Towards the close of the century, one of the artists in most request was Menarola, whose style approaches nearer to the modern. He was pupil to Volpato, though chiefly following the manner of Carpioni. Next to him was Costantin Pasqualotto, more distinguished for colouring than for design; and Antonio de' Pieri, called Zoppo, of Vicenza, who possessed a rapid, but less decided hand; along with some others who may be recognized in this description. Still higher in repute than these was Pasquale Rossi, little of whom remains in Vicenza, having chiefly attached himself to the Roman School, where he will be found mentioned. Gio. Bittonte, leaving Vicenza, established himself, and painted a good deal at Castelfranco; where, from the circumstance of founding a school both of painting and of dancing, he acquired the surname of Ballerino. Melchiori represents him as pupil to Maffei, and master of Melchiore, his father, who lived also in Castelfranco, where he was much employed, although engaged also at Venice, in the Casa Morosini, where he competed with the Cavalier Liberi.
When the ancient school had become wholly extinct at Bassano, there appeared a Gio. Batista Volpati, who produced many pictures for his native state; somewhat resembling Carpioni in his capricci and in his style, but more common, perhaps, in his features and whole design. His pupils are said to have been one Trivellini, and one Bernardoni, both still inferior to their master. He left behind him several treatises upon the pictoric art, which are yet existing in MS. in the rich and select library of Count Giuseppe Remondini. In the preface to these he asserts that he had no master, though he is said, in a MS. at Castelfranco, to have been a pupil of Novelli. The work is interspersed with good remarks, such as to lead us to suppose him a tolerable theorist; and Algarotti took a copy of it, as we learn from the index of his works upon the fine arts, already before the public.
We have above alluded to a branch of the Veronese School, transplanted to Padua, where it flourished with extraordinary success. Referring to its origin, and to those Veronese artists who lived contemporary with Palma, and until the close of the 17th century, it must be observed, that they maintained the national reputation no less than those of Padua, and were even more constant in the good old method of managing their grounds and their style of colouring. I have noticed the name of Claudio Ridolfi[[82]] in a former school, from the circumstance of his having flourished in the pontifical state. He did not, however, desist from his labours in the Venetian state, some of which appear in the capital and the adjacent cities, particularly in his native place, and Padua. In the celebrated church of S. Giustina, there is a very fine piece, representing the honours of the Benedictine order, professed by princes, adorned by martyrs, and the nurse of the most distinguished pastors of the holy church. The invention is very appropriate, the execution altogether elegant and well finished, and the ornaments equally rich as in any of his other works. He presented his country with a good disciple of his style, in Gio. Batista Amigazzi, though his chief talent seemed to consist in the excellence of his copies. In San Carlo, at Verona, there is one taken from a Supper by Paul Veronese, not only finely drawn, but exhibiting colours fresh and vivid even at the present day. Still superior to him, and almost equal to his master, we meet with Benedetto Marini, of Urbino, an artist unheard of in his own country, though greatly distinguished at Piacenza.[[83]]
Posterior to Ridolfi appeared three scholars of Felice Brusasorci, in addition to Creara, an artist less celebrated; all of whom, on the death of their master, pursued their studies at Rome. There they imbibed, more or less, the prevailing style; and all of them occupy a distinguished rank in the history of the art. Alessandro Turchi, surnamed Orbetto, is, in particular, distinguished among the first of his age; he was called Orbetto, observes Pozzo, because, when quite a boy, he was in the habit of guiding an old blind mendicant, either his father, or some other person. Passeri declares that he derived it from his having a defect in one of his eyes; which was observable in his left eye, as I am informed by Signor Brandolese, after having seen his portrait, engraved after the original, in possession of the Signori Vianelli. Brusasorci, from certain undoubted symptoms, discovered in him a fine genius for the art; and, giving him the best instructions, in a few years encountered a rival, rather than a disciple. Residing afterwards in Venice, under Carlo Caliari, and thence proceeding to Rome, he formed a style wholly his own, possessing some strength but more elegance. He established himself in Rome, where he entered into competition with the followers of the Caracci, with Sacchi, and with Berrettini; with whom he appears to advantage in the church of the Concezione, as well as in a few others. But no city has so many of his pieces in public as Verona, to say nothing of those he painted for private persons. The family of the Marchesi Girardini alone, who patronised him and supported him at Rome, for which we have original letters and documents, possesses sufficient to enrich several collections, among which it is amusing to trace his progress from the inferior to the more correct specimens, and from a lower degree of ornament to the highest. Some, indeed, have ventured to put him in competition with Annibal Caracci; a comparison that, in other times, would have created as great a sensation in Bologna as the celebrated Rape of the Bucket, and one which ought not to be listened to, indeed, any where. Annibal was a painter worthy of our veneration, and Turchi succeeded in imitating his design in the "Sisara" of the Casa Colonna and elsewhere. But he was not so happy in every instance, and, generally, his naked figures, (which approach, in Annibal, to those of the ancient Greeks,) are not equal to such as he has thrown into costume. On the contrary, Passeri, in describing his picture at the Camaldolesi, in Rome, admits that he did not display perfect taste in his art, while Pascoli, in his life of Gimignani, says he enjoyed some degree of reputation at Rome; an incautious expression, if I mistake not, but which at least shews that Turchi is not entitled to a comparison with Annibal Caracci. Still he exhibits so many attractions, that he never fails to please us in every subject. He seems to have aimed at forming an union of various schools, and added to it a certain originality in giving dignity to the portraits introduced into his histories, with the most animated, yet the most delicate complexions. He excelled in the choice and distribution of his colours, among which he introduces a reddish tint, which much enlivens his pictures, and is one of the indications by which we may recognise the author. He is said to have employed exquisite care in the application of his tints, and to have possessed some secret art, by means of which they continue to attract the envy of posterity. The truth is, he selected, purified, and kneaded well his colours, besides consulting chemists upon the subject. From some pictures we feel inclined to turn away in disgust, so extremely do the colours resemble the tints made use of by coach painters; and we have reason to complain of want of refinement in many instances. But how very few apply themselves seriously to select and refine their materials, to make experiments, and to analyse those colours that have been once applied.
