At Rovigo, in possession of the noble family of Casalini, is a picture of the Circumcision of our Saviour, bearing this memorandum: Opus Marci Belli discipuli Johannis Bellini. He is a good disciple of the school, and would appear to be a different artist from that Marco, son of Gio. Tedesco, who was employed in 1463 at Rovigo.
In the adjacent city of Padua, the style of the Bellini was less followed, a very natural circumstance in a place where Squarcione, the avowed rival of Giovanni, held supreme sway. Still there are several pictures belonging to this age remaining there, which partake of the Venetian style; and Vasari, in his life of Carpaccio, records, that in fact Niccolo Moreto executed many works in Padua,[[33]] besides many other artists connected with the Bellini. A picture of Christ risen from the dead, merits particular mention; it adorns the episcopal palace at Padua, along with the portraits of all the Paduan bishops, and the busts of the apostles, including several of their acts, executed with much elegance in chiaroscuro. The work is dated 1495, in which the painter subscribes his name Jacobus Montagnana; not Montagna, as it is written in Vasari and Ridolfi.
There remains of his a very extensive altarpiece, at the Santo, the style inclining as much as in any others, to the modern; and to whatever degree it may partake of the Venetian in taste of colours, in its design it partakes of a more precise and spare expression upon the principle of the Paduan School. To this, also, he very manifestly conformed himself, in that celebrated picture left in Belluno, at the hall of council, in which he represented[[34]] Roman histories. It is an immense production, and at the first view would incline us to attribute it to the pencil of Mantegna, such is the design, the drapery, and the composition of the figures; while even several of them are known to have been accurately copied, with the same forms and motions, from those Mantegna had already introduced into his grand chapel at the Eremitani. Here we have a clear proof that both received the same education, or at least, that Montagnana had profited much by the Paduan School. I say only much, for in point of costume he does not shew any traces of the erudite instructions of Squarcione; but commits faults resembling those of the Bellini, to whom by popular opinion, recorded by the very diligent author of the new Guide of Padua, he has been given as a pupil.
I have before treated of Squarcione, and of his method, reserving for a fitter place the consideration of his disciples, more especially Andrea Mantegna. He will, however, be included in the present list as a scholar; although, as a master of the school of Lombardy, we are bound to speak of him with more commendation, in another chapter. But even the first essays of great characters are valuable; and Vasari does not scruple to commend Andrea's first altarpiece as a work worthy of his old age. It was placed in Santa Sofia, where the artist has signed himself Andreas Mantinea Patavinus annos VII. et X. natus sua manu pinxit, 1448. Squarcione was so much delighted with his early genius, that he adopted him for his son. But he afterwards regretted his own generosity, when the young artist took to wife the daughter of his rival, Jacopo Bellini; so that he then began to blame him, yet at the same time to instruct him better. Andrea having been educated in an academy which adopted the study of marbles, indulged great admiration of several Greek bassi relievi, in the ancient style, such as is that of the Primarii Dei, in an altar of the capitol. He was therefore extremely bent upon acquiring the chasteness of the contours, the beauty of the ideas and of the bodies; but not content with adopting that straitness of the garment, those parallel folds, and that study of parts which so easily degenerates into stiffness, he neglected that portion of his art which animates the otherwise uninformed images—expression. In this respect he greatly failed in his picture of the Martyrdom of S. Jacopo, placed in the church of the Eremitani, and from which Squarcione took occasion to reprehend him severely. These complaints led him to adopt a better method, and in his representation of the history of S. Cristoforo, placed opposite his S. Jacopo, he threw more expression into his figures; and in particular, his production about the same period of San Marco, in the act of writing the gospel, painted for Santa Giustina, displays in the features the absorbed mind of the philosopher and the enthusiasm of a saint. If Squarcione thus contributed by his reproaches to render this artist great, the Bellini, perhaps, co-operated with him by friendship and relationship, in producing the same result. He resided little in Venice, but during that time he did not fail to avail himself of the best portion of that school; and we thus perceive in some of his pictures, landscapes and gardens quite in the Venetian character, besides a knowledge of colours not inferior to the best Venetian artists of the age. I am uncertain whether he or some other communicated to the Bellini that species of perspective so much commended by Barbaro; but I know that Lomazzo, in his "Tempio della Pittura," page 53, has put on record that Mantegna was the first who gave us true notions relating to this art: and I know that the most distinguished characters of those times were equally eager, either to become scholars in such points as they were themselves deficient in, or masters in such as were wanting in others.
