Chapter II: The Modenese School (1)

EPOCH I.

_The Ancients._

The state of Modena, such as it is now reunited under the happy government of the house of Este, will form the subject of the following chapter; and no other portion of my work can be pronounced superior in point of interest to this. Since the feeble attempts of Vedriani, and of other writers, more eager than sagacious, the pictoric history of the entire dominion has been recently illustrated, as I observed at the commencement, by a distinguished historian. I have no further object in view than to adapt it to my usual method, omitting at the same time a few names, which, either from their mediocrity, from the loss of their works, or other reasons, cannot be presumed to be greatly interesting to my readers.

The antiquity of this school may be sought for as far back as 1235, at least if it may be supposed that Berlingeri of Lucca, certainly the author of a S. Francesco remaining in the castle of Guiglia, painted in the above year, likewise produced pupils to the state of Modena, a matter which is still involved in doubt. There is another sacred figure, also the production of a Modenese, consisting of the Blessed Virgin, between two military saints, a picture brought from Prague into the Imperial Gallery at Vienna. We read inscribed upon it in ancient character the two following lines:--

Quis opus hoc finxit? Thomas de Mutina pinxit;
Quale vides Lector _Rarisini_ filius auctor;

in which we ought to read _Barisini_, both on account of Sig. Garampi, who is profoundly skilled in the ancient characters, having thus understood it, and because this name approaches nearer to those which, though certainly different, are known to apply to the father of Tommaso, as well in Modena as in Trevigi. In the former I know not that there now remains any thing of him but the name; but in the latter is to be seen a very extensive work in the chapter of the Padri Predicatori. Here are represented the saints and scholars of the order, and the artist's name also appears with the date of 1352.[4] The design of this piece is tolerably good for those times, as appears from the engravings taken of it by the Domenican, Father Federici, the same who presented us with a learned work upon the Antiquities of Trevigi. He discovered that the father of Tommaso, by name _Borasino_ or _Bizzarrino_, an abbreviation he says of _Buzzaccarino_, became nominated to the citizenship, and to the public notaryship of Trevigi, in 1315; in all which his family was called di Modena, as that of Girolamo Ferrarese was called di Carpi. On the strength of these documents Trevigi may, perhaps, dispute with Modena the honour of producing such an artist; but I shall take no share in the question. I would here merely observe that the superscription does not say _Thomas de Mutina_, from which we might gather that Modena was the cognomen of the family; but that _Thomas pictor de Mutina pinxit istud_; whence to conclude that he there gave the name of his real country, either because he was born in Modena, or because, descended from a Modenese family, he retained his citizenship, and rather wished to appear a native of Modena than of Trevigi. However this may be, it is a signal honour for Italy to have given such an artist to Germany, a name of which the historians of that great nation have mistakenly availed themselves, in the outset of the historic series of their painters, tracing his origin to Muttersdorff, and making him the master of Theodoric of Prague, followed in succession by Wumser, Schoen, Wolgemut, and Albert Durer.

Footnote 4: It was believed some time ago that this painting
was produced in 1297, this date being found on the picture,
and Sig. Mechel having thus published it in his catalogue of
the Royal Gallery at Vienna. Whether it still remains thus
inserted I know not; but undoubtedly it ought not to be
there.

Next to the pictures of Tommaso, ought to be enumerated an altar-piece by Barnaba da Modena, preserved together with the author's name in Alba, and dated 1377, a piece by one writer supposed anterior to Giotto; and in addition to this an _Ancona_, from the hand of Serafino de' Serafini da Modena, containing various busts and entire figures, with the name also of the painter, and the year 1385. It is placed in the cathedral, and its principal subject is the Incoronation of the Virgin. In its composition it very nearly resembles that of Giotto and his school, of which, indeed, more than of any other, the whole character of the piece partakes, only the figures are, perhaps, a little more full, and as it were better fed than those of the Florentine School. If the origin of such resemblance should be sought for, let us consider that Giotto not only employed himself in the adjacent city of Bologna, but likewise in Ferrara, which, together with Modena, was then subject to the house of Este, so that one city might easily afford precepts and examples to another.

Vasari remarked at Modena some ancient paintings at S. Dominico, and he might have seen more in possession of the Padri Benedettini, and elsewhere; from which he judged, that "in every age there had been excellent artists in that place." Their names, which were unknown to Vasari, have in part been collected from MSS., consisting of a Tommaso Bassini,[5] whose age and productions are uncertain, and some others of the fourteenth century, approaching nearer to a more improved era. One of these was Andrea Campana, to whom a work, bearing the initials of his name, in the Colorno Villa of the Duke of Parma, has been attributed, representing the acts of S. Piero Martire, a piece extremely pleasing and well coloured. Another is Bartolommeo Bonasia, excellent both in painting and inlaid work, a specimen of which he left in a picture placed in the convent of S. Vincenzo. There are, moreover, in Sassuolo, some notices of Raffaello Calori of Modena, beginning in 1452 and terminating in 1474; besides a picture of the Virgin in the best manner of those times, during which he was in the service of Duke Borso. Later than him flourished Francesco Magagnolo, an artist who terminated his career early in the sixteenth century, and one of the first who drew countenances in such a manner as to appear looking at the spectator, in whatever point of view he might observe them. His contemporaries, it appears, were Cecchino Setti, whose labours have wholly perished, with the exception of a few altar-ornaments, in the most finished taste; Nicoletto da Modena, at once a painter, and one of the very earliest engravers, whose prints are much sought after for cabinets, and are placed at the head of collections; Giovanni Munari, commended by historians, and distinguished for the great name of his son and pupil Pellegrino; and finally Francesco Bianchi Ferrari, who died in 1510. To this last has been ascribed the honour of instructing Coreggio, which, however, can by no means be asserted beyond dispute. One of his altar-pieces was formerly to be seen in S. Francesco, executed with some degree of modern softness, though still partaking of the ancient stiffness, and the eyes designed without a due regard to rotundity.

