The Project Gutenberg eBook of The History of Painting in Italy, Vol. 6 (of 6)

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Title: The History of Painting in Italy, Vol. 6 (of 6)

Author: Luigi Lanzi

Translator: Thomas Roscoe

Release date: December 1, 2012 [eBook #41533]

Language: English

Credits: Produced by Barbara Tozier, Bill Tozier, Carol Brown, and
the Online Distributed Proofreading Team at
http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK THE HISTORY OF PAINTING IN ITALY, VOL. 6 (OF 6) *** 




Transcriber's note:


This book contains many abbreviations that have been expanded
 using the title attribute. Screenreader users may wish to set their
 computer to read only the title attribute.




THE


HISTORY OF PAINTING


IN


ITALY.


 VOL. VI.


THE


HISTORY OF PAINTING


IN


ITALY,


FROM THE PERIOD OF THE REVIVAL OF


THE FINE ARTS,


TO THE END OF THE EIGHTEENTH CENTURY:


TRANSLATED


From the Original Italian


OF THE


ABATE LUIGI LANZI.


By THOMAS ROSCOE.


IN SIX VOLUMES.


 VOL. VI.


CONTAINING THE INDEXES.


LONDON:

PRINTED FOR

W. SIMPKIN AND R. MARSHALL,

STATIONERS'-HALL COURT, LUDGATE
STREET.


1828.


J. M'Creery, Tooks Court,

Chancery-lane, London.




CONTENTS

OF

THE SIXTH VOLUME.


Page



Index I.
Professors of Painting mentioned in the work; together
with the dates, &c.
1



Index II.
Historical and Critical Publications relating to the
Art, cited in the Work
167



Index III.
Of some of the most important Matters contained in the
Work
197




*** With regard to the
Abbreviations of words adopted in the above Indexes, that of b. is
applied to dates of birth, and that of d. to the deaths of artists.
The rest will be perfectly intelligible to the English reader.


ERRATUM.


Page 96, line 17, in some copies, for 1666
read 1766.[1]


FIRST INDEX.


Artists referred to in this work, noting the periods
of their Birth and Death, and the authorities for the dates.





 A
 B
 C
 D
 E
 F
 G
 H
 I
 L




 M
 N
 O
 P
 Q
 R
 S
 T
 V
 W
 Z





A.



B.



C.



D.



E.



F.



G.



H.



I.



L.



M.



N.



O.



P.



Q.



R.



S.



T.



V.



W.



Z.



SECOND INDEX.


Historical and Critical Publications cited in this
Work.





 A
 B
 C
 D
 E
 F
 G
 H
 J
 L




 M
 N
 O
 P
 R
 S
 T
 V
 W
 Z





A.



B.



C.



D.



E.



F.



G.



H.



J.



L.



M.



N.



O.



P.



R.



S.



T.



V.



W.



Z.



*     *     *     *     *


*** The MSS. cited in the Index of Artists are pointed
out in the work, where the names of the correspondents are given, who have
favoured me with information respecting native or foreign painters. Others,
either professors or connoisseurs, from whom I have received any account,
either oral or written, are noticed in the Preface. I have also availed
myself of their intelligence in the nomenclature and epochs of artists.


THIRD INDEX


Of some of the most important Matters contained in the
Work.





 A
 B
 C
 D
 E
 F
 G
 H
 I
 L




 M
 N
 O
 P
 Q
 R
 S
 T
 U
 V
 W





A.



B.



C.



D.



E.



F.



G.



H.



I.



L.



M.



N.



O.



P.



Q.



R.



S.



T.



U.



V.



W.



THE END.


J. M'Creery, Tooks Court,

Chancery-lane, London.


Critical Opinions on


LANZI'S HISTORY OF PAINTING
IN ITALY,


TRANSLATED BY THOMAS ROSCOE.




FROM THE EDINBURGH REVIEW.


