Nor did Giulio's admiration of great painters lead him to neglect the study of nature. It was nature he consulted, and selected from; a study which he inculcated likewise upon the rest of the Campi. A choice is thus perceptible in their heads, more especially in those of their women, evidently drawn from nature, and I may add from national truth, inasmuch as they express ideas and attitudes that are not usually met with in other artists; the hair and temples often appearing bound with a ribbon, as was then customary in the city, and is still in use in some of the villages. The colouring of the heads approaches near that of Paul Veronese, and in the whole of their paintings the Campi were accustomed to make use of the distribution of colours that had prevailed before the time of the Caracci, though in their manner of disposing and animating them they acquired a peculiar beauty which Scaramuccio pronounces wholly original. Judging, therefore, from their colours, and the air of their heads, it is difficult to discern the individual hands of the Campi; but if we examine the design we shall more easily distinguish them. Giulio surpasses the rest in point of dignity; and he likewise aims at displaying more knowledge, both of the human frame and of the effects of lights and shadows. In correctness too he is superior to his two brothers, though he is not equal to Bernardino.
The Cav. Antonio Campi was instructed by his brother in architecture and painting, in the former of which he employed himself more than Giulio. This was useful to him in the distribution of his large works, where he often introduced perspective views of great beauty, and displayed great skill in foreshortening. A fine specimen of his powers is to be seen in the sacristy of S. Pietro, with that beautiful colonnade, above which appears the chariot of Elias in the distance. Antonio was also a modeller, an engraver, and the historian of his native state, whose annals, enriched with many of his copper-plates, he published in 1585. In the Campi family, therefore, he will be found to occupy the same place as Agostino among the Caracci, an artist of great versatility, conversant with polite letters. He was well known and appreciated by Agostino, who engraved one of his most beautiful productions, the Apostle of the Gentiles in the act of raising a person from the dead. It is placed at S. Paolo in Milan, a noble church, where all the Campi, in the same manner as at S. Sigismondo, are seen in competition with each other. Antonio there appears to great advantage, no less in the forementioned picture than in that of the Nativity, though the frescos adorning the chapels, ascribed to him, are deficient in accuracy. Thus he also produced works of unequal merit at S. Sigismondo, as if he wished to shew that he knew more than he was ambitious of expressing. His most familiar model, as is remarked also by Lomazzo, was Coreggio, and the feature that he most aimed at expressing was that of grace. To this he often attained in point of colouring, but was less happy in design, where, owing to his study of elegance, he at times becomes disproportionately thin, and at others, in order to display his power, he exhibits a foreshortening somewhat out of place. He is still more mannered in his more robust subjects, and occasionally borders upon heaviness and vulgarity, into which his imitation of Coreggio's grandeur, more difficult, perhaps, than his grace, doubtless betrayed him. There are many of these exceptions, however, along with his incorrectness of design, so often discernible, which are to be attributed to his numerous assistants, employed in these vast undertakings. But this will not apply to his over-grouping, which is so remarkable in some of his compositions, nor to the introduction of caricatures into his holy histories, which is a sort of jesting out of season. In a word his genius was vast, spirited, resolute, but often in want of the rein; and in this respect, and generally in what relates to pictorial learning, we should do wrong to put him in competition with Lodovico Caracci.
In the church of S. Paolo, at Milan, there is an inscription by Vincenzio Campi, in which he mentions Giulio and Antonio as his younger brothers. Most probably, however, it has been inserted there by some other hand, being quite contradictory to what is established by history. For he is represented by Antonio as the youngest of the brothers, and by others as an indefatigable assistant in their labours, and little more worthy of being compared with them than Francesco Caracci with his brother Annibal or Agostino. His portraits, however, are held in esteem, as well as his fruit pieces, which he painted on a small scale for private rooms in a very natural manner, and they are by no means rare at Cremona. In the colouring of his figures he was equal to his brothers, but in point of invention and design greatly inferior to them. He appears to have imitated Antonio rather than Giulio, as far as we can judge from the few works he has left, which are now known to be his. He painted a few altar-pieces for his native place, four of which consist of Descents from the Cross. That in the cathedral extorted the praise of Baldinucci; and truly in the figure of Christ his foreshortening deceives the eye like that of Pordenone in his Dead Christ, while his heads and his colouring have likewise been commended. I cannot, however, think that the attitude of the Virgin mother, who is seen grasping his face with both her hands, is very becoming; nor do I approve of the saints Antonio and Raimondo, who lived at a period so remote from that of Christ, being here introduced, the one supporting his arm, the other kissing his hand. It moreover betrays several errors, of a kind which Baldinucci, so familiar with a more learned and severe school, would not so easily have forgiven had he happened to have beheld this picture. Vincenzio seems to have possessed greater skill in small than in large figures, in common indeed with a great number of artists. Mention is made in his Life of six little pictures which he executed on slate, and which were sold after his death for three hundred ducats. Zaist, whom I follow in my index, has presented us with the epochs applying to these three artists in such a manner as to leave them in considerable doubt. The inscription at S. Paolo in Milan, recorded in the Guide (p. 152) is as follows:—Vincentius una cum Julio et Antonio fratribus pinxerunt an. mdlxxxviii. Now Bianconi does not seem inclined to credit the authenticity of this; nor is it improbable but it may have been written some years subsequent to the painting, and by another hand.