Footnote 5: This information, taken from Tiraboschi, does not
seem to favour the system of Father Federici, who says, that
in the fourteenth century names were frequently shortened,
adducing, at the same time, several examples, (vol. i. p.
53). He thus explains how _Buzzaccarino_ became
_Bizzarrino_, _Barisino_, _Borasino_, with many more strange
terms in Trevigi. Now why might not this artist's name
become _Bassino_, in Modena? And if in reading _Tommaso di
Bassino da Modena_ in the authorities of Tiraboschi, every
one perceives the name of the painter, that of the father,
and of the country to which he belonged; then why, on
reading upon pictures _Tommaso di Barisino_, or _Borisino,
da Modena_, are we bound to believe this last the name of a
family; and so much more, as there were then few families
distinguished by their surnames? Tommaso, therefore, wished
it to be understood that he came from Modena; and if this
became a surname which distinguished his family in Trevigi,
it must have been at a later period, when he knew nothing of
it.

In the smaller capitals, also, about this period, flourished artists of considerable merit. Reggio still boasts a Madonna of Loreto, painted in the dome by the hand of Bernardino Orsi, with the date of 1501; while in S. Tommaso, and elsewhere, we meet with some paintings of Simone Fornari, also called Moresini, and of Francesco Caprioli. I mention them here, not so much on account of the period which they adorned, as for the resemblance of their manner to the two Francia, more especially Fornari; many of his pictures having been attributed to those distinguished ornaments of Bologna.

Carpi, likewise, preserves several relics of the ancient arts: besides a frieze in the rudest style of sculpture, in the facade of the old cathedral, a work of the twelfth century. To the same church is attached two chapels, exhibiting the commencement and the progress of painting in those parts. In one is seen the spousals of Santa Caterina, a piece so extremely infantile, that it would be difficult to find a similar example in Italy. The painting upon the walls is, however, superior; displaying an original style, no less in the drapery than in the ideas, and forcible in its action. The other chapel is divided into various niches, with the effigy of a saint in each; and in this work, which is the latest of the two, appear some traces of the style of Giotto. There is no nomenclature giving us any account of artists so very ancient. The list of the school commences with Bernardino Loschi, who, sprung from a family in Parma, signs his own name, _Carpense_, in some of his pictures. Without such elucidation, these might have been pronounced the works of one or other of the Francia. Loschi was employed in the service of Alberto Pio; and there exist memorials of him from the year 1495 until 1533. There remains on record the name of one of his contemporaries, Marco Meloni, one of the most accurate of artists, of whom every thing may be included in the observation, that his pictures at S. Bernardino, and elsewhere, partake in the same degree of the Bolognese manner. Probably he was a pupil of that school, as well as Alessandro da Carpi, enumerated by Malvasia among the disciples of Costa.

Finally, Coreggio likewise cultivated the fine arts before Antonio Allegri came into the world. For not many years ago a fresco of tolerable execution was discovered in that cathedral, ascribed by tradition, to Lorenzo Allegri, who, in a letter of donation, subscribed by him in 1527, is called _Magister Laurentius Filius Magistri Antonii de Allegris Pictor_. This artist is believed to have been the first instructor of Antonio Allegri, his brother's son; and it is, at least, certain that he had a school in which he taught the rules of art to another of his nephews, as I have heard from the learned Dottore Antonioli, who is busied in preparing a life of his very distinguished fellow citizen. At present there are few paintings in Coreggio displaying the taste of the artists of the fourteenth century, from which we might judge of that school. A Madonna, painted in 1511, when Antonio Allegri had attained his seventeenth year, is, however, to be met with in the Catalogue of the Este Gallery, whither it had been transferred. It is attributed to Antonio Allegri, but there is no sufficient evidence of the fact; and we should have about equal authority for giving it to Lorenzo. The style is but middling, and in point of forms, the ancient character is not wholly laid aside in the folds of the drapery: it may, however, be pronounced of a softer tone than that of the chief part of its contemporaries, and nearer to the modern manner.

