Chapter V: School of Milan (4)

Two young artists educated in his school reflected credit upon it; Carlo Vimercati, who owed his success to the most pertinacious study of Daniele's works at the Certosa, which he daily visited for a long period while at Milan, and Antonio Busca, who likewise employed his talents upon the best models both at Milan and Rome. Vimercati exhibited few of his pictures in public at Milan; he painted more at Codogno, and in his best manner, as well as in a new one in which he was greatly inferior. Busca assisted his master, and at S. Marco also was employed in competition with him. There, placed opposite to some histories by Procaccini, is seen his picture of the Crucifixion full of pious beauty, surrounded with figures of the Virgin, of Mary Magdalen, and S. John, who are all weeping, and almost draw tears from the eyes of the spectator. But he did not always succeed as in this specimen; the gout deprived him of the use of his feet, and he fell into a weak and abject style, the result of mere mechanic practice. In this state of health, I imagine, he must have conducted two holy histories, placed opposite each other, in the chapel of S. Siro at the Certosa in Pavia, in which he idly repeated in the second the same features as distinguished the first, so greatly is an artist sometimes in contradiction with himself. A similar complaint might be alleged for a different reason, in regard to the style of Cristoforo Storer, a native of Constance. A pupil to the same Ercole, he also produced works of solid taste, as in the instance of his S. Martino, which I saw in possession of the Ab. Bianconi, a picture much valued by its intelligent owner. Subsequently he became a mannerist, and not unfrequently adopted gross or common ideas. In other points he displays much spirit, and is one of the few belonging to that age who may lay claim to the title of a good colourist. I am uncertain whether Gio. Ens, of Milan, sprung from the same school, as well as at what precise time he nourished; I know that he was an artist of less talent, whose delicacy often bordered upon weakness, as we may perceive at S. Marco in Milan. Lodovico Antonio David of Lugano, a scholar of Ercole, of Cairo, and of Cignani, resided at Rome. There he produced some portraits, and at one period made the tour of Italy. The city of Venice possesses one of his Nativities at S. Silvestro, conducted in a minute manner, that betrays a disciple of Camillo more than of any other of the Procaccini. He wrote too upon painting, and compiled some account of Coreggio, for which the reader may consult Orlandi under the head of that artist,[59] or perhaps in preference, Tirasboschi, in his life of him.

Footnote 59: In the additions to the Dictionary, made by
Guarienti, following the article Orlandi, we find Lodovico
David of Lugano, of whose pencil he could only trace the
picture at S. Silvestro in Venice. This is one of the
mistakes committed by this continuator.

Next to the nephew of the best Procaccini, I may place the son-in-law of one of the others. This is the Cav. Federigo Bianchi, on whom, after affording him his instructions, Giulio Cesare bestowed the hand of one of his daughters. He derived from his father-in-law his maxims, rather than his forms and attitudes, which display an original air in Bianchi, and are at once graceful and beautiful without affectation. Some of his Holy Families at S. Stefano and at the Passione are held in much esteem, besides some of his other pictures exhibiting few, but well conceived figures. Such is that of a Visitazione at S. Lorenzo, every way creditable to one of the favourite pupils of Giulio Cesare. He was not distinguished in compositions of a grander character; but he was full of ideas, united to harmony and good keeping, and altogether one of the first Milanese artists in the present age. He was much employed in Piedmont, and we are indebted to him for notices of many artists which he communicated to P. Orlandi, by whom they were made public. This artist is not to be confounded with one Francesco Bianchi, a friend and almost inseparable companion of Antonmaria Ruggieri. They painted together for the most part in fresco, and without the least dispute consented to share all the emolument, all the praise and blame they might receive. They belong to the present age, to which they have bequeathed a more noble example of mutual attachment than of the art they professed.