At the church of San Stefano, in Verona, there is exhibited his "Passion of the Forty Martyrs," a work that, in regard to depth of colours and foreshortening, partakes much of the Lombard; in point of expression and design, of the Roman; and in its colouring, of the Venetian School. It is one of the most studied, finished, and animated pieces that he produced: there is a choiceness in the heads that approaches Guido's; and a skill of composition, that throws into the background of the picture a great portion of the multifarious history, as appearing in a field of vast extent, where his figures are admirably varied, according to the distances in which they are supposed to appear. Yet he does not belong to that class of artists who go about in search of personages for their histories, in order to fill them with figures. On the other hand, he appears to take more pleasure in introducing an inferior number. Thus his picture of a Pietà painted for the church of La Misericordia, at Verona, exhibits only a dead Christ, the Virgin, and Nicodemus; but the whole so well designed, arranged, and animated, as well as coloured, that it has been esteemed by many his masterpiece, and is certainly one of the best paintings in Verona. In that of his Epiphany also, in possession of the Signori Girardini, of which the rough draft is preserved in the Casa Fattorini, at Bologna, he is by no means lavish of his figures; but he succeeded in arraying those of the Magi in so noble a manner, as to remind us of Titian and Bassano. Turchi died at Rome, leaving behind him two excellent disciples in Gio. Ceschini, and Gio. Batista Rossi, called il Gobbino. The first of these produced copies of his master's works, that had all the appearance of originals. Both continued to employ themselves at Verona, though declining in importance and in credit in proportion as they advanced in years.
Pasquale Ottini, the same who, with Orbetto, completed some pictures by Felice, was a good artist in regard to his forms, and of no common expression, particularly in the works he conducted after having seen Raffaello's. Of this we have a striking specimen in the "Slaughter of the Innocents," placed at San Stefano, although it is subjected to an unfavourable comparison, being placed opposite to one of the finest productions of Orbetto. He appears to more advantage, perhaps, at San Giorgio, where we meet with his picture of San Niccolo, with other saints, in the best Venetian style of colouring; whereas, in other instances, his colours are somewhat languid; a defect most probably arising from time, and unfavourable situations. Finally, he is in high repute in his own country; and in the learned Alessandro Carli's History of Verona, he is mentioned as approaching the nearest of all, in point of excellence, to Paul Veronese. Subsequent to him, and not inferior in talent, we meet with Marc Antonio Bassetti, who, leaving his fellow pupils, set out, very young, to complete his studies at Venice. After again joining them, he next transferred his residence to Rome; and having copied from the best models of both schools, he ultimately returned to his native place. He is particularly commended by Ridolfi in the branch of design, in which he was truly great; add to which, he was an excellent colourist. And he was accustomed to advise those who aimed at good colouring to return, in the first place, to Venice, and again to consult the most beautiful productions of the art. There is one of his altarpieces at San Stefano, in Verona, representing various holy bishops of the city, all arrayed in their sacred habits, all admirably contrasted, and in a taste nearly approaching that of Titian, were it not for the vicinity of Turchi, who seems here again to throw him somewhat into the shade. He left no succession of the school,[[84]] nor, indeed, many works of his own, though they were highly valued. For he was accustomed to say that painting ought not to be pursued by journeymen, like a mechanic art, but with the leisure that is bestowed upon literature, for the sake of the pleasure it affords. It would appear that Dante adopted almost the same maxim in his poetry, when he watched for, observed, and encouraged the impressions that nature, the first guide of all true geniuses, implanted in his spirit.[[85]] These two friends met their fate together, dying of the plague in the year 1630, as well as many other scholars of Brusasorci, mentioned by the Commendatore del Pozzo. But I omit their names, either because of their early death, or want of talent to distinguish themselves. Thus, about the same year, when Orbetto had already established himself in Rome, the succession of Brusasorci's school ceased in Verona. The disciples of Paul Veronese, mentioned subsequent to him, Montemezzano, Benfatto, Verona, and others, died likewise about this period; insomuch that every trace of the municipal school may be said to have disappeared, and it was succeeded by a variety of foreign styles.