Before proceeding further, it will be right to inform the reader of a certain advantage that this tract of country, and Modena in particular, enjoyed from the commencement of the fifteenth century, consisting in the abundance of its excellent modellers in clay. Of this art, the parent of sculpture, and the nurse of painting, that city has since produced the most exquisite specimens in the world; and this, if I mistake not, is the most characteristic, rare, and admirable advantage of the school. Guido Mazzoni, otherwise Paganini, a name highly celebrated by Vasari, had the reputation of an excellent artist from the time he produced his Holy Family, at St. Margherita, in 1484, presenting statues of a vivacity and expression truly surprising. This great artificer was employed by Charles VIII., both in Naples and France, where he remained upwards of twenty years, retiring at length into his native country, full of honours, to terminate his days. No slight commendation has likewise been bestowed by the historian Lancillotto, upon Gio. Abati, father of Niccolo, and his contemporary, whose sacred images in chalk were held in the highest esteem; more particularly the crucifixions, executed with a knowledge of anatomy, most exact in every separate vein and nerve. He was nevertheless far surpassed by Antonio Begarelli, probably his pupil, who by his works in clay, with figures even larger than life, has succeeded in bearing away the palm from all his competitors. In the church and monastery of the Padri Benedettini, there is preserved a noble collection of them. As he flourished during a long period, he filled those churches with monuments, groups, and statues, to say nothing of others which he produced in Parma, Mantua, and other places. Vasari praises him for "the fine air of his heads, beautiful drapery, exquisite proportions, and colour of marble;" and the same author continues to relate, that they appeared so excellent to Bonarruoti that he said, "if this clay were only to become marble, woe betide the ancient statues." I am at a loss to imagine what species of eulogy could be more desirable to an artist; in particular when we reflect upon the profound science of Bonarruoti, and how tardy he was to praise. We ought not to omit to mention, that Begarelli was likewise excellent in design, and acted as a master, both of that and modelling, in the instruction of youth. Hence he greatly influenced the art of painting, and to him we are in a great measure to trace that correctness, that relief, that art of foreshortening, and that degree of grace approaching nearly to Raffaello's, in all of which this part of Lombardy boasted such a conspicuous share.

MODENESSE SCHOOL.

EPOCH II.

_Imitation of Raffaello and Coreggio, in the Sixteenth
Century._

Such were the preparatory efforts throughout all these districts, as far as we have hitherto considered them: but the best preparation lay in the natural talent of the young artists. Of these we are told, upon the authority of Tiraboschi, that the Card. Alessandro d'Este observed, that "they appeared to have been born with a natural genius for the fine arts:" an opinion fully borne out during the lapse of the sixteenth century, when if every province of Italy produced some great name in painting, this little district of itself abounded with a sufficient number to reflect honour upon a whole kingdom. I commence my account from the city of Modena; no other city of Lombardy earlier appreciated the style of Raffaello, nor did any city of all Italy become more deeply attached to, and produce more enthusiastic imitators of it. I have already treated of Pellegrino da Modena, (vol. ii. p. 115) called in the Chronicle of Lancillotti _degli Aretusi, alias de' Munari_. He received his education in his native place, and produced a picture there as early as 1509, still preserved at S. Giovanni, in excellent condition, and creditable to the talent of its author, even before he entered the school of Raffaello. But such was here his improvement, that his master availed himself of his assistance in adorning the open galleries of the Vatican, as well as in other works executed in Rome, sometimes along with Perino del Vaga, and sometimes by himself. Several of his pieces at S. Giacomo degli Spagnuoli boasted figures of such a truly graceful and Raffaellesque air, according to the account of Titi, that the modern retouches they received was a circumstance truly to be deplored. He is better known in his own country than at Rome, in particular at S. Paolo, where there remains a Nativity of our Lord which seems to breathe, in every part, the graces of D'Urbino. This unhappy artist had a son who, having committed homicide, was threatened with the vengeance of the parents of the deceased; and meeting with the father, they directed their fury against him, and slew him upon the spot, a truly tragic event, which occurred in 1523. Another of his sons, Tiraboschi conjectures to have been Cesare di Pellegrino Aretusi, the same, who by many writers is called _Modenese_, having been born in Modena; _Bolognese_ by others, because he lived in Bologna, and there took up his citizenship. This artist, to whom we shall again refer, formed his taste in Bologna by copying Bagnacavallo, being unable to obtain the instructions of Pellegrino. A Giulio Taraschi, however, was more fortunate, and benefitted much by his instructions, as appears from many of his paintings at S. Pietro, in Modena, in the Roman taste; a taste which he is said to have cultivated in two of his brothers, and transmitted to others whose names will appear as we proceed.

Somewhat later, also, Coreggio began to afford a new model for the school of Modena; he who is now held their master, and whose skull is preserved, upon the example set by Rome, (vol. ii. p. 143), in the academy recently opened with so much splendour. He employed himself a good deal in Parma, in which school we shall more decidedly treat of him, though he also, in some measure, adorned Modena, Reggio, Carpi, and Coreggio; drawing scholars from all these places, who will appear in a catalogue with the rest in their appropriate chapter. In this way he early began to exercise an influence over the school of Modena, and to be esteemed in it a sort of master, whose manner might be pursued with advantage, either in emulating it altogether, or uniting it with that of Raffaello.

This became more particularly the case when his fame increased, after his decease; and when the best specimens he left behind him were collected by degrees, both from the capital and from the adjacent cities, by different dukes of Este, to adorn their Gallery, where they were to be seen until nearly the middle of the present century.[6] At that period Modena was thronged with artists of every country, coming to take copies of those great productions, and to study the rules of their composition; an object in which the natives themselves were not remiss; insomuch that we trace vestiges of their imitation in every separate hand. In regard, however, to the earliest and more ancient, it would appear that their predilection and their genius were more decidedly directed towards Raffaello, and the Roman manner; whether it be that exotic commodities are more highly valued than those of native growth, or whether it were that the successors of Pellegrino alone continued for a length of time to instruct youth, and to maintain a reputation in those parts.