The greater part of the Procaccini disciples sprung from the school of Camillo. He had likewise taught at Bologna, though his only pupil known there is Lorenzo Franco, who, with his instructions, afterwards became an excellent imitator of the Caracci. In the opinion of P. Resta, however, his style was somewhat too minute; this artist resided and died at Reggio. The school of Camillo at Milan was always full, and no one reflected upon it greater credit than Andrea Salmeggia of Bergamo, of whom we treated in the preceding book. Becoming a follower of Raffaello at Rome, he occasionally returned to his native place, where he attracted admiration by his productions. Like the rest Gio. Batista Discepoli, called Zoppo di Lugnano, was at one time the disciple of Camillo, but afterwards added much of other styles, and was one of the most natural, powerful, and rich colourists of his time. For the rest he is to be included in the rank of the naturalists, rather than among the lovers of the ideal. Several of his pictures are at Milan, in particular that of his Purgatorio at S. Carlo, executed with much skill; and he painted a good deal for his native place and its confines, as well as at Como, where he ornamented Santa Teresa with a picture of the titular saint, with lateral squares, esteemed one of the best altar-pieces belonging to the city. Carlo Cornara acquired equal reputation, though in an opposite style. He produced few works, but all conducted with an exquisite degree of taste, peculiarly his own, which renders them valuable in collections. One of his best altar-pieces was painted for S. Benedetto, at the Certosa, in Pavia, a picture now much defaced by time, and there are a few others completed by one of his daughters after his death, who added to them some original pieces of her own.

Giovanni Mauro Rovere, an artist who exchanged the manner of Camillo for that of Giulio Cesare, was among the earliest followers of the Procaccini, and might be referred to their epoch from the period in which he flourished, did not his inferior character, arising from too great rapidity of hand, prevent his admission into the same rank. He had all that fire, which, when directed with judgment, is the soul of painting, but when abused destroys the beauty of the art. It was very seldom that he was able to command it, though, in a Supper of our Lord, at S. Angelo, in which he used great care, he obtained corresponding success. He had two brothers, named Giambatista and Marco, who assisted him in his labours both for churches and private houses, both of whom were inaccurate but spirited. They have left works in fresco, besides some histories in oil, perspectives, battle-pieces, and landscapes, to be met with in almost every corner of the city. I find that they were also surnamed Rossetti, and still better known under the name of Fiamminghini, derived from their father Riccardo, who came from Flanders to establish himself at Milan.

To these three Rossetti, succeeded the three Santagostini, of whom the first, named Giacomo Antonio, was pupil to Carlo Procaccini. He gave few pieces to the public, though his sons Agostino and Giacinto were more indefatigable, both conjointly, as we may gather from their two grand histories at S. Fedele, and separately. They were distinguished above most of their contemporaries, more especially Agostino. He was the first who wrote a little work upon the paintings of Milan; it was entitled _L'Immortalita e Glorie del Pennello_, and published in 1671. Whatever rank a book with such a title ought to assume among the writers of the age, it is certain that his pictures exhibit him in the light of a good painter for his time, in particular a Holy Family, painted for S. Alessandro, and a few others among the more highly finished, in which he displays expression, beauty, and harmony, although somewhat too minute. The names of Ossana, Bissi, Ciocca, Ciniselli, with others still less celebrated at Milan, I may venture to pass over without much loss to this history.

The two Nuvoloni, not long since mentioned, though instructed by their father, may be said, in some way, to belong to the Procaccini. Thus Carlo Francesco, the elder, early adopted the manner of Giulio Cesare; and in Giuseppe we every where trace a composition and colouring derived from that school. The former, however, impelled by his genius, became a follower of Guido, and so far succeeded as to deserve the name, which he still enjoys, of the Guido of Lombardy. He does not abound in figures, but in these he is pleasing and graceful, elegant in his forms and the turn and air of his heads, united to a sweetness and harmony of tints which are seldom met with. I saw one of his heads at S. Vittore, where he drew the Miracle of St. Peter over the Porta Speciosa, and many other pieces at Milan, Parma, Cremona, Piacenza, and Como, in the same excellent taste. This artist was selected to take the portrait of the Queen of Spain when she visited Milan; and there still appear in private houses those of many noble individuals who employed him. The faces of his Madonnas are in high request for collections, one of which is in the possession of the Conti del Verme, displaying all the grace and beauty so peculiar to him, and which he has here perhaps indulged at the expense of that dignity which should never be lost sight of. Orlandi gives an account of his devotional exercises, which he always performed previous to his painting the portraits of the Virgin. I know not what opinion may be formed upon this point, either by his or my readers. For my own part I indulge the same peculiar admiration of this artist in the rank of painters, as I do of Justus Lipsius among literary men, who, though both seculars, always observed great filial piety towards our Holy Lady; a piety that has descended from the earliest fathers of the church, in a regular line, down to the elect of our own times. His younger brother painted on a much larger scale; boasted more pictoric fire and more fancy; but he did not always display equal taste, nor was exempt from harsh and sombre shadows that detract from his worth. He was more indefatigable than Carlo, painting not only for the cities of Lombardy above mentioned, but for the state of Venice, and many churches in Brescia. His pictures at S. Domenico in Cremona, in particular his grand piece of the Dead Man raised by the saint, adorned with beautiful architecture, and animated with the most natural expression, are among some of his best works. They were apparently executed in the vigour of life, inasmuch as there are others bearing traces of infirmity, he having pursued the art until his eightieth year, in which his death occurred.