"When we consider the number of painters, the great quantity of
historical matter, the numerous anecdotes, the solid and sensible
criticism, and the vast mass of valuable information, and especially the
astonishing variety of original and striking ideas, that are expressed in a
brief, terse style, in six volumes, we are surprised at the comprehensive
shortness of THIS HIGHLY ESTIMABLE WORK.
We are delighted to find much of the ancient simplicity in the ELEGANT AND CLASSICAL STYLE OF THESE GOLDEN
PAGES, from which, more than from any other book, and perhaps as
much as it can be derived from books, we are able to attain an idea of the
wonderful genius of the Italians for the Fine Arts. It is
well adapted to form the taste correctly; and is a faithful guide to
travellers, many of whom, having examined the works upon which Lanzi
delivers his opinion, with his review in their hands, have bestowed upon
him this expressive, strong, and hearty panegyric, 'HE IS A FINE FELLOW.'


Mr. Roscoe deserves and will receive the thanks of all lovers of the
Fine Arts, for his valuable contribution towards the advancement of
objects which they have much at heart, and which may be considered of high
importance. He has here afforded his countrymen another opportunity to
acquire some knowledge of the Fine Arts, and of their history, which
assists the mind in reflecting upon the productions of the great masters;
teaches us to admire them upon sound principles, and redoubles the
pleasure of contemplating them; and so shews the truth of the ancient
saying, that the most wise are the most happy. This
knowledge, moreover, forms, in the present day, a necessary part of polite
education.






FROM THE LITERARY GAZETTE.


Lanzi's History of Painting has long and justly
enjoyed the highest reputation upon the Continent. From 1795 to the
present time, (during which period a considerable number of editions have
appeared) it has increased in fame, and widened its circle, as a work of great original talent on the general subject of the
Fine Arts, and one of much authority for reference. Altogether, the
Arts owe a debt of the deepest gratitude to the man, with whom Mr. Roscoe
has, by this excellent translation, put it in the power of every English
reader to become familiarly acquainted. And we will say, that in so doing
he has enabled them to enjoy a very great pleasure. Unlike the majority of
works upon Science or Art, Lanzi has contrived to render his work at once
FULL OF INTERESTING INFORMATION AND AGREEABLE
INCIDENT. There is nothing dry about the narrative; but, on the
contrary, it seems to us that NO ONE WHO EVER
ADMIRED A FINE PICTURE, CAN TURN OVER A PAGE OF THIS PUBLICATION WITHOUT
BEING ATTRACTED TO PROCEED, and without feeling an increase of
appetite grow with what it feeds on. In truth, WE ARE OURSELVES SO DELIGHTED WITH THE HISTORY, that
we do not exaggerate our opinion of its merits, when we transcribe as our
own the panegyric of the Cavalier Boni, already alluded to. (See Lit. Gat. No. 567.) It is,
however, difficult to convey a just idea of a work composed upon so
enlarged and complete a scale; which embraces a period of about six
centuries, and fourteen Italian schools, but treated with such rapidity
and precision, as to form in itself a compendium of whatever we meet with
in so many volumes of guides, catalogues, descriptions of churches and
palaces, and in so many lives of artists, throughout the whole of
Italy.






FROM THE MONTHLY REVIEW.


This Narrative, which exhibits the traces of the utmost diligence
and the most scrupulous regard to accuracy, is interspersed with critical
views, so philosophical, so eloquent, and so just, as to convince us of
the thorough competence of the Abbe Lanzi for the task which he has
undertaken. The extent of his general erudition appears abundantly
throughout his work. To vast and varied acquirements, he united uncommon
powers of intellect, together with an enthusiastic love for the beauties
of the Art, to the study of which he devoted himself from an early period
of life;—with what success, is attested by the favourable reception
of his labours. Completeness and impartiality as to its details, are not
the only merits of this work. To the connoisseur it will form a guide to
facilitate his acquaintance with the peculiar styles, and their varieties,
of the great masters; a species of knowledge which it is difficult to
convey, although of the greatest importance to possess. Nor is the utility
of this work to be overlooked, in disseminating amongst all classes a just
taste for, and sound opinions upon, the Arts. To pretend that, in the
foregoing notice, we have furnished anything like an indication of the
multitude of interesting details contained in these volumes, would be as
offensive to truth, as it would be unjust to the author of as singular a
monument of labour and diligence as modern literature can boast of.
Neither do we attempt to insinuate that we have been able to suggest any
adequate notions of the admirable tact and skill shewn in his arrangement,
in which, without excluding any topics necessary to the purposes of his
history, the Abbe Lanzi disposes of every personage and event in the rank
that is due to their relative importance. And if we have been deficient in
these respects, we feel that we have still more failed in giving a proper
idea of the accurate and discriminating mind of the critic, or of the
perfectly judicial impartiality of his opinions; and when we compare our
imperfect analysis of his work with our own impressions of the author, we
are sensible how little we have been able to transfer to our pages any
portion of those lineaments of taste, graceful propriety, and eloquence of
language, or of that spirit of regulated enthusiasm, which are diffused
through the 'History of Painting in Italy.' With respect to the merits of
the translator, the most obvious one is that of having given to British
literature a work of the very highest value, at no inconsiderable
sacrifice of time and trouble. His version, in general, has all the force
and precision of style which belong to the original.