Bernardino Campi, perhaps some way related to the other three Campi, occupied the same place in his family as Annibal Caracci amongst his brothers. Receiving his first instructions from the eldest Campi, he entered into similar views of forming a style which should include that of many other artists, and in a short time he rivalled, and in the opinion of many surpassed his master. He had at first attached himself to the goldsmith's art by the advice of his father; but happening to behold two tapestries, copied by Giulio Campi from Raffaello, he resolved to change his profession, and devoting himself to the school of Campi at Cremona, and next to that of Ippolito Costa at Mantua, he began to profess the art at the age of nineteen, and acquired a great proficiency in it at that early age. At Mantua he cultivated an acquaintance with Giulio Romano and his school, and we may infer, that from the study of his works he was enabled to enlarge his views and his capacity for great undertakings. But the love of Raffaello was fixed in his heart, and he took delight in nothing so much as his pictures, his designs, and his engravings; while in Giulio and the rest he was only anxious to emulate those portraits which appeared to him to bear some resemblance to his Raffaello. There too he applied himself to the study of Titian's series of the Cæsars, eleven in number; and after having copied them he added a twelfth in a style so perfectly consistent, as to exhibit no traces of imitation. By the liberality of one of his patrons he was enabled also to visit Parma, Modena, and Reggio, in order to become acquainted with the manner of Coreggio; and the advantage he thence derived, his pictures at S. Gismondo sufficiently display. From these first principles, with such as he studied in his native place, he derived one of the most original styles that is to be met with in the list of imitators. His imitation is never, like that of so many others, apparent to the eye, but rather resembles our poet Sannazzaro's, of the best Roman writers, who colours with them every line, but that line is still his own. In so great a variety of models, the most beloved and the most honoured, as Virgil was by Sannazzaro, was Raffaello by Bernardino; but it was unfortunate for him that he did not see Rome, and the originals which that great pictoric genius there produced. The want of this he supplied with ability, and formed for himself several maxims drawn from nature and simplicity, which serve to distinguish him from the rest of his school. By the side of the other Campi he perhaps appears the most timid artist, but the most correct; he has not the magnificence of Giulio, but he has more ideal beauty, and much more captivates the heart. He resembles Antonio rather than Giulio in the length of his proportions; but not so in other points, for he occasionally borders upon dryness, as in his Assumption at the cathedral, in order to avoid falling into mannerism.
But it is the church of S. Sigismondo which inspires us with the loftiest ideas of this artist, in every view. We can imagine nothing more simply beautiful, and more consistent with the genius of the best age, than his picture of St. Cecilia, in the act of playing on the organ, while St. Catherine is seen standing near her, and above them a group of angels, apparently engaged with their musical instruments and with their voices, in pouring forth in concert with the two innocent virgins, strains worthy of Paradise. This painting, with its surrounding decoration of cherub figures, displays his mastery in grace. Still he appears to no less advantage in point of strength in his figures of the Prophets, grandly designed, for the same place; although he seems more anxious to invest them with dignity of feature and of action, than to give strength and muscle to their proportions. Above all, he shone with most advantage in the grand cupola, with which few in Italy will bear a comparison, and still fewer can be preferred for the abundance, variety, distribution, grandeur, and gradation of the figures, and for the harmony and grand effect of the whole. In this empyrean, this vast concourse of the blessed, belonging to the Old and New Testament, there is no figure that may not be recognised by its symbols, and that is not seen in perfection from its own point of view, whence all appear of the natural proportion, although they are on a scale of seven braccia in height. Such a work is one of those rare monuments which serve to prove, that it is possible for a great genius to execute rapidly and well; it was wholly conducted by him in seven months; and to satisfy the workmen, who were more sensible of the brevity of the time than the merit of the work, he obtained a written acknowledgment from Soiaro and Giulio Campi, that he had achieved a laudable task. Bernardino was younger than either of them, or than Boccaccino, and the citizens took pleasure in placing him in competition with one or the other of them in their public works, in order that a noble emulation might call forth all their powers, nor suffer them to slumber. Nevertheless, the Nativity of our Lord, at S. Domenico, has been pronounced his masterpiece; a kind of abstract, in which he aimed at comprehending the various excellences of the art. This, at least, is the opinion of Lamo, who composed a diffuse life of this artist; such as to render his information far the most copious we possess upon the subject. He also compiled a correct catalogue of his works, executed both in his native place and at Milan, where he passed a great part of his time, and of those he painted in foreign parts. We find a great number of portraits of princes, as well as of private persons, enumerated; his skill in this branch of the art, in which very few equalled him, greatly adding to his fame and fortune. The precise period of his decease is not known, though it must have been somewhere towards 1590, at which time the art assumed quite a new aspect at Cremona.
[37] We may here correct the mistake of Orlandi, who assigns the death of Galeazzo to the year 1536, and Giulio's birth to 1540, when it is known that he began his labours as early as 1522.
SCHOOL OF CREMONA.
EPOCH III.
Decline of the School of the Campi. Trotti and other Artists support it.