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The Life and Writings of Henry Fuseli, Volume 3 (of 3)
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from which, another picture at Padova, inscribed "Antonio de Muran e Zohan Alamanus pinxit," and some traces of foreign style where his name occurs, Lanzi suspects that the inscription in S. Pantaleone, "Zuane, e Antonio da Muran, pense 1444," on which the existence of Giovanni is founded, means no other than the German partner of Antonio.
139
In no instance seems Vasari to have given a more decisive proof of his attachment to the Florentine school, than by building the fame of Pisano on having been the pupil of Andrea del Castagno, and having been allowed to terminate the works which he had left unfinished behind him about 1480; an anachronism the more absurd as the Commendator del Pozzo was possessed of a picture by Pisano, inscribed 'Opera di Vittor Pisanello de San V. Veronese, mccccvi.' a period at which probably Castagno was not born. The truth is, that Vasari, whose rage for dispatch and credulity kept pace with each other, composed the first part of Pisano's life nearly without materials, and the second from hearsay.
140
What Vasari says of the dog of S. Eustachio and the horse of St. Giorgio, though on the authority of Frà Marco de' Medici, warrants the assertion; and still more the foreshortened horse on the reverse of a medal struck in 1419, in honour and with the head of John Palæologus. The horse, like that of M. Antoninus, has an attitude of parallel motion. The medal has been published by Ducange in the appendix to his Latin Glossary, by Padre Banduri, Gori and Maffei.
141
See their lists in Descrizione delle Architetture, Pitture e Sculture di Vicenza con alcune osservazioni, &c. Vicenza, 1779, 8vo. p. I. II.
142
Ridolfi, i. 68. Vasari, who treats his art with contempt, calls him Jacopo; and Orlandi, afraid of choosing between them, used both, and made two different artists.
143
Vasari dates his birth 1480.
144
Liruti, Notizie de' Letterati del Friuli, t. ii. p. 285.
145
Sebastiano Zuccati of Trevigo, flourished about 1490. He had two sons, Valerio and Francesco, celebrated for mosaic about and beyond the middle of the sixteenth century. Flaminio Zuccati, the son of Valerio, who inherited his father's talent and fame, flourished about 1585. See Zanetti.
146
See Ridolfi. The original went to Dresden; but Italy abounds in copies of it. Lanzi mentions one which he saw at S. Saverio in Rimini, with Tiziano's name written on the fillet of the Pharisee, a performance of great beauty, and by many considered less a copy than a duplicate. The most celebrated copy, that of Flaminio Torre, is preserved at Dresden with the original.
147
"Si può quasi dire, che il vizio sia la virtù della Scuola Veneziana, poichè fa pompa della sollecitudine nel dipingere; e perciò fa stima di Tintoretto, che non avea altro merito." Mengs, Opere, t. i. p. 175. ed. Parm.
148
It has supplanted, was probably perpetuated in allusion to his rapidity of execution, and remains familiar to ears that never heard of Robusti.
149
See Varie Pitture a fresco de' principali Maestri Veneziani, &c. Venez. fol. 1760. Tab. 8, 9, p. viii. No one who has seen the original figures of the Aurora and Creposcolo in S. Lorenzo, can mistake their imitation, or rather transcripts, in these.
150
The frequent want of equilibration found in Tintoretto's figures, even where no violence of action can palliate or account for it, has not without probability been ascribed to his method of studying foreshortening from models loosely suspended and playing in the air; to which he at last became so used that he sometimes employed it even for figures resting on firm ground, and fondly sacrificed solidity and firmness to the affected graces of undulation.
151
It would be mere waste of time to recapitulate what has been said on the efficient beauties of this astonishing work in the lectures on colour and chiaroscuro, and in the article of Tintoretto, in the last edition of Pilkington's Dictionary. It has been engraved on a large scale by Agostino Carracci, if that can be called engraving which contents itself with the mere enumeration of the parts, totally neglecting the medium of that tremendous twilight which hovers over the whole and transposes us to Golgotha. If what Ridolfi says be true, that Tintoretto embraced the engraver when he presented the drawing to him, he must have had still more deplorable moments of dereliction as a man than as an Artist, or the drawing of Agostino, must have differed totally from the print.
152
It is engraved by Pietro Monaco, as that of Tiziano, by Le Fevre, but in a manner which makes us lament the lot of those who have no means to see the original.
