NEAPOLITAN SCHOOL.
SECOND EPOCH.
Modern Neapolitan Style, founded on the Schools of Raffaello and Michelangiolo.
It has already been observed, that at the commencement of the sixteenth century, the art of painting seemed in every country to have attained to maturity, and that every school at that time assumed its own peculiar and distinguishing character. Naples did not, however, possess a manner so decided as that of other schools of Italy, and thus afforded an opportunity for the cultivation of the best style, as the students who left their native country returned home, each with the manner of his own master, and the sovereigns and nobility of the kingdom invited and employed the most celebrated strangers. In this respect, perhaps, Naples did not yield precedence to any city after Rome. Thus the first talents were constantly employed in ornamenting both the churches and palaces of that metropolis. Nor indeed was that country ever deficient in men of genius, who manifested every exquisite quality for distinction, particularly such as depended on a strong and fervid imagination. Hence an accomplished writer and painter has observed, that no part of Italy could boast of so many native artists, such is the fire, the fancy, and freedom, which characterizes, for the most part, the works of these masters. Their rapidity of execution was another effect of their genius, a quality which has been alike praised by the ancients,[[107]] and the moderns, when combined with other more requisite gifts of genius. But this despatch in general excludes correct design, which from that cause is seldom found in that school. Nor do we find that it paid much attention to ideal perfection, as most of its professors, following the practice of the naturalists, selected the character of their heads and the attitudes of their figures from common life; some with more, and others with less discrimination. With regard to colour, this school changed its principles in conformity to the taste of the times. It was fertile in invention and composition, but deficient in application and study. The history of the vicissitudes it experienced will occupy the remainder of this volume.
The epoch of modern painting in Naples could not have commenced under happier auspices than those which it had the good fortune to experience. Pietro Perugino had painted an Assumption of the Virgin, which I am informed exists in the Duomo, or S. Reparata, a very ancient cathedral church, since connected with the new Duomo. This work opened the way to a better taste. When Raffaello and his school rose into public esteem, Naples was among the first distant cities to profit from it, by means of some of his scholars, to whom were also added some followers of Michelangiolo, about the middle of the century. Thus till nearly the year 1600, this school paid little attention to any other style than that of these two great masters and their imitators, except a few artists who were admirers of Titian.
We may commence the new series with Andrea Sabbatini of Salerno. This artist was so much struck with the style of Pietro, when he saw his picture in the Duomo, that he immediately determined to study in the school of Perugia. He took his departure accordingly for that city, but meeting on the road some brother painters who much more highly extolled the works of Raffaello, executed for Julius II., he changed his mind and proceeded to Rome, and there placed himself in the school of that great master. He remained with him however, only a short time, as the death of his father compelled him to return home, against his wishes. But he arrived a new man. It is related that he painted with Raffaello at the Pace, and in the Vatican, and that he became an accomplished copyist of his works, and successfully emulated the style of his master. Compared with his fellow scholars, although he did not rival Giulio Romano, he yet surpassed Raffaele del Colle, and others of that class. He had a correctness of design, selection in his faces and in his attitudes, a depth of shade, and the muscles rather strongly expressed; a breadth in the folding of his drapery, and a colour which still preserves its freshness after the lapse of so many years. He executed many works in Naples, as appears from the catalogue of his pictures. Among his best works are numbered some pictures at S. Maria delle Grazie; besides the frescos which he executed there and in other places, extolled by writers as miracles of art, but few of which remain to the present day. He painted also in his native city, in Gaeta, and indeed in all parts of the kingdom, both in the churches and for private collections, where many of his Madonnas, of an enchanting beauty, are still to be seen.[[108]]
Andrea had several scholars, some of whom studied under other masters, and did not acquire much of his style. Such was Cesare Turco, who rather took after Pietro; a good painter in oil, but unsuccessful in fresco. But Andrea was the sole master of Francesco Santafede, the father and master of Fabrizio; painters who in point of colouring have few equals in this school, and possessing a singular uniformity of style. Nevertheless the experienced discover in the father more vigour, and more clearness in his shadows; and there are by him some pictures in the Soffitto of the Nunziata, and a Deposition from the Cross in the possession of the prince di Somma, highly celebrated. But of all the scholars of Andrea, one Paolillo resembled him the most, whose works were all ascribed to his master, until Dominici restored them to their right owner. He would have been the great ornament of this school had he not died young.
Polidoro Caldara, or Caravaggio, came to Naples in the year of the sacking of Rome, 1527. He was not, as Vasari would have us believe, in danger of perishing through want at Naples; for Andrea da Salerno, who had been his fellow disciple, generously received him into his house, and introduced him in the city, where he obtained many commissions, and formed several scholars before he went to Sicily. He had distinguished himself in Rome by his chiaroscuri, as we have related; and he painted in colours in Naples and Messina. His colour in oil was pallid and obscure, at least for some time, and in this style I saw some pictures of the Passion in Rome, which Gavin Hamilton had received from Sicily. In other respects they were valuable, from their design and invention. Vasari mentions this master with enthusiasm, calls him a divine genius, and extols to the skies a picture which he painted in Messina a little while before his death. This was a composition of Christ on his way to Mount Calvary, surrounded by a great multitude, and he assures us that the colouring was enchanting.
Giambernardo Lama was first a scholar of Amato, and afterwards attached himself to Polidoro, in whose manner he painted a Pietà at S. Giacomo degli Spagnuoli, which, from its conception, its correctness, and vigour of design, variety in attitude, and general style of composition, was by many ascribed to that master. In general however, he displayed a softer and more natural manner, and was partial to the style of Andrea di Salerno. Marco di Pino, an imitator of Michelangiolo, as we have observed, though sober and judicious, was held in disesteem by him. In the Segretario of Capece, there is an interesting letter to Lama, where amongst other things he says, "I hear that you do not agree with Marco da Siena, as you paint with more regard to beauty, and he is attached to a vigorous design without softening his colours. I know not what you desire of him, but pray leave him to his own method, and do you follow yours."
A Francesco Ruviale, a Spaniard, is also mentioned in Naples, called Polidorino, from his happy imitation of his master, whom he assisted in painting for the Orsini some subjects illustrative of the history of that noble family; and after the departure of his master, he executed by himself several works at Monte Oliveto and elsewhere. The greater part of these have perished, as happened in Rome to so many of the works of Polidoro. This Ruviale appears to me to be a different artist from a Ruviale, a Spaniard, who is enumerated among the scholars of Salviati, and the assistants of Vasari, in the painting of the Chancery; on which occasion Vasari says, he formed himself into a good painter. This was under Paul VII. in 1544, at which time Polidorino must already have been a master. Palomino has not said a word of any other Ruviale, a painter of his country; and this is a proof that the two preceding artists never returned home to Spain.