I cannot learn that he left any pupils of note. His brother, Carlo Francesco, however, instructed Gioseffo Zanata, extremely well versed in the art, according to the opinion of Orlandi. Under him, and subsequently under the Venetian artists, studied likewise Federigo Panza, an artist who began with using strong shadows, which he improved as his genius grew more mature. He was well employed and remunerated by the court of Turin. Filippo Abbiati frequented the same school, a man of wonderful talent, adapted for works on an immense scale; rich in ideas, and resolute in executing them. He painted with a certain freedom, amounting to audacity, which, however imperfect, does not fail to please, and would have pleased much more had he been better versed in the principles of his art. He was placed in competition with Federigo Bianchi, in the grand ceiling of S. Alessandro Martire, and with other fine fresco painters; and he every where left evidence of a noble genius. He appears to singular advantage in his Preaching of S. John the Baptist at Sarono, a picture to which is affixed his name. It has few figures, but they are fine and varied, with strong tints, and very appropriate shadows, which produce a good effect. Pietro Maggi, his disciple, was not equal to him in genius, nor did he observe his moderation and care. Giuseppe Rivola, employed for private persons more than for the public, is also deserving of mention, his fellow citizens esteeming him among the best of Abbiati's pupils.

Cerano, though engaged in a variety of other labours, instructed many pupils, and more particularly Melchiorre Giraldini, with success. He very happily caught the manner of his teacher, easy, agreeable, and harmonious, but still inferior to him in the more masterly power of his pencil. At the Madonna at S. Celso is seen a picture of S. Caterina da Siena by his hand, that has been greatly commended. Cerano gave him his daughter in marriage, and left him the whole of his studio. He engraved in acqua forte some minute histories and battle-pieces in the manner of Callot, and he instructed his son in the same branch, whose battle-pieces have been much prized in collections. He also taught a young artist of Gallarate, named Carlo Cane, who, devoting himself at a more advanced age to the manner of Morazzone, became a great proficient in it. He imitated with some success his strength of colouring and his relief; in other points he was common both in his forms and conceptions. He painted some altars, and in the larger one of the cathedral at Monza, there is one representing different saints, at the feet of whom is seen the figure of a dog, which he inserted in all his pieces, even that of Paradise, to express his name. He observed an excellent method in his frescos, his histories of Saints Ambrogio and Ugo, which he painted for the grand church of the Certosa at Pavia, as well as others, still retaining all their original freshness. He opened school at Milan, and we may form an idea of the character of his pupils from his own mediocrity. Cesare Fiori, indeed, acquired some degree of reputation, several of whose ornamental works on a great scale, have been made public. He too had a scholar named Andrea Porta, who aimed at catching the manner of Legnanino. There are others who approach the two best of the Cerani, namely, Giuliano Pozzobonelli, an artist of good credit, and Bartolommeo Genovesini,[60] by whom there remain works possessing some degree of grandeur; besides Gio. Batista Secchi, surnamed from his country Caravaggio, who painted for S. Pietro in Gessato, an altar-piece of the Epiphany with his name.

Footnote 60: I thus named him in the former edition, because
all other writers had so done before me, but his family name
was Roverio and his surname Genovesino. See the first index.