FROM THE FOREIGN QUARTERLY REVIEW.


Luigi Lanzi was a learned churchman, a skilful antiquarian, a lover
of painting and sculpture, a sensible critic, something of a poet, and in
all those matters remarkably diligent and enthusiastic. He travelled, he
examined, he collected, he studied, and he wrote; and early acquired the
reputation of a candid judge of art, and a sagacious antiquarian. His
admirable work has been recently translated into English by Mr. Thomas
Roscoe, a gentleman whose varied knowledge in foreign literature entitles
him to much respect. His name is sufficiently known to the public, not to
need any great recommendation at our hands; but we must indeed say, that
the translator has conferred a great benefit on that portion of his
readers who are not professed Italian scholars. The work of Lanzi is full
of difficulties, even to Italians themselves, on account of the terms of
Art with which almost every page is full: it thus very much redounds to
the credit of Mr. Roscoe, to have produced so excellent and faithful a
translation, and written wherewithal with great elegance of diction. Of
this our readers cannot fail to be at once convinced, when we inform them
that he was materially assisted by his own respectable[16] father; by Mr. W. H. Ottley; by Dr. Traill; and by
Signor Panizzi, at present resident at Liverpool, one of the profoundest
scholars and best of Italian critics.






Transcriber's Notes:


The prior five volumes of this series are identified in the indexes
with lower case Roman letters. At the time of posting, these volumes can
be found in the Project Gutenberg collection as follows:


i—http://www.gutenberg.org/ebooks/34479

ii—http://www.gutenberg.org/ebooks/34585

iii—http://www.gutenberg.org/ebooks/34645

iv—http://www.gutenberg.org/ebooks/38967

v—http://www.gutenberg.org/ebooks/39996


Although we verify the correctness of these URLs at the time of
posting, they may not work, for various reasons, for various people, at
various times.


In the first index, names beginning with "I" and "J" are alphabetized
as though the "I" and "J" are the same letter, so that Ja... entries
appear before Ib... and Jo... after In.... Names beginning with "U" and
"V" are treated in the same manner.


Some dates of birth and death cited by the author are at variance from
those reported by subsequent sources. Dates that are clearly typographical
errors were adjusted, as listed below. Otherwise, dates were left as
printed, even though the given dates lead to illogical results (e.g., see
entries for Stephano and Alessandro Magnasco).


Some page numbers in the indexes are not in numerical order and may not
correspond to the item indexed. The numbers were not changed. Several
entries omit the volume number associated with the listed page
numbers.


Punctuation was standardized.


"Ib." was changed to "ib." for consistency within the text.


 Alphabetical jump tables were added at the beginning of each index for
the convenience of users.


A bindery note at the bottom of the first page of "Critical Opinions"
indicates that the reviews following THE END should have been
published at the beginning of Volume I.


Other changes:



[1] - Correction had already been made to this
edition of the book.

[2] - Changed date of birth from 1690 to 1600.

[3] - Changed date of birth from 1686 to 1586.

[4] - Changed from 'Visacei.'

[5] - Changed from 'Galti.'

[6] - Changed dates of notices from 1613 to
1513.

[7] - Removed duplicate 'd.' from entry.

[8] and [9] - Volume 5 had
two extra pages, identified as *63 and 64*, inserted following pages 63
and 64. In the version at www.gutenberg.org, these two pages are
identified as 63A and 64A.

[10] - Changed date of death from 4625 to 1625.


[11] - Changed date of death from 1530 to 1630.


[12] - Changed from 'Costantino.'

[13] - Changed from 'where-ever.'

[14] - Changed from 'Punic Wax.'

[15] - Changed page number from 234.

[16] - Changed from 'respectacle.'