Footnote 6: Francesco III. disposed of one hundred pictures to
the court of Dresden; among which were five from the hand of
Coreggio, for 130,000 zechins, which were coined in Venice.

It would be desirable in the history of so excellent a school, that writers should inform us by whom many of those masters were educated who flourished towards the middle, or latter half of the century. Observation, however, may in some degree serve to supply the omission of historians, as the style in many approaches so nearly that of Raffaello, as to lead us to conclude, that they must have imbibed it from Munari himself, or from the Taraschi, who succeeded him in his school.

Among the works of Gaspare Pagani, who was also a portrait-painter, the picture of S. Chiara is the only remaining specimen. Of Girolamo da Vignola, a few frescos remain at S. Piero. Both were professed imitators of Raffaello; but the last one of the most happy whom that age produced. Alberto Fontana displayed equal excellence in his frescos, and ornamented both within and without the public market-place; pictures, says Scanelli, which _appear like Raffaello_'s, while he erroneously ascribes them to the hand of Niccolo dell' Abate. And in truth, from the observation of Vedriani, the style of one very much resembles that of the other; whether they may have both equally imbibed it from Begarelli, which the same historian seems to insinuate, or whether they derived it through some other channel, in the academy of Munari. Still the similitude of their manner is not such as to merge their more peculiar distinctions; so that if the heads of Alberto's figures are remarkable for a fine air, and for tints that rival those of Niccolo, we can easily point out less perfect design, and occasionally a certain rudeness and heaviness. But let us turn to his competitor, and dwell upon the subject more at length, as becomes the character of a painter, enumerated by Algarotti "among the first who have adorned the world."

He is supposed by some to have been instructed by Coreggio, an assertion which cannot wholly be discredited, when we cast our eye upon some instances of his foreshortening, and of his fine relievo. But Vasari no where mentions such a circumstance; and it is only on adverting to the Martyrdom of the chiefs of the Apostles, painted by him at the Monaci Neri, that he remarks, that the figure of an executioner is taken from a picture by Coreggio at S. Giovanni of Parma. Whoever may have been the tutor of Niccolino, he very evidently betrays his enthusiasm for the Roman School, in his frescos at Modena, supposed to be one of his earliest works. The same might be averred of his twelve fresco pictures upon the twelve books of the AEneid, removed from the fortress of Candiano, and now adorning the ducal palace; sufficient of themselves to exhibit him as an excellent hand in figures, in landscape, in architecture, and in animals; in every merit requisite to a distinguished disciple of Raffaello. Proceeding at a maturer age to Bologna, he painted under the portico of the Lions, a Nativity of our Lord, in such a manner that neither in those of Raffaellino del Borgo, nor of any other artist educated in Rome, do I recollect meeting with so decided a resemblance to the head of the school. I know that a distinguished professor was in the habit of pronouncing it the most perfect painting in fresco that the city of Bologna possessed. It formed likewise the admiration and model of the Caracci, no less than other works of Niccolino, remaining in the city. Among these, the most admired by strangers, is that fine _Conversazione_ of ladies and youths, which serves for a frieze in the hall of the Institute. Next to Raffaello this artist did not refuse to imitate some others. There is recorded, and indeed impressed upon the memory of most painters, a sonnet of Agostino Caracci, from which we learn, that in Niccolino alone was assembled the symmetry of Raffaello, the terror of Michelangiolo, the truth of Titian, the dignity of Coreggio, the composition of Tibaldi, the grace of Parmigianino; in a word, the best of every best professor, and of every school. Such an opinion, though to be taken with some grains of allowance, from a poet passionately attached to the honour of his native school, might perhaps obtain more supporters, did the pieces of Abati appear somewhat more frequently in different collections. But they are extremely rare; no less because of the superior number of his frescos, than from the circumstance of his having passed into France at the age of forty. He was invited thither by the Abate Primaticcio to assist him in some of his greatest works, intended for Charles IX., nor did he ever return into Italy. Hence arose the story of his having been a pupil of Primaticcio, and taking from him his cognomen of Abate; when in fact he drew that title from his own family. About 1740 there were remaining at Fontainebleau the Histories of Ulysses, to the number of thirty-eight, painted by Niccolo from designs of Primaticcio; the most extensive of any of his works executed in France. According to Algarotti, it was afterwards destroyed, though engravings of it, from the hand of Van-Thulden, a pupil of Rubens, still remain.

Niccolo's family, also, for a long period, continued to maintain a reputation in many branches of the art. One of his brothers, Pietro Paolo, distinguished himself by his happy manner of representing warlike skirmishes, in particular the terrific charges of horse: several small pictures in the ducal gallery, from their peculiar character, are thus ascribed to his hand; and they are to be seen placed immediately below those of the AEneid. In the chronicle of Lancillotto we meet with Giulio Camillo, son of Niccolo, who accompanied his father into France; his name thus remaining nearly unknown in Italy. The most distinguished name in the family after Niccolo, is that of Ercole, son of Giulio, though its lustre was impaired by an abandoned course of life, productive of great unhappiness. He painted a good deal; but, as is too frequently the case with persons of his character, he diminished the value of his productions by the haste and inaccuracy of his hand. Of his superior merit, however, we are assured by the number of commissions bestowed upon him by the Modenese court, to which we are inclined to give more credit than to the venal strains of Marino, who extols him to the skies. His picture of the marriage of Cana, remaining in the ducal gallery, would be sufficient to establish his fame; it is in his finest manner, and, in many points, displays much of the taste of the Venetian School. His most extensive work was produced for the hall of council, where he had a companion and rival in Schedone, assisting him in those pictures which they undertook in conjunction, and vieing with him in his separate works. Nor ought it to be esteemed any diminution of his merit to have been surpassed by so great a competitor. The last of these family artists is Pietro Paolo, son of Ercole, who died in his eight and thirtieth year, 1630. I include his name here, in order not to separate him from his ancestors, of none of whom he was unworthy. Though hardly with equal genius, he pursued the manner of his father; there is a tame expression in several of his best authenticated pieces: I say best authenticated, because it is doubtful whether we should consider some pictures, attributed to him, as the inferior specimens of his father, or the best of his own.