Morazzone had to boast a numerous list of pupils, imitators, and copyists, both at Milan and elsewhere. The Cav. Francesco Cairo reflected honour upon this school, who, having commenced his career, as is usual, by pursuing his master's footsteps, afterwards changed his manner on meeting with better models, which he studied at Rome and Venice. He also worked on a great scale, and coloured with effect, united, however, to a delicacy of hand and grace of expression, altogether forming a style that surprises us by its novelty. His pictures of the four saints, founders of the church at S. Vittore, of his S. Teresa swooning with celestial love at S. Carlo, his S. Saverio at Brera, various portraits in the Titian manner, and other pieces, public and private, at Milan, at Turin, and elsewhere, entitle him to rank high in the art, though he is not always free from the reproach of sombre colouring. Morazzone derived some credit from the two brothers Gioseffo and Stefano Danedi, more commonly called the Montalti. The first, after being instructed by him in the art, became more refined in his taste under Guido Reni, of whose style he sufficiently partakes, as we may perceive in his Slaughter of the Innocents at S. Sebastiano, and in his Nunziata its companion. Stefano frequented no foreign schools that I know of, though he did not wholly confine himself to Morazzone's manner, rather aiming at refining it upon the example of his brother, and painting with a degree of accuracy and study that he did not find recommended by the taste of his times. His martyrdom of S. Giustina, which he produced for S. Maria in Pedone, forms a specimen of this refinement, while it is moreover exempt from that cold and languid tone which diminishes the value of his other works. One of those artists most attached to Morazzone's style, and who nearest approaches him in the boldness of his pencil, is the Cav. Isidoro Bianchi, otherwise called Isidoro da Campione, a better fresco than oil painter, from what we gather at the church of S. Ambrosio at Milan, and in others at Como. He was selected by the Duke of Savoy, to complete a large hall at Rivoli, left imperfect by the decease of Pier Francesco. There he was declared painter to the ducal court in 1631.

About the same period flourished at Como, besides the Bustini,[61] the two brothers Gio. Paolo and Gio. Batista Recchi, whose chief merit was in painting frescos, disciples likewise of Morazzone. These artists decorated S. Giovanni, and other churches of their native place, two chapels at Varese, with others in the same vicinity. The second of them also became eminent beyond the state, particularly at S. Carlo in Turin, where he is placed near his master. His style is solid and strong, his colouring forcible, and in the skill of his foreshortening on ceilings, he yields to very few of his day. Pasta in his Guide for Bergamo has deservedly praised him on this score, when speaking of a Santa Grata, seen rising into heaven, a work, he observes, that is admirably delightful. In some of the chambers of the Veneria, at Turin, he was assisted by one Gio. Antonio his nephew. The Milanese Guide mentions several other artists, apparently, judging from their style, instructed by the preceding, such as Paolo Caccianiga, Tommaso Formenti, and Giambatista Pozzi.

Footnote 61: Benedetto Crespi, who possessed, according to
Orlandi, a manner at once strong and elegant, with Antonio
Maria, his son and pupil, and Pietro Bianchi, to whom he
left his designs, all three called Bustini.

Whilst the Milanese School was thus hastening to its close, and no longer afforded masters of equal promise, either to the first or second of its series, its youth were compelled to have recourse to richer and more genuine sources, and at this period began to disperse in search of new styles. I omit the family of the Cittadini, which established itself at Bologna, or to say truth, I reserve it to its own school. Stefano Legnani, called Il Legnanino, in order to distinguish him from his father Cristoforo, a portrait-painter, became one of the most celebrated artists in Lombardy towards the beginning of this century, having studied the schools of Cignani at Bologna, and Maratta at Rome. In either of these cities he would have been esteemed one of the best disciples of these two masters, had he left there any of his productions; although in course of time he fell into a degree of mannerism. He is tasteful, sober, and judicious in his compositions, with a certain strength and clearness of colouring, not common among the disciples of Maratta. He became famous for his fresco histories, which are seen at S. Marco and at S. Angiolo, where there is also one of his battles, which is won by the protection of St. James the Apostle, which shews a pictoric fire equal to handling the most difficult themes. He left too a variety of works in Genoa, Turin, and Piedmont, besides his painting of the cupola at Novara, in the church of S. Gaudenzio, than which he produced nothing more truly beautiful.

