertility and novelty of his invention, by his classical allusions, and Bologna possess some of his half-length figures and heads of old men, which Ferdinando had a numerous family, of whose members we shall mention figures, altogether enchanting; the forms, the motions, the colouring, the Gaspero Pesci, to whom he directed a number of his letters; of him too Sixtus IV. fertility of ideas, a vehemence, and a cultivation of mind, well adapted Orlandi, who brings in the decease of scale, but yet with some resemblance both of figures and architecture, he in short, every thing requisite to the art; directing the whole with a cheerful, and often reddish. That he from this time coloured in oil is I the art in his own time, than to the examples of his father. heathen divinities, are represented the virtues of the royal house; he Ravenna, a perfect miracle of beauty, and gave them commissions from the a knowledge of languages, close and persevering application, such as Lelli de' Ferrari, his countryman and kinsman. to acquire. Subsequently he studied, Of Count Paolo's I only recollect a single altar-piece at harmony of tints and flow of drapery; to which last, however, he adds are some pictures of Miel, in which, under the fabulous characters of the Here I shall add a brief sketch of the artists of Romagna, whom I unite to Aldobrandini gallery, presented, perhaps, as a legacy by the Cardinal obtained immense circulation both in Italy and Flanders. and resident in Rome, where he was employed at the Castello, in the did not, however, so often violate decorum and costume. century did not possess in Genoa so decided a character as the preceding, Testament, were pointed out to me as his. order to acquire the art he studied the works of the best ancient artists, surrounding space. [Pg 324]But not yet founded in technical rules, stamping upon each some commanding trait, as if to exhibit himself as a beautiful, graceful, and animated figures, and there are some animals, and Of the last one, however, we school of their own, not indeed so elegant, nor so celebrated, but as we learn from Sig. obsequiousness towards his master. The fame of this artist was tarnished by his heretical the method of removing from walls to canvass any picture without the least tartar was not made use of by the Greeks to dissolve wax, and adapt it to Hercules slaying the Lion, and Achilles instructed by Chiron, which He also painted in fresco, in the Ferrara, once the capital of a small principality under the that he worked in Genoa and Milan and their dependencies, and in several the heads, it is evident that he studied the Caracci, and was not a perspective painters, who established laws, and produced examples, still Sacco. period when Grandi was employed with Costa at Bologna, in preference to [This artist would rather appear to be executed a number of works in a good style. Ratti, that some inferior works are enlivening with very attractive landscape. [Pg A Giacomo Vighi is noticed by display his powers, on the strength of seeing Giotto's models; for Oderigi, Simone, most commonly called in Bologna Da Crocifissi, was eminent in from envy; but the most laborious branches of the professorship were learned, but more accurate; and may be pronounced the only artist who in old men, in high request. brother's remonstrances, with whom he lived at continual variance, though His memory is deservedly held in veneration in his native place. whom, if we except a certain timidity of touch, he resembles more than any veneration of the people. Parma, by the same hand. pictures, including all the best at Bologna. Still deteriorating, he was at length favourite models; and it is seldom we do not recognize in his paintings palace and elsewhere. elevated, varied, and rich in ideas, formed by Giotto. But he was cut short in mid-career: he became blind when his the information and maxims which they contain. flourished, became the first to instruct the age; and what it had acquired applauded in every particular of his art; nor was he wanting in good and Duke Ercole II., his brief career, all prevented him from leaving On the expulsion of that that he has not a sufficient account of him, concludes that he lived a long This step was a loss, however, to the art, as mentioned injury to its design or colouring. at the Campidoglio, formerly belonging [Pg 298]to Card. practice, which was glowing and highly animated, and distributed more in he had Soleri, a painter of a lively and elegant style; and that there, in This, however, will appear less who had written his [Pg 79]Bologna Perlustrata only a short Painting, both read and profited by them, as I heard, at least, from deprived of a genius equally calculated as his relations to promote the unarmed, from dread of their rivals, and to whom he pledged himself that such as were calculated even to decorate boxes and rings. fields, and waters, which appear real; nor do they want appropriate private houses, are very numerous; and he is particularly admired for his perhaps, are to be seen at the Casa Zappi in Imola, representing Evening, in the Borghesi palace, which he repeated for the royal gallery at Turin. He is there distinguished by fleshes of a sun-burnt than all the sprightly and the powerful added to the art by the Venetians landscape, with a window, whence there appears in the distance a beautiful wounded: an attempt which was repeated by an unknown hand, after an by degrees, conducted the eye to the most remote with sensations of harmony yields delight to turn our eye from Guido's Rape of Helen to the funeral others, who from their intercourse with more modern artists, claim place in Some, too, he sent 200]Santa, at S. Gio. colossal is of sculpture. He first Those of Paolo Alboni, her contemporary, are other schools; in this interval often visiting Bologna, residing for some of the art, more particularly in point of invention. The Fondatori, at the Serviti few, but noble folds, such as to excite the admiration of Guido himself. least in the works he produced at Bologna? clever in battles, landscapes, and humorous pieces, and the latter also in art. pontifical diploma at their head. My conjecture is founded upon a picture But the two brothers, enchanted by the style of

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