Besides the disciples and imitators of Raffaello, I find other artists of Modena, who, during the sixteenth century, became attached to a different style; and no one among these is to be preferred to Ercole de' Setti, an excellent engraver, as well as a painter of considerable merit. A few of his altar-pieces remain at Modena; and I have seen, though very rarely, some little pieces painted for galleries, dignified rather than beautiful in point of design. He is cautious and studied in the naked parts, nearly equal to the style of the Florentines, spirited in his attitudes, and strong in his colouring. We find his name subscribed _Ercole de' Setti_, and also in Latin, _Hercules Septimius_. Along with his name Vedriani enumerates that of a Francesco Madonnina, entitling him one of the most celebrated artists in the city; but there is too little of his remaining in Modena to form a judgment of his style. As little also remains of Giovanni Battista Ingoni, a rival of Niccolo, as he is termed by Vasari; and what yet exists is by no means to be held in high estimation. I have discovered nothing from the hand of Gio. Batista Codibue, though I have read of his _Nunziata_ at the Carmine being highly esteemed, besides other productions both in painting and sculpture. High commendations have likewise been bestowed upon Domenico Carnevale for his frescos, that have now perished, though a few oil paintings still exist, held in much esteem; one of the Epiphany, belonging to one of the prince's collections, and another of the Circumcision, in the palace of the Conti Cesi. He also distinguished himself at Rome; and it will be sufficient to add, that he was the artist selected to restore the pictures of Michelangiolo, as we find recorded in the notes to Vasari.

Reggio boasts the honour of having derived its first school from Raffaello; and Bernardino Zacchetti is supposed to have been one of his disciples, though the authorities cited to this effect by most historians, are not entirely conclusive. Perhaps his picture at S. Prospero, designed and coloured in the taste of Garofolo, and others which partake of that of Raffaello, may have given rise to this opinion. But Italy then abounded with the disciples of that great master, no longer instructed, indeed, by his voice, but by his paintings and engravings. The works, said to have been produced by him in Rome, and the assistance afforded to Bonarruoti, in his labours at the Sistine Chapel, are assertions of Azzari, contained in his _Compendio_, which remain unquestioned by any ancient writer. We might more easily, however, grant him the proposition of Giarola having been a pupil of Coreggio, and as such I have reserved him for the school of Parma.

Not long after these flourished Lelio Orsi, of Reggio. Banished from his native place, he took up his residence at Novellara, a city then in the possession of the Gonzaghi, where he established himself, and derived his name of Lelio da Novellara. This distinguished character, of whom no account had been given, beyond a slight notice in the Abbecedario, has recently been honoured with an excellent life, from the pen of the Cavalier Tiraboschi, compiled from a variety of sources. Whether he was really a disciple of Coreggio still remains a disputed point with historians, though it is certain he flourished sufficiently near, both in regard to time and place, to have become acquainted with him. He, at least, studied and copied his works, of which there is an instance in a copy of the celebrated _Notte_, in possession of the noble house of Gazzola, at Verona. Nor are there wanting writers who maintain that Parma, likewise, was embellished by his hand, a city in which the chief ornaments of that school employed themselves. And there are false accounts, still in some measure credited, of his having been a pupil of Michelangiolo; of Coreggio having corresponded with him, and even consulted him in his designs. It is true, indeed, he is an ingenious, accurate, and powerful designer. Whether he imbibed his taste at Rome, as Tiraboschi, upon the authority of a MS., seems to believe; or from Giulio in the city of Mantua; or, again, from studying the designs and models of Michelangiolo; a knowledge of the path being itself sufficient to enable enlightened spirits to run the same career with success. Decidedly his design is not of the Lombard School; and hence arises the difficulty of supposing him one of the scholars of Coreggio, in which case his earlier pieces, at least, would have partaken of a less robust character. He has admirably succeeded, however, in attaining the same grace in his chiaroscuro, in the spreading of his colours, and in the beauty and delicacy of his youthful heads. Both Reggio and Novellara possess many of his pictures in fresco, now, for the most part, perished; and we are indebted to the glorious memory of Francesco III. for such as are now to be seen at Modena, in the palace of his highness, transferred thither from the fortress of Novellara. Few of his altar-pieces remain in public in either of the cities, the rest being removed; one of which last, representing the Saints Rocco and Sebastiano, along with S. Giobbe, I happened to meet with in the studio of Signor Armanno, at Bologna. A few others attributed to him at Parma,[7] at Ancona, and at Mantua, are by no means of so authentic a character; and there is every reason to believe that Lelio, dividing his time between Reggio and Novellara, never absented himself from those places long together; and has thus remained less known than many other painters of inferior rank. The silence of Vasari, of Lomazzo, of Baldinucci, as well as the chief part of foreigners, is thus likewise accounted for.