Andrea Lanzani, after receiving the instructions of Scaramuccia, pupil to Guido, who remained for some period at Milan, passed into the school of Maratta at Rome. But his genius finally decided him to adopt a less placid style, and he began to imitate Lanfranco. His best productions, as it has been observed of others, are those which on his first return from Rome he executed in his native place, while still fresh from the Roman maxims and the Roman models. A proof of this is seen in his S. Carlo Beatified, which on certain days is exhibited along with other pictures in the capital. He painted also a fine piece for the Ambrosian library, representing the actions of Cardinal Federigo, in which there is a rich display of imagination, of drapery, and good effect of chiaroscuro. He is for the most part praised on account of his facility, and the boldness of his hand. He died in Germany, after being honoured with the title of Cavalier, and left no better pupil behind him in Italy than Ottavio Parodi, who resided for a long period at Rome, and is mentioned with commendation by Orlandi. From Rome also, and from the school of Ciro Ferri, Ambrogio Besozzi returned to Milan, in order to study the Cortona manner as a counterpoise to that of Maratta. But he chiefly employed himself in ornamental, rather than historic painting, though very able in the last, as far as we may judge from his S. Sebastian, at S. Ambrogio. He studied Pagani at Venice, and likewise taught there, boasting the celebrated Pellegrini as one of his disciples. Zanetti remarks that he introduced into the academies of that city a new taste of design for the naked figure, somewhat overstrained, indeed, but of good effect. He left there a few pieces in public, and returned to close his days in Lombardy. The churches and collections of Milan abound with his pictures, and there are others in the Dresden gallery.

Pietro Gilardi passed from his native school into that of Bologna, and there, under Franceschini and Giangioseffo del Sole, greatly improved himself. His style is clear, easy, harmonious, and adapted to adorn cupolas, ceilings, and magnificent walls, as appears in the refectory of S. Vittore, at Milan, where his works do him credit. At Varese he completed the chapel of the Assumption, after the cartoons of Legnanino, who died before it was finished; and a few of his own works left imperfect by death were, in their turn, continued and finished by the Cav. Gio. Batista Sassi.

The style of this artist, who had assiduously employed himself under Solimene in Naples, is tolerable in regard to design. Though he painted for several churches in Pavia, and at Milan, he acquired most reputation from his small pictures, intended for private ornament. I am not certain whether he introduced into these parts those greenish tints in colouring, which, from Naples, spread through different schools, or whether it came by way of Turin, where one Corrado Giaquinto was employed in drawing figures, and in painting. Such method, however, did not here displease. Gioseffo Petrini da Carono, pupil to Prete of Genoa, has carried it to its highest point, while Piero Magatti of Varese is not wholly free from it, who flourished very recently: both were reputed good artists according to their time. Nor could so great a city be in want of some Venetian disciples, who have distinguished themselves in our own times; we behold some imitations of Piazzetta, and some of Tiepolo, in a few of the churches, it being usual with young artists to follow living masters in lucrative practice, in preference to the deceased whose emoluments are past. We ought here to insert the name of an eminent Milanese, who reflected honour on his native state in foreign parts. This was Francesco Caccianiga, well known at Rome, though little among his own countrymen. Having treated of him, however, in the Roman School, I shall merely recall his memory and merits to my readers. Neither must I omit his contemporary, Antonio Cucchi, who remained at Milan, not as his equal, but because he became eminent in the footsteps of the Romans, for the diligence, if not for the spirit of his pencil. Nor shall I pass over Ferdinando Porta, distinguished for a number of pictures, conducted in imitation of Coreggio; an artist, however, too inconstant and unequal to himself. These names will suffice for the present epoch, which produced, indeed, others of some note, but not known beyond the confines of their own state. Such works as the _Pitture d' Italia_, and the _Nuova Guida di Milano_, will furnish the curious with information respecting them, until some further accounts of them be presented to the public.