The style of Mantegna being known, it will not be difficult to divine that of his fellow pupils, educated in the same maxims, and instructed by his examples. The chapel before mentioned exhibits specimens of three, the first of whom, Niccolo Pizzolo is pointed out by Vasari. A picture of the Assumption of the Virgin in an altarpiece, with other figures on the wall, are by his hand. There is also a fresco in one of the façades with the motto Opus Nicoletti: and in both places he not only strongly resembles, but approaches near the composition of Mantegna. Two other artists also painted there certain histories of S. Cristoforo, under one of which is inserted Opus Boni; under the other, Opus Ansuini, an artist of Forli. Both of these might elsewhere have been admired; but there they appear only as scholars by the side of their master. An artist more nearly approaching Mantegna, and who, in the chief part of his figures might be mistaken for him, is Bernardo Parentino, who painted for a cloister of Santa Giustina, ten acts in the life of San Benedetto, and little histories in chiaroscuro, representing upon each the portrait of a Pontiff of the name of Benedict. I have seen no painting adapted to a religious cloister so well conceived in every part; and it is known that it was superintended by a distinguished scholar of that learned order, the Abate Gaspero da Pavia. Attached to it is the name of Parentino and the dates of 1489 and 1494. The work was continued by a Girolamo da Padua, or Girolamo dal Santo, celebrated for his miniatures, as it is recorded by Vasari and Ridolfi. Here, however, he exhibits himself a poor artist, in point of design, and still more so in expression, though praiseworthy in many accessaries of his art, more particularly in his study of ancient costume, an acquisition as general in this, as rare in the Venetian School. Those histories, indeed, are frequently found ornamented with ancient bassi relievi, with sarcophagi, and with inscriptions copied, for the most part, from Paduan marbles; a practice followed, also, by Mantegna, but with more moderation, in the chapel of the Eremitani.
The rest of his contemporaries, in Padua, were Lorenzo da Lendinara, esteemed an excellent artist, but of whom no traces remain; Marco Zoppo, of Bologna, who more nearly resembled, perhaps, his master than his fellow pupil, but of honourable account, as the head of the Bolognese School; and Dario da Trevigi, whose productions are to be seen in S. Bernardino, at Bassano, opposite to those of Mantegna, as if to exhibit their inferiority. Girolamo, or rather Gregorio[[35]] Schiavone, whose style is between that of Mantegna and the Bellini, is a pleasing artist, whose pictures are frequently to be met with, ornamented with architectural views, with fruits, and above all with joyous little cherubs. One of the most delightful I have seen, was in Fossombrone, in possession of a private individual, and it bears inscribed, Opus Sclavonii Dalmatici Squarzoni S. (Scholaris). Hieronymus Tarvisio is another, but doubtful pupil of Squarcione, whose name I found subscribed in some pictures at Trevigi, an artist poor in colours, but not unacquainted with design. We find mention in Sansovino, an author not always to be relied upon in his account of Venetian paintings, of Lauro Padovano, who produced several histories of S. Giovanni for the Carità in Venice; but I so far agree with the above author, in pronouncing these altogether in the style of Mantegna. Nearly approaching also to the composition of this school, is the style of Maestro Angelo, who painted in the ancient refectory of Santa Giustina, a Crucifixion of the Saviour, with figures, both in proportions and in spirit truly great. I have nothing to add to the name of Mattio dal Pozzo, enumerated in this class by Scardeone, (p. 371) inasmuch as there are none of his works now surviving.
At the period, when the School of Padua was opposed to the Venetian, the other cities of the state, as far as we can learn, had adopted a taste rather for the ornamental style of the latter, than the more erudite maxims of the former; it might, perhaps, be added, on account of its greater facility; because the beauty of nature is everywhere more obvious than the monuments of antiquity. Bassano then boasted a Francesco da Ponte, Vicenza the two Montagna and Bonconsigli, all of whom, though born in the immediate vicinity of Padua, became disciples of the Bellini. Da Ponte, a native of Vicenza, was pretty well embued with a taste for polite literature and philosophy, extremely desirable in the head of a school, such as he became in the instruction of Jacopo, and through him of the Bassanese; a school highly distinguished during, and even beyond the sixteenth century. The style of his altarpieces, when compared with each other, acquaints us with the earliest and latest specimens of his pencil. He is diligent, but dry in that of his S. Bartolommeo, in the cathedral at Bassano; more soft in another at the church of S. Giovanni, but far better in one of the Pentecost, which he painted for the village of Oliero, almost in the style of the moderns, displaying studied composition, and a colouring various, beautiful, and harmonious; and what is still more, a fine expression of the passions, best adapted to the mystery. We are led to believe, from the account of Lomazzo, that he likewise painted, at another period, in Lombardy; observing that a certain Francesco, of Vicenza, produced a work at the Grazie of Milan, well executed in point of design, but not so pleasing in the effect of its lights and shades.