Footnote 7: See Father Affo, pp. 27-124.

From the school of Lelio, in all probability, sprung Jacopo Borbone, of Novellara, who, in the year 1614, painted a portion of the cloister at the church of the Osservanti, in Mantua; also, Orazio Perucci, of whom there remain various pictures in private houses, and an altar-piece at S. Giovanni. Raffaello Motta was undoubtedly a pupil of Orsi, better known under the name of Raffaellino da Reggio, who left in his native place a few of his productions in fresco; an astonishing genius, deserving of Rome for his theatre of action, as indeed I before observed, and of being lamented like a new Raffaello, prematurely passing away.

At this period Carpi had to boast the name of Orazio Grillenzone, who resided mostly in Ferrara, where enjoying the acquaintance of Tasso, he was honoured and immortalized by his pen, being rendered the subject of that dialogue, bearing for its title, _Il Grillenzone_, or the _Epitaph_. But none of his paintings are now to be found in that city; and even what remains of his in Carpi is of a very disputable character. I do not here speak of the celebrated Girolamo of Carpi; because he was in fact a native of Ferrara, as I elsewhere observed. There is little to be said of Ugo da Carpi, as a painter: he was of an inferior genius when he applied himself to his pencil; and fell still further below mediocrity when he became whimsical enough to paint with his fingers, recording the exploit upon the canvass, as he did in the figure of the Volto Santo, the Holy Face, at S. Pietro, in Rome. Still we ought to bear honourable testimony to his merit, as the inventor of wood engraving in two, and next in three blocks, or pieces, by which he expressed the three different tints, the shade, the middle tints, and the light.[8] In this way he produced many designs and inventions of Raffaello, with greater clearness than even Marc Antonio had before done; besides opening to posterity a new path, as it were, of painting in chiaroscuro, very easily imitated and multiplied. Vasari particularly treats upon it at the close of his Introduction; and there, no less than in other places, commends the genius of Ugo as one of the most acute that was ever directed towards the fine arts.

Footnote 8: The Germans claim the invention of the art of
engraving in wood, in _chiaroscuro_, before Ugo announced it
to the Italians. For this, they produce the cards of Gio.
Ulderico Pilgrim, which, although _Gothic_, observes Huber,
(p. 89) _produce an admirable effect in regard to
chiaroscuro_. They make out the inventor to be very ancient,
enumerating Mair and others, equally celebrated at the same
period. We are told nothing, however, in regard to their
mechanism, which was probably not the same as that of Ugo.

It will not here be thought irrelevant to record the new
method of engraving in the Dutch manner, in imitation of
coloured designs, though not executed by process of wood,
but of copper. It has been introduced into Tuscany, through
the efforts of the distinguished Cosimo Rossi, a gentleman
of Pistoia, and vice-president of the academy. After various
experiments, and making the first trials upon some
representations of tombs, in the solid Egyptian style of his
own invention, it soon became also imitated in other modes
of engraving, and more especially in the _Viaggio Pittorico_
of Traballesi. It were desirable that the before-mentioned
gentleman should continue to apply the same in works of
architecture and perspective; in which he succeeds admirably
also with his pencil, very happily emulating the style of
Canaletto. The method ought to be explained very minutely;
but it is both too complicate and too extensive to be
adapted to the degree of brevity we have bound ourselves to
observe upon similar subjects.

MODENESE SCHOOL.

EPOCH III.

_The Modenese Artists of the Seventeenth Century chiefly
follow the example of the Bolognese._

The taste introduced by Munari into Modena and the state, together with the example of Coreggio and Lelio, did not become wholly extinct in the seventeenth century. It was in some measure continued by several of their pupils and imitators, but in proportion as those of the Caracci grew into greater credit, gradually extending their influence over the other schools of Italy, it began to decline apace. It is well known that some of the Modenese frequented their academy, and Bartolommeo Schedone is included by Malvasia among the scholars of the Caracci. If such be the fact, we must conclude, either that his first productions are not known, or that he merely saluted that school, as it were, from the threshold; inasmuch as the larger works which are pointed out as his, betray few traces of the style of the Caracci. It seems more probable that he employed himself in following the successors of Raffaello in his native place, and in particular Coreggio, of whom there remained so many original pieces. His pieces in fresco, executed in competition with Ercole Abati, about 1604, still exist in the public palace; and among these is the beautiful history of Coriolanus, and the Seven Sisters, who are meant to represent Harmony: whoever observes these will find they possess a mixture of the two characters before alluded to. There is, moreover, in the cathedral, a half figure of S. Geminiano, with an infant boy restored by him to life, supporting himself by the saint's staff, and apparently returning his thanks. It may be enumerated among the best of his works, and bears a striking resemblance to those of Coreggio. The same resemblance was affirmed from that period in other of his pictures transferred elsewhere; and Marini mentions them in one of his letters as a kind of phenomenon. Scanelli, who wrote about forty years after the death of Schedone, also confirms such an opinion; though to make the imitation complete, he would have wished a little more practice and solidity, in which I rather think he alludes to his perspective and design, not always quite correct. For the rest his figures, both in their character and their action, are very pleasing, while his colouring in fresco is very vivid and lively; in oils he is more serious, but more harmonious, though not always free from the ill effect produced by the bad grounds usual in the age of the Caracci. His pictures on a larger scale, such as his Pieta, now in the academy of Parma, are extremely rare, and also his history-pieces, as the Nativity of our Lord and that of the Virgin, placed for lateral ornaments to an altar-piece by Filippo Bellini. Of his Holy Families, and little sacred pieces, there are some remaining; such as are found in galleries being highly valuable, so much so, that Tiraboschi records the sum of 4,000 crowns having been required for one of them. The court of Naples is extremely rich in them, having, together with the other Farnesian pictures, obtained also those painted by Schedone, while in the service of Duke Ranuccio, his most liberal patron. This artist produced but little, being seduced by the love of gambling; nor did he survive very long after losing a large sum of money, about the end of the year 1615.

