The Life and Writings of Henry Fuseli, Volume 3 (of 3)

B. Corenzio, 1558 to 1643.

117

In an inscription on one of his pictures, mentioned by Palomino, he styles himself "Jusepe de Ribera Español de la Ciutad de Xativa, e reyno de Valencia, Academico Romano, año 1630;" but the Neapolitans, who maintained that he was born of Spanish parents in the neighbourhood of Lecce, ascribe this and similar subscriptions on his works rather to his ambition of ingratiating himself with the government, which was Spanish, than to a genuine desire of acquainting posterity with his native country.

Lo Spagnoletto 1588, vivo in 1649.

118

Caracciolo di Batistiello, died 1641.

119

Dominici.

120

As it is evident that the deputies broke a formal contract with Correnzio and Batistiello, it is not easily discovered on what principle Lanzi has praised their conduct.

121

It is contradicted only by the unsupported assertion of Bermudez, who tells that Ribera died rich and honoured 1656 at Naples.

122

M. Stanzioni, 1585 to 1656.

123

Vaccaro, 1598 to 1671.

124

M. Preti, 1613 to 1699.

125

A. Falcone, 1600 to 1665.

126

Born 1632, died 1705.

127

The assent of Carlo Celano (Giornata IV.) seems to authenticate this tradition.

128

Luca, fa Presto!

129

He used to tell, that then he had drawn twelve times the Stanze and the Loggia of Rafaello, and nearly twenty the Battle of Constantine, without mentioning his copies from the Sistina, Polidoro, A. Caracci, &c.; hence, some one has called him by a bold but pertinent allusion "The Thunderbolt of Art," as others its Proteus, from the singular talent of mimicking the manner and touch of every master. Many are the pictures painted by him, which passed for works of Albert Durer, Bassano, Tiziano, and Rubens, not only with connoisseurs, a task less difficult, but with his rivals, whose eyes malignity as well as discernment might have sharpened: these deceptions fetched at sales doubly and trebly the price of an ordinary Giordano. Specimens are still to be found in the churches of Naples; for instance, the two altar-pieces in that of S. Teresa, which have all the air of Guido, especially that which represents the Nativity of the Saviour.

130

Born 1657; died 1748.

131

Il Calabrese ringentilito.

132

Mengs.

133

Thus in an order of the Justiziarii we read: "Mcccxxii. Indicion Sexta die primo de Octub. Ordenado e fermado fo per Misier Piero Veniero & per Miser Marco da Mugla Justixieri Vieri, lo terzo compagno vacante. Ordenado fo che da mo in avanti alguna persona si venedega come forestiera non osa vender in Venexia alcuna Anchona impenta, salvo li empentori, sotto pena, &c. Salvo da la sensa, che alora sia licito a zaschun de vinder anchone infin chel durerà la festa," &c. And a picture in the church of S. Donato at Murano, has the following inscription: "Corendo Mcccx. indicion viii. in tempo de lo nobele homo Miser Donato Memo honorando Podestà facta fo questa Anchona de Miser S. Donato."

134

In the church at Cassello di Sesto, which has an abbey founded in 762, there are pictures of the ninth century.

135

Gelasio di Nicolo della Masuada di S. Giorgio, was of Ferrara, and flourished about 1242. Vid. Historia almi Ferrariensis Gymnasii, Ferraria, 1735.

136

At that time he painted in the palace of Cari della Scala at Verona, and at Padoua a chapel in the church 'del Sarto;' he repeated his visit in the latter years of his life to both places. Of what he did at Verona no traces remain, but at Padoua the compartments of Gospel histories round the Oratorio of the Nunziata all' Arena, by the freshness of the fresco and that blended grace and grandeur peculiar to Giotto, still surprise.

137

Fiorillo has confounded this questionable name with the real one of Luigi, who painted about 1490. – See Fiorillo Geschichte, ii. p. 11.

138

In S. Giorgio Maggiore is a St. Stephen and Sebastian, with the inscription:

1445

Johannes de Alemania

et Antonius de Muriano

P