The two Montagna flourished about the period 1500, in Vicenza, and were employed together, however unequal in genius, being equally followers of the Bellini, at least if we are to give credit to Ridolfi, who must have seen many of their productions, now no longer in existence. In those which I have seen, there appeared strong traces of the style of Mantegna. Benedetto is not mentioned by Vasari, who is apt to omit the names of all artists whom he accounted of inferior worth. He mentions Bartolommeo, as a pupil of Mantegna,[[36]] and he would certainly have done him more justice had he seen the works he produced in his native place, which, so far from having done, he asserts that the artist constantly resided in Venice. Vicenza boasts many of his pieces, which display the gradual progress of his style. If we wish to estimate the extent of his powers, we ought to consult his altarpiece at S. Michele, and another at S. Rocco, to which may be added a third, in that of the Seminary at Padua. In none of these are we able to discover any composition beyond what was in most general use at that period, already so frequently mentioned by us; and they retain more of the practice of gilding, which, in other places, was then becoming obsolete. In fine, this artist will be found to rank equal with the chief part of his contemporaries; exact in design, skilful in the naked parts, while his colours are fresh and warm. His cherubs are peculiarly graceful and pleasing, and in his altarpiece, at S. Michele, he has introduced an architecture which recedes from, and deceives the eye with a power of illusion, sufficient of itself to have rendered him conspicuous. Of Giovanni Speranza, there remain a few pieces which are much esteemed, though not remarkable for strength of colouring. But we can meet with no public specimens of Veruzio, and most probably his name is a mere equivoque of Vasari.[[37]] Giovanni Bonconsigli, called Marescalco, or the steward, was esteemed beyond any other of the artists of Vicenza, who flourished at this period, and he certainly approaches nearest to the modern style, and that of the Bellini. The practice, however, of ornamenting friezes with tritons and similar figures, taken from the antique, he most likely derived from the adjacent cities of Padua or Verona, one of which then professed the study of antiquity, the other that of monuments. Neither Vasari nor Ridolfi gives any account of his productions, except such as he painted in Venice, at this time either wholly perished or defaced. Those which he executed in Vicenza are still in good condition, nor ought a stranger of good taste to leave the place without visiting the chapel de' Turchini, to admire his Madonna in the style of Raffaello, seated upon a throne, between four saints, among which the figure of S. Sebastian is a masterpiece of ideal beauty. Indeed an able professor of the city considered it one of the finest specimens of the art the place could boast, though in possession of many of the first merit. In common with Montagna, Figolino, and Speranza, Bonconsigli abounds in perspective views, and discovers a natural genius for architecture; like them he appears to give promise of the approach of a divine Palladio, the glory of his country and of his art; along with the Scamozzi, and many other citizens, who have rendered Vicenza at once the boast and wonder, as well as the school of architects. There are two altarpieces of his hand remaining in Montagnana. This artist must not be confounded with Pietro Marescalco, surnamed lo Spada, (the sword,) whom the MS. history of Feltre mentions as a native of this city, and complains of Vasari's silence upon it. One of his altarpieces is to be seen at the Nunnery of the Angeli, at Feltre, where Signor Cav. de Lazara informs me that he read the name of Petrus Marescalcus P. Among other figures is a Madonna, between two angels, upon a large scale, and in good design, sufficient to entitle Pietro to an honourable rank in the history of art. If we compare him with Giovanni, he will be found less vivid in point of colouring, and, apparently, of a somewhat later age.
In the order of our narrative, we ought now to pass on to Verona, where Liberale, a disciple of Vincenzio di Stefano, at that time held sway. He had also been a scholar or rather imitator of Jacopo Bellini, to whose style, says Vasari, he invariably adhered. Moreover, in his picture of the Epiphany, to be seen in the cathedral, there is a choir of angels with a graceful folding of drapery, and a taste so peculiarly that of Mantegna, that I was easily led to believe him an artist belonging to that class. Certain it is that the vicinity of Mantua might also have facilitated his imitation of Mantegna, traces of which are visible in some other of his works, as well as in those of the more and less known Veronese artists of the time. He did not attain the excellence of Giovanni Bellini, nor did he give the same grandeur to his proportions, and the same enlargement of the ancient style, although he continued to flourish until the year 1535. The colour of his tints is strong; his expression studied and graceful; a very general merit in the painters of Verona; and his care is exquisite, especially in his diminutive figures, an art in which he became extremely expert, owing to his habit of illustrating books in miniature, which are still to be seen in Verona and in Siena.
He had a competitor, at his native place, in Domenico Morone, or rather the latter, educated also by a disciple of Stefano, is to be held second to him. This artist was succeeded in the course of time, by his son, Francesco Morone, superior to his father, and by Girolamo da' Libri. These two, bound by the strictest habits of friendship from their youth, were frequently employed in the same labours together, and may be said to have adopted the same maxims. The first has been commended by Vasari, for the grace, the design, the harmony, and the warm and beautiful colouring he contrived to bestow upon his pictures, in a degree inferior to none. From the same source we learn that the year of his decease is supposed to have been 1529. But Girolamo da' Libri was his superior, both in point of taste and general celebrity. The son of a miniature painter of choral books and of anthems, who had hence acquired the name of Francesco da' Libri, from his father he received both a knowledge of the art and his surname, both of which he also transmitted to his son, Francesco, as we again learn from Vasari.