From the period when the capital began to encourage the foreign schools preferably to her own, the cities of the state followed the example, in particular that of Pavia, which, during this last century, has had to boast more professors than any other state. Yet none of these moderns are much known beyond the precincts of their native place. Carlo Soriani,[62] however, deserved to be better known, an artist who painted for the cathedral his picture of the Rosario, accompanied by fifteen mysteries, an elegant production in the taste of Soiaro. The series of the artists alluded to begins with Carlo Sacchi, who is said by Orlandi to have been taught by Rosso of Pavia, but most probably by Carlantonio Rossi, a Milanese, who painted for the cathedral of Pavia his S. Siro, and two lateral pieces in the best Procaccini taste, and is described in the _Abbeccederio_ as an eccentric man, though well versed in his art. Sacchi continued his studies at Rome and Venice, and when he wished to imitate Paul Veronese, as in his Miracle of the Dead resuscitated by S. Jacopo, which is placed at the Osservanti, he succeeded admirably, shewing himself a good colourist, splendid in ornament, spirited in attitude, except that in these he is somewhat extravagant and affected. He supplied different collections, and I saw an Adam and Eve by him in possession of the Cav. Brambilla at Pavia, entitled to a place in that fine collection. It is doubtful whether Gio. Batista Tassinari ought to be ranked among his fellow disciples, if we only regard the period in which he flourished. But we may with more certainty, upon Orlandi's authority, pronounce Carlo Bersotti to have been his pupil, an excellent artist in inferior branches, to which he confined himself. Tommaso Gatti, together with Bernardino Ciceri, were, however, his best pupils, the first of whom pursued his studies at Venice, the second at Rome, and both succeeded at least as practical artists. Gatti instructed Marcantonio Pellini, and then consigned him to the schools of Venice and Bologna, which did not carry him beyond the sphere of his master. Ciceri was succeeded by his disciple Gioseffo Crastona, who, embued with Roman erudition, became a painter of figures and of landscapes in that city, of which a number may be seen at Pavia. Among the latest are Pierantonio Barbieri, pupil to Bastiano Ricci, and Carlantonio Bianchi, a disciple of the Roman manner. The artists whom I have described almost in a series, have filled all the churches of Pavia, though many, with their respective paintings and their frescos, conferring additional novelty perhaps, but little additional splendor upon their native state; and no one visits Pavia altogether on their account.

Footnote 62: He is thus called by Bartoli.

Others also belonging to the state and its vicinity, about the time of Sacchi, quitted their native place, and became celebrated in other quarters; as Mola, of the state of Como, of whom we have treated; and Pietro de' Pietri, who, born in the Novarese, studied and died at Rome, where he has been commended by us in the school of Maratta. Antonio Sacchi, also a native of Como, acquired his knowledge at Rome, whence returning into Lombardy, he undertook to paint a cupola for his native place, but fixing on too high a point of perspective, he made his figures so gigantic that he broke his heart and died. From Como likewise sprung one Fra Emanuele, of the order of the Minori Riformati, whose name is incorrectly inserted by Orlandi in the _Abbeccedario_, as a self-taught painter. The fact is, that on being sent to reside at Messina, he became a pupil to Silla, and improving the feeble manner he had acquired in his native town, he decorated a number of places belonging to his order, both in Rome and Sicily, in a better taste. There are two of his pictures at Como, at the Riformati; a Supper in the refectory, feebly executed in the style of the declining school of Milan, and a Pieta in the church, with different saints, in a better manner; such is the advantage of practice, reflection, and good guidance even at a mature age.

This epoch produced a fine perspective painter, of whom mention is made under the Roman School, in which he studied and left some works. This is Gio. Chisolfi, a pupil of Salvator Rosa, who, on his return to Milan, besides his architectural pieces, which were esteemed among the very first, devoted himself to large histories and altar-pieces, and executed frescos in a good taste for the Certosa of Pavia, and the Santuario of Varese. He was followed with success by one of his nephews, Bernardo Racchetti, whose perspectives, no less than those of Clemente Spera, are frequently met with in collections. Torre makes mention also of a native of Lucca, who succeeded in perspective and in figures, named Paolo Pini. I have seen only of his a history of Rahab, at S. Maria di Campagna, at Piacenza, of which the architecture is very fine, the figures light and touched with a spirited hand. In extensive works of ornamental fresco, Pier Francesco Prina is commended by Orlandi, with the two Mariani, Domenico and his son Gioseffo. The father remained stationary at Milan, and educated, among other pupils, Castellino da Monza; but the son visited Bologna, and there succeeded in improving his paternal manner so as to distinguish himself throughout Italy and Germany. These names will suffice to give a view of a period, not remarkable for the best taste in this species of painting.

Fabio Ceruti was a landscape painter of some repute in the style of Agricola his master. His pictures are pretty numerous, both throughout the city and the state. Mention is also made of one Perugini, recorded by the Cav. Ratti, in his life of Alessandro Magnasco of Genoa, called Lisandrino. The latter, educated in the school of Abbiati, and a long time resident in Milan, added to the pictures of Perugini, of Spera, and other artists, small figures of such merit as will be entitled to a particular description in his native school.

