[23] One of the professors being employed in restoring a piece of Coreggio, analyzed the mode of colouring. Upon the chalk, he said, the artist appeared to have laid a surface of prepared oil, which then received a thick mixture of colours, in which the ingredients were two thirds of oil and one of varnish; that the colours seemed to have been very choice, and particularly purified from all kind of salts, which in progress of time eat and destroy the picture; and that the before-mentioned use of prepared oil must have greatly contributed to this purification by absorbing the saline particles. It was, moreover, his opinion, that Coreggio adopted the method of heating his pictures, either in the sun, or at the fire, in order that the colours might become as it were interfused, and equalized in such a way as to produce the effect of having been poured, rather than laid on. Of that lucid appearance which, though so beautiful, does not reflect objects, and of the solidity of the surface, equal to the Greek pictures, he remarks, that it must have been obtained by some strong varnish unknown to the Flemish painters themselves, who prepared it of equal clearness and liveliness but not of equal strength. See vol. i. p. 49.
[24] It is more accurately entitled by others the Opening of Day.
[25] His words are, "It is my unalterable opinion that Parmigianino in no way approaches Coreggio, whose thoughts and fine inventions are all clearly drawn from himself, always original. All other artists look out for some support, some foundations for their efforts taken from other sources; one to models, one to statues, another to cartoons: all their productions are represented such as they might have been, Coreggio's such as they really are." (See second Letter to Lodovico, Malvasia, vol. i. p. 367.)
[26] He might have pleaded the example of the ancients, who in their draped statues, observed similar proportions, in order to avoid falling into vulgarity. The length of the fingers was rather subject of praise, as is noticed by the commentators on Catullus. (See his 44th Ode.) A long neck in virgins is inculcated by Malvasia, as a precept of the art, (tom. i. p. 303); and the Can. Lazzarini drew his Madonnas according to this rule. These observations are all intended to be applied with that judgment, which, in every art, is not presumed to be taught, but understood.
[27] It is mentioned and compared with that of the Borghesi, (in both the virgin is seen on one side) by P. Affò, in a letter edited by the Advocate Bramieri, in the notes to the Elogio d'Ireneo Affò, composed by P. D. Pompilio Pozzetti; a very excellent scholar, (no less than his annotator,) and deserving to stand high in the estimation of all learned Italians.
SCHOOL OF PARMA.
EPOCH III.
Parmese Pupils of the Caracci, and of other Foreigners, until the period of the Foundation of the Academy.
In the year 1570, when the most celebrated imitators of the Coreggio manner were either greatly advanced in years, or already deceased, the Parmese School began to give place to that of Bologna; and I proceed to explain the mode, and the causes which, partly by design and partly by chance, led to that event. It was intended to ornament a chapel in the cathedral, a commission bestowed upon Rondani and Parmigianino, but which, through a variety of interruptions, had been so long deferred, that both artists died before undertaking it. Orazio Sammachini was then invited from Bologna; he gave satisfaction, and if I mistake not, derived great improvement from his study of Coreggio, whom he more nearly resembled than any other Bolognese artist of that age. Ercole Procaccini, likewise, painted in the dome itself; nor was it long before Cesare Aretusi was invited from Bologna, to become court painter to Duke Ranuccio. This artist, as we before observed, was employed in restoring the painting of the tribune at S. Giovanni. In order to lengthen the choir, it was resolved to destroy the old tribune; but such parts as Coreggio had there painted, were to be correctly repeated to adorn the new; an example that deserves to be adopted as a law, wherever the fine arts are held in esteem. We are informed by Malvasia, that Aretusi undertook this task, though he refused to take a copy of it upon the spot; observing, that such an employment was more adapted for a pupil than for a master. Annibal Caracci was in consequence of this called in, and assisted by his brother Agostino, he took a copy of that vast work in various portions, which are now at Capo di Monte. Guided by these, Aretusi was afterwards enabled to repaint the new edifice in the year 1587. To this account Affò opposes the contract of Aretusi, drawn out in 1586, where he binds himself "to make an excellent copy of the Madonna Coronata;" and provision is promised him for a boy who is to prepare the cartoons: a circumstance that cannot be made applicable to Annibal, who appeared in the character of a master as early as 1586. What conclusion we are to draw from such a fact, no less than from the cartoons so generally attributed to Annibal, and which are pronounced worthy of his hand, quærere distuli; nec scire fas est omnia. Hor. I shall merely observe, that Annibal, after spending several months in studying and copying Coreggio during 1580, frequently returned again to admire him, and that such devoted enthusiasm was of wonderful advantage to him in acquiring the character of his model. It was at this time that he painted the picture of a Pietà for the Capuchin friars, at Parma, approaching the nearest that ever was seen to that at S. Giovanni, and from that period the Duke Ranuccio gave him several commissions for pictures, which are now to be met with at Naples.