The three following names belong to the school of the Caracci, also in regard to style. Giacomo Cavedone, born in Sassuolo, but absent from the state after the period of youth, was esteemed one of the best disciples of Lodovico. Giulio Secchiari, of Modena, resided also at Rome, and in Mantua, where he produced several excellent pictures for the court, which perished in the sack of 1630. What remains of him in his native place, and in particular the Death of the Virgin, in the subterranean part of the cathedral, with four crowns around, is calculated to give rise to lively regret, that Giulio should not be equally well known in different collections, with the other disciples of the Caracci. Camillo Gavassetti, likewise of Modena, may boast also of a greater degree of merit than of fame; no less because he died young, than because of his attaching himself to works in fresco, which, confined to the place in which they are produced, confine also the reputation of the artist. He is better known in Piacenza than in Modena, Parma, or, indeed, any other city. One of his paintings adorns the presbytery of the church of S. Antonino, accompanied with figures taken from the Apocalypse, so finely executed as to induce Guercino, when coming to Piacenza to complete his finest work, to bestow the highest commendation upon it; and it is still enumerated among the chief ornaments of that rich and ornate city. There is something so grand, spirited, and choice, in its whole expression, combined with so much grace and harmony of tints, that it equally surprises us when viewed together, and satisfies us when examined part by part. The action only is sometimes too extravagant, and some of the figures are hardly sufficiently studied. In fact, this artist preferred expedition to high finish; and held a dispute, reported by Baldinucci, with Tiarini, who practised and maintained the contrary, a plan by which, in all works of importance, he was preferred to him in Parma. In Santa Maria di Campagna, at Piacenza, however, where they both painted scriptural histories in opposition, Gavassetti maintains his ground against Tiarini, and other competitors, very numerous and distinguished for that period.

When the pupils of the Caracci succeeded their masters in Bologna, the young artists of the neighbouring state of Modena continued to receive instructions from them, being highly esteemed in the court of Este. At that period flourished Francesco I., and Alfonso IV., both of whom, according to the history of Malvasia, were greatly attached to the followers of the Caracci; some of these they invited into their service, others they employed in their palaces, and at their public festivals; and from all they were anxious to obtain designs and pictures which they might exhibit in their churches, or in their grand collection of paintings, rendered by their means one of the richest in Europe. Hence the artists who next follow, with the exception of a very few, among whom is Romani of Reggio, will be included in one school. It seems certain that Romani studied in Venice, and there became attached to Paolo, whose style he adopted in the Mysteries of the Rosario; and even more so to Tintoretto, whose rules he usually practised, and very successfully.

Guido Reni was either the master or the prototype of Gio. Batista Pesari; if this artist, who resembles Guido in his Madonna at S. Paolo, imitated him as closely in his other works. But of this we cannot judge, as he flourished only during a short period, and part of that time in Venice, where he died before enjoying any degree of fame. Guido himself undoubtedly bestowed his instructions on Luca da Reggio, and on Bernardo Cervi da Modena. Luca I have mentioned in the preceding book. The second according to the judgment of Guido, was possessed of distinguished talents for design; and though meeting with a premature fate in the pestilence of 1630, he left behind him works in the cathedral, and other churches, not inferior, perhaps, to those of Luca. From the same school sprung Giovanni Boulanger, of Troyes, painter to the court of Modena, and master in that city. We find, in the ducal palace, various specimens of his pencil truly delicate, though his want of good grounds in many pictures, occasionally casts some reflection upon his merit. He is happy in his inventions, warm and harmonious in his colours, spirited in his attitudes, but not without some touch of excessive enthusiasm. The sacrifice of Iphigenia, if a genuine production, is sufficient to establish his character; although the figure of Agamemnon may appear veiled in a capricious style, scarcely adapted to an heroic subject. Two of his best imitators and disciples are Tommaso Costa, of Sassuolo, and Sigismondo Caula, of Modena; the first of whom succeeded as a powerful colourist, of very general talent, and was eagerly employed by the neighbouring courts and cities in perspective, in landscape, and in figures. Reggio, where he usually resided, retains many of his productions: Modena has several, and in particular the cupola of S. Vincenzo bears proud testimony to his merit. Caula left his native place, only in order to improve his knowledge in Venice. Thence he returned with the acquisition of a copious and richly coloured style, as Orlandi very justly remarks, in regard to his great picture of the Plague, at S. Carlo. He subsequently changed his tints, which became more languid, and in such taste are most of the pictures he produced for the ornament of altars and cabinets.