In compositions of a minor branch, wholly executed by himself, Magnasco may be pronounced an able artist, especially in those diminutive pieces on the Flemish scale, consisting of childish scenes and representations of a popular cast, with which he decorated many collections. He also opened school at Milan, and was imitated by Coppa and other artists, though Bastiano Ricci approached him the nearest of any, possessing a wonderful versatility of genius in respect to imitation. In a similar taste Martino Cignaroli painted at Milan, who had acquired at Verona and at the school of Carpioni, singular skill in conducting pictures for private cabinets. He established himself together with Pietro his brother and his family, in this his new abode, where he had a son named Scipione, who became a good landscape painter at Rome, and subsequently flourished at Milan and at Turin.

About the year 1700 Lorenzo Comendich established himself in the former of these cities, an artist already recorded in this work among the disciples of Monti. In the residence of the Baron Martini, his patron, he produced a variety of works, the most commended among which was his Battle of Luzzara, won by Louis XIV., who is said to have beheld it, as represented by this artist, with singular pleasure.

In pictures of herds of animals of every kind, more perhaps than for his human figures, Carlo Cane rose into some repute. Orlandi likewise greatly commends Angiolmaria Crivelli in the same branch, though I have seen nothing from his hand entitling him to so much eulogy. At Milan this artist is known by the name of Crivellone, in distinction to his son Jacopo, whose principal merit lay in his drawings of birds and fishes. He was much employed by the court of Parma, and died in 1760. Still nearer us in point of time is Londonio, an artist also of some repute for his herds of cattle: his rural and pastoral views are in possession of the Counts Greppi, and other noble houses. At Como flourished one Maderno, whose skill consisted in drawing all kind of kitchen furniture, in the taste of the Bassani, with whom less experienced judges are apt to confound him. I have seen several small pictures by him in possession of the Counts Giovio, that display great beauty. He was also a fine flower-painter, though he was here surpassed by Mario de' Crespini, one of his pupils, whose productions are interspersed throughout his own and the adjacent cities. Of some other artists of inferior note I have given accounts in different places.

It remains for me to mention a third academy which was founded at Milan in 1775, by that distinguished princess, Maria Teresa, and which was afterwards invariably encouraged by new benefactions from her two sons, the emperors Joseph and Leopold, and by their successor to the Empire, Francis II. who, amidst all the distractions of war, is not unmindful of the prosperity of the fine arts. The complete institutions of which this academy had to boast, even in its outset, are described in a compendious manner by its accomplished secretary, in his work entitled the New Guide, already frequently cited. In this we find an account of the number, the variety, and the merit of the different professors; the collections of models, of designs, of prints, and of books, which are there provided for the use of the students; to which he adds the methods of education there inculcated, to the great benefit of the nation, which has already, for some time past, been embued with a more refined taste, and displayed a more extended cultivation.

END OF VOL. IV.

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

Transcriber's Notes

Punctuation, use of hyphens, and accent marks were standardized. Obsolete and alternative spellings were left unchanged. For example, the author consistently uses 'Bonarruoti' rather than the usual 'Buonarroti,' 'accessaries' for 'accessories,' and 'canvass' for 'canvas.'

Footnotes were indented and moved to follow the paragraph in which the anchor occurs.

The following changes were made for consistency within the text:

'Michel Angiolo' to 'Michelangiolo'
'rilievo' to 'relievo'
'intitled' to 'entitled'

Additional changes:

'106' to '206' in the Table of Contents, School of Milan, Epoch I
'Wmser' to 'Wumser'
'Batista' to 'Battista'
'imtator' to 'imitator'
'musaicists' to 'mosaicists'
'developement' to 'development'
'recal' to 'recall'
'Coregio' to 'Coreggio'
'begun' to 'began' ... when the Cortona manner began to lose ground ...
'Boccaccini' to 'Boccaccino'
added 'to' ... nor yet has he referred to him as a pupil ...
'pourtrayed' to 'portrayed'
'Monistero' to 'Monastero'
'Andai' to 'andai'
'Brenghel' to 'Breughel'