153
Mantoua preserved a certain attachment to Virgil in the darkest ages; for besides numerous coins stamped with his image, his statue, honoured by annual festivals, remained in the forum, till the brutal fanaticism of Carlo Malatesta condemned it to the river. Vide Ant. Possevini Junioris Gonzaga, lib. v. p. 486. Paul of Florence and Peter Paul Vergerius wrote against Malatesta: the latter under the following title, 'De Diruta Statua Virgilii P.P.V. eloquentissimi Oratoris epistola ex tugurio Blondi sub Apolline.' No date.
154
Some codices decorated with miniatures and the portrait of that Countess: the most conspicuous of which is that by Donizone, a Benedictine at Canossa, in the diocese of Reggio, but a German by extraction, who lived at the court of Mathilda, and in two books of barbarous verse composed her life and history. It is preserved in the Vatican Library, No. 4922, and was first published by Sebastian Tagnagolio, at Ingolstadt, 1612. 4to.
The original portrait of Mathilda, by an unknown hand, drawn from her monument at Polirone, has been published by J. Bat. Visi in Notizie Storiche della città di Mantoua e dello stato, t. ii. p. 122. She is represented on a horse with a pomegranate in her hand.
155
In the Convent "alle Grazie," tradition dates the remains of several old pictures from the time of Mantegna. That miniature or rather missal painting had attained a high degree of excellence at that period, is proved by a large folio Bible, in the Estensian Library, decorated with admirable copies of insects, plants, and animals. The contract made between Duca Borso, 1455, and the two artists who painted it, Taddeo de Crivelli and Zuanne de Russi da Mantova, has been preserved by Bettshelli, Lett. Mant. Mantova, 1774. 4to.
156
Vasari, whom rage of dispatch and eager credulity seldom suffered to wait for authentic information, not content, in spite of his epitaph, to tell us that he was born of low parents in some district of Mantoua, confounds the date of his death with that of the inscription itself.
157
See Nic. Vleughels, in his notes to Dolci.
158
Garofalo.
159
Cataloghi, p. 498.
160
Indice del Pam. de' Pittori, p. 21.
161
– "περὶ χερσὶ δὲ δεσμὸν ἴηλα
Χρύσεον, ἄῤῥηκτον." —
Ilias, xv. 19.
162
139
In no instance seems Vasari to have given a more decisive proof of his attachment to the Florentine school, than by building the fame of Pisano on having been the pupil of Andrea del Castagno, and having been allowed to terminate the works which he had left unfinished behind him about 1480; an anachronism the more absurd as the Commendator del Pozzo was possessed of a picture by Pisano, inscribed 'Opera di Vittor Pisanello de San V. Veronese, mccccvi.' a period at which probably Castagno was not born. The truth is, that Vasari, whose rage for dispatch and credulity kept pace with each other, composed the first part of Pisano's life nearly without materials, and the second from hearsay.
140
What Vasari says of the dog of S. Eustachio and the horse of St. Giorgio, though on the authority of Frà Marco de' Medici, warrants the assertion; and still more the foreshortened horse on the reverse of a medal struck in 1419, in honour and with the head of John Palæologus. The horse, like that of M. Antoninus, has an attitude of parallel motion. The medal has been published by Ducange in the appendix to his Latin Glossary, by Padre Banduri, Gori and Maffei.
141
See their lists in Descrizione delle Architetture, Pitture e Sculture di Vicenza con alcune osservazioni, &c. Vicenza, 1779, 8vo. p. I. II.
142
Ridolfi, i. 68. Vasari, who treats his art with contempt, calls him Jacopo; and Orlandi, afraid of choosing between them, used both, and made two different artists.
143
Vasari dates his birth 1480.
144
Liruti, Notizie de' Letterati del Friuli, t. ii. p. 285.
145
Sebastiano Zuccati of Trevigo, flourished about 1490. He had two sons, Valerio and Francesco, celebrated for mosaic about and beyond the middle of the sixteenth century. Flaminio Zuccati, the son of Valerio, who inherited his father's talent and fame, flourished about 1585. See Zanetti.