Indeed, for some time before, the young Veronese artists had become attached to foreign academies, and several strangers had established themselves in Verona. Dionisio Guerri had formed, under the direction of Feti, a very striking and clear style; in himself equal to repairing the loss of many artists. But he died young, in 1640, leaving few works behind him, in a great measure dispersed through foreign collections; and he was much lamented. Francesco Bernardi, called Bigolaro, supposed to have been a native of Brescia, until the Commendatore del Pozzo proved him to have been of Verona, was an artist educated by the same master. He exhibited, in his picture of the Titular Saint, at the church of S. Carlo, seen in the act of attending his infected brethren, as well as in another piece, a companion to it, all the taste of his master. But he produced much more for private collections, than for the public. The Cavalier Barca was an artist who sprung from Mantua, though he subsequently became a citizen of Verona. It is uncertain whether he was instructed by Feti. His style is various; and in a Pietà of his, remaining at San Fermo, he appears a painter capable of producing a good effect; in other pieces, at the Scala, he abounds with pictorial grace and beauty, and he is fully worthy of commemoration.
The city of Bologna, likewise, contributed to repair the loss sustained by Verona of so many artists. Guido and Albani conferred great obligations, by instructing the Cavalier Coppa (his real name, however, was Antonio Giarola, or Gerola) who is to be enumerated in the list of their best disciples, though he is somewhat too loaded in his composition, and, with a view of catching the sweetness of Guido, became wanting in strength of colouring. There is one of his Magdalens in the Desert, however, placed at the Servi, which is full of fine expression. And in the refectory, also, of the Veronese college, is his Supper of Emmaus, a picture conducted in the style of the best Venetians. Although addicted to the style of Guido, he was also considered by Albani as one of his favourite pupils, who sent him as court painter to the Duke of Mantua, as we are informed by Malvasia.[[86]] From the same academy sprung Giacomo Locatelli, distinguished for several works, chiefly produced for San Procolo, as well as on account of the merit of some of his pupils. They rose into notice in the decline of the art, about the close of the seventeenth century. Andrea Voltolino, a careful but cold painter, was more fitted to succeed in portraits than in compositions; Biagio Falcieri, instructed also by the Cavalier Liberi at Venice, possessed much of the fire and imagination abounding in the Venetian School. Of this he gave an example in his great picture representing the Council of Trent, where the figure of St. Thomas, in the act of overthrowing heretics, appears conspicuous on high, a piece that adorns the church of the Domenicans. Santo Prunato was instructed by these two professors, an artist who brought the Veronese School into fresh notice, as we shall have occasion to observe in the following period.
The school of Moretto continued during this epoch to flourish in Brescia; a master exquisitely delicate in his colours, and extremely diligent, as is evident from his works. Such is the opinion expressed by Vasari; but he did not always preserve the same excellence. There is not the same degree of finish in his disciples, and it was, indeed, too difficult, while so large a portion of the state put a high value upon celerity of hand, to pursue more tedious processes. The Brescian artists who succeeded him, having in part received a Venetian education, the city abounded in mannerists and the class of tenebrosi. Still there appeared among these some excellent painters. Antonio Gandini and Pietro Moroni, or Maroni, are enumerated among the pupils of Paul. The former sometimes imitated Vanni, without neglecting Palma; vast, varied, and ornate in his compositions, an artist every way deserving of consideration in the grand history of the Cross, which he painted in the old cathedral, where his son Bernardino, a poor imitator of his father, also employed himself. Moroni studied a good deal the works of Titian, and was one of the most accurate and fine designers the school could, at that time, boast; nor does he yield to any of his contemporaries in the strong body, and in the clearness of his colouring. Such at least he appeared to me at San Barnaba, in his picture of Christ going to Mount Calvary, when compared with other productions of the same period exhibited there.
Filippo Zanimberti, pupil to Peranda, and an artist of fine character, and a fine hand, as well as a very natural colourist, has never been sufficiently appreciated in Brescia. But in Venice, where he resided many years, and where he painted with real genius and skill for different churches, he is very highly esteemed. In Santa Maria Nuova appears his grand picture of the Manna, so much commended by Ridolfi, by Boschini, and by Zanetti; though he chiefly seems to have employed himself in the ornament of palaces. He possessed singular talent for drawing small figures, and composing fables and histories, which were eagerly sought after, insomuch that the poet of the Venetian paintings affirms that whoever possessed Zanimberti's pictures, was sure of his money.