Many artists of Reggio were initiated in the art by Lionello Spada, and by Desani, his pupil, and assistant in the numerous labours he executed at that place. Among these are Sebastiano Vercellesi, Pietro Martire Armani, and in particular Orazio Talami, who, not content, like the rest, to remain in his native place, traversed Italy, studied with unwearied care the models of the Caracci, and succeeded so well in his figures, that he might be mistaken for one of their scholars. While at Rome, which he twice visited, he devoted himself much to perspective, and very scrupulously observes its rules in the noble and extensive representations of architectural objects, which he introduced into his compositions. In all respects his style is inclined rather to solidity than to amenity. His native place boasts many of his labours, and more especially two large pictures abounding in figures, preserved in the presbytery of the cathedral. Jacopo Baccarini was an imitator of his style, two of whose pictures have been engraved by Buonvicini; a _Riposo di Egitto_, and a _S. Alessio Morto_, both of which are to be seen at S. Filippo. This artist's manner displays much judgment, accompanied with a good deal of grace. Mattia Benedetti, a priest of Reggio, commended in the Abbecedario, was instructed in the art of perspective by Talami himself, and, together with his brother Lodovico, occupies an honourable place in this class. Paolo Emilio Besenzi, a particular imitator of Albano, either from natural taste or education, differs a good deal in the former from Lionello. Reggio retains many pieces, especially at S. Pietro, highly creditable to this artist's talents; besides statues and buildings in very good taste; as he succeeded in uniting, like some of the best among the ancients, the various qualities of the three sister arts.

Guercino, likewise, presented the state with an excellent scholar in Antonio Triva di Reggio. He distinguished himself in various cities of Italy, and even in Venice, whither he conducted his sister Flamminia, who possessed a genius for the art. Here they both employed themselves in several public works, which acquired for them the commendation of Boschini. Occasionally he adheres so faithfully to his master, as in the Orto at Piacenza, as not even to yield to Cesare Gennari. In other pieces he is more free; though still his manner retains strong traces of his school, really beautiful, as it is pronounced by Zanetti, and, if I mistake not, full of truth. He finally visited the court of Bavaria, where he was employed until the period of his death.

To Guercino, also, we must refer another imitator of his style, in Lodovico Lana. He was instructed, however, by Scarsellini, and from that circumstance, has been enumerated by some among the artists of Ferrara. But Lana, most likely, was born in the state of Modena, in whose city he resided and held his school. His reputation there is great, as well on account of many very beautiful pieces, as more particularly for that in the Chiesa del Voto, in which he represented Modena freed from the scourge of the plague. It is generally agreed that he never produced a finer specimen of his art, and there are few, at this time, in those churches, that can be said to rival it in point of composition, in force of colouring, harmony, and a certain novelty and abundance of images, that produce surprise in the spectator. Lana is one of the freest among the imitators of Guercino; his touch is the same, though less strong, and in taste they exactly coincide. In his motions he has something of Tintoretto, or more properly of Scarsellini; but in his colours, and the expressions of his countenances, he preserves an originality of character. Pesari and he were rivals, as were the masters whom they respectively followed, on account of their contrast of style. Pesari, however, seemed to yield, as he transferred his talents to Venice, while his competitor became the director of an academy in Modena, which supported by his credit, then became celebrated throughout Italy. The name of Lana continues to maintain its ground in Bologna, and other adjacent places, while it is not unknown in lower Italy. The chief part of his specimens to be met with in collections, consist of heads of aged men, full of dignity, and touched with a certain boldness of hand, which declares the master.

Those who flourished after him, belonging to the city of Modena and the state, were for the most part educated elsewhere. Bonaventura Lamberti, of Carpi, as I have observed in the Roman School, was instructed by Cignani; and there he had a noble theatre for the display of his powers. At the same period flourished Francesco Stringa, in Modena, where he painted a good deal in a style, if I mistake not, that approached, or seemed rather ambitious of approaching, that of Lana, and Guercino himself. By some, he is supposed to have been a pupil of the first; by others, of the second of these artists; but it is known only with certainty, that he formed himself upon their model, and that of other excellent masters, whose works, during his superintendance of the great Este Gallery, he might consult at his pleasure. Endowed with a rich imagination, spirited and rapid in execution, he produced much, which was greatly commended, both in the cathedral and in the churches. His distinguishing characteristic is the depth of his shades, the somewhat disproportioned length of his figures, and an inclination to the capricious in his actions and composition. When in advanced years he began to deteriorate in style, a case common to most artists.

He was the first master of Jacopo Zoboli, who, proceeding from Modena into Bologna, and thence to Rome, settled there, and died in 1761, with the reputation of a good artist. This he in a high degree acquired by his labours in the church of S. Eustachio, where he is distinguished amongst the more modern productions by his S. Girolamo, displaying singular diligence, polish, and harmony of colours, by no means general in those times. The Primaziale of Pisa also boasted a grand picture by his hand, representing S. Matteo, in the act of dedicating a young princess to a holy life, by the imposition of the sacred veil. Two other artists of Modena, Francesco Vellani and Antonio Consetti, who died near the same time, not very long ago, were instructed in the art by Stringa and his school. Both are in a taste much resembling that of the Bolognese of their own age. The former however, is not so accurate in point of design as the latter, a strict and commendable master in that art. It is true, he has a crudeness of colours, not very pleasing to the eye; no new circumstance in an artist educated in the school of Creti. Both Modena and the state are in possession of many of their pieces.