146
See Ridolfi. The original went to Dresden; but Italy abounds in copies of it. Lanzi mentions one which he saw at S. Saverio in Rimini, with Tiziano's name written on the fillet of the Pharisee, a performance of great beauty, and by many considered less a copy than a duplicate. The most celebrated copy, that of Flaminio Torre, is preserved at Dresden with the original.
147
"Si può quasi dire, che il vizio sia la virtù della Scuola Veneziana, poichè fa pompa della sollecitudine nel dipingere; e perciò fa stima di Tintoretto, che non avea altro merito." Mengs, Opere, t. i. p. 175. ed. Parm.
148
It has supplanted, was probably perpetuated in allusion to his rapidity of execution, and remains familiar to ears that never heard of Robusti.
149
See Varie Pitture a fresco de' principali Maestri Veneziani, &c. Venez. fol. 1760. Tab. 8, 9, p. viii. No one who has seen the original figures of the Aurora and Creposcolo in S. Lorenzo, can mistake their imitation, or rather transcripts, in these.
150
The frequent want of equilibration found in Tintoretto's figures, even where no violence of action can palliate or account for it, has not without probability been ascribed to his method of studying foreshortening from models loosely suspended and playing in the air; to which he at last became so used that he sometimes employed it even for figures resting on firm ground, and fondly sacrificed solidity and firmness to the affected graces of undulation.
151
It would be mere waste of time to recapitulate what has been said on the efficient beauties of this astonishing work in the lectures on colour and chiaroscuro, and in the article of Tintoretto, in the last edition of Pilkington's Dictionary. It has been engraved on a large scale by Agostino Carracci, if that can be called engraving which contents itself with the mere enumeration of the parts, totally neglecting the medium of that tremendous twilight which hovers over the whole and transposes us to Golgotha. If what Ridolfi says be true, that Tintoretto embraced the engraver when he presented the drawing to him, he must have had still more deplorable moments of dereliction as a man than as an Artist, or the drawing of Agostino, must have differed totally from the print.
152
It is engraved by Pietro Monaco, as that of Tiziano, by Le Fevre, but in a manner which makes us lament the lot of those who have no means to see the original.
153
Mantoua preserved a certain attachment to Virgil in the darkest ages; for besides numerous coins stamped with his image, his statue, honoured by annual festivals, remained in the forum, till the brutal fanaticism of Carlo Malatesta condemned it to the river. Vide Ant. Possevini Junioris Gonzaga, lib. v. p. 486. Paul of Florence and Peter Paul Vergerius wrote against Malatesta: the latter under the following title, 'De Diruta Statua Virgilii P.P.V. eloquentissimi Oratoris epistola ex tugurio Blondi sub Apolline.' No date.
154
Some codices decorated with miniatures and the portrait of that Countess: the most conspicuous of which is that by Donizone, a Benedictine at Canossa, in the diocese of Reggio, but a German by extraction, who lived at the court of Mathilda, and in two books of barbarous verse composed her life and history. It is preserved in the Vatican Library, No. 4922, and was first published by Sebastian Tagnagolio, at Ingolstadt, 1612. 4to.
The original portrait of Mathilda, by an unknown hand, drawn from her monument at Polirone, has been published by J. Bat. Visi in Notizie Storiche della città di Mantoua e dello stato, t. ii. p. 122. She is represented on a horse with a pomegranate in her hand.
155
In the Convent "alle Grazie," tradition dates the remains of several old pictures from the time of Mantegna. That miniature or rather missal painting had attained a high degree of excellence at that period, is proved by a large folio Bible, in the Estensian Library, decorated with admirable copies of insects, plants, and animals. The contract made between Duca Borso, 1455, and the two artists who painted it, Taddeo de Crivelli and Zuanne de Russi da Mantova, has been preserved by Bettshelli, Lett. Mant. Mantova, 1774. 4to.
156
Vasari, whom rage of dispatch and eager credulity seldom suffered to wait for authentic information, not content, in spite of his epitaph, to tell us that he was born of low parents in some district of Mantoua, confounds the date of his death with that of the inscription itself.
157
See Nic. Vleughels, in his notes to Dolci.
158
Garofalo.
159
Cataloghi, p. 498.
160
Indice del Pam. de' Pittori, p. 21.
161
– "περὶ χερσὶ δὲ δεσμὸν ἴηλα
Χρύσεον, ἄῤῥηκτον." —
Ilias, xv. 19.
162
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