Ferdinando had a numerous family, of whose members we shall mention Alessandro, Antonio, and Giuseppe; not because equal to their predecessors, but as being versed in the practice of their manner, both in oil and fresco; and on this account eagerly sought after by the different courts of Europe. The first entered into the service of the Elector Palatine, in which he terminated his days. The second was much employed at Vienna and in Hungary. On returning into Italy, too, he still removed from place to place, being retained by all the first cities in Tuscany; and still more in Lombardy, until the period of his death, which occurred at Milan. He was an artist more admired for his facility of genius than for his correctness. Giuseppe, who, on his father's departure from Vienna on account of illness, was substituted architect and painter of court festivals in his twentieth year, afterwards left that city for Dresden, where he enjoyed the same office, and, after the lapse of many years, also at Berlin. He was invariably patronised by princes, who gave him regular salaries; and by other members of the empire, who engaged him, at the moment, to adorn their festivals and theatres. His son Carlo pursued the same career, being pensioned first by the Margrave of Bareith, and afterwards by the King of Prussia, as successor to his father; but he acquired greater reputation in foreign countries. For, Germany becoming involved in war, he took occasion to make the tour of France, proceeding through Flanders and Holland, and visiting Rome on his return into Italy. Last of all he made a voyage into England, and at the court of London rejected very advantageous offers to take up his residence in that city. Many of the decorations invented by Giuseppe and Carlo, on occasion of public festivals, have been engraved from their designs, in the production of which they were equally rapid, masterly, and refined.
Where the Bibieni had failed in introducing their novel inventions for grand spectacles, their disciples finally succeeded. In this list, according to the history of Zanotti and of Crespi, the most eminent rank is held by Domenico Francia, once the assistant of Ferdinando at Vienna, afterwards architect and painter to the King of Sweden. After his term with that court had elapsed, he visited Portugal, and again proceeded to Italy and Germany, till his arrival in his native place, where he died. To him we may add the name of Vittorio Bigari, mentioned in high terms by Zanotti, an artist employed by different sovereigns of Europe, and the father of three sons, who pursued the same career. He also displayed singular merit in his figures. Nor must we omit Serafino Brizzi, who obtained equal reputation for his perspectives in oil interspersed both throughout foreign and native cities. It would form, however, an undertaking no way adapted to a compendious history, to collect the names of all the professors of so extended an art; and the more so as, in the course of the present age, it was becoming the general opinion that in many respects such art was greatly on the decline, owing to the prevalence of only middling and inferior artificers.
Not many years ago, however, it seemed to revive, and a new epoch opened upon the public, the praise of which is due to Mauro Tesi, to whom his friends raised a marble monument in S. Petronio, with a bust and the following inscription: "Mauro Tesi elegantiæ veteris in pingendo ornatu et architectura restitutori." He belonged to the state of Modena, and, when young, was put to the school of a very poor painter of arms in Bologna. Thus it was his lot, writes Algarotti, to have had not a single master of architecture among the moderns. By means of a peculiar natural genius, and studying the designs of Mitelli and Colonna, examining at the same time their models throughout the city, he re-conducted the art to a style, solid in architecture, sparing in decoration, as it had formerly been, and in some parts still more philosophical and learned. His patron, the excellent Count Algarotti, assisted in perfecting his taste, and made him his companion on his tours, encouraging him to make very excellent observations on the works of the ancients. Whoever has perused his life and publications, a fine edition of which appeared at Venice, edited by the learned Aglietti, will have perceived that he was as much attached to Tesi as if he had been his own son. Nor did Tesi shew less respect to Algarotti than to a father; and when the latter went to Pisa for his health, his young friend devoted himself so assiduously to him, as to contract the same disease, of which he died two years afterwards, still very young, at Bologna. Here he left various works, the most conspicuous consisting of a gallery belonging to the deceased Marquis Zambeccari, with marbles, camei, and figures, very well executed; a picture displaying grand relief combined with the most finished exactness. In Tuscany also are some remains of his taste, at S. Spirito in Pistoia, and in the hall of the Marquis Gerini at Florence. I saw, too, in possession of the count's heirs at Venice, two pictures, conceived by Algarotti and painted by Mauro. One of these, which he has described (vol. vi. p. 92) represents a temple of Serapis, decorated in the Egyptian manner, with bassi-relievi and pyramids in the distance; fit to adorn the choicest cabinet. It is enriched with figures by Zuccherelli, in the same way as Tiepolo added them to Tesi's other pieces. There are engravings of some of Mauro's works in possession of the same nobles, as well as his whole studio of designs, landscapes, views of architecture, capitals, friezes, figures; a rich and copious assemblage of materials, almost superfluous in so short but bright a career. After Mauro, no greater proofs of esteem in this art were shewn by Algarotti to any one than to Gaspero Pesci, to whom he directed a number of his letters; of him too Algarotti's heirs possess two pictures, consisting of ancient architecture, with slight sketches of figures, scarcely indicated.
But at length we approach a conclusion. The Bolognese academy still continues to flourish in pristine vigour; the aids afforded to the pupils have even been extended; and, in addition to the academical prizes, there are dispensed others, which the noble families Marsili and Aldrovandi established at stated meetings, and which still go by their name. I cannot, however, as in other schools, record very splendid remunerations to the masters. But this forms the more rare and distinguished honour of the Bolognese artists—to labour for distinction, and to confer their preceptorial services in the arts and sciences upon their country, not only without reward, but even to their own loss, a subject fully treated of by Crespi (pp. 4, 5) in his Felsina. Notwithstanding these disadvantages they have continued to maintain, during two centuries, the character of masters in the art. From the time the Caracci first spoke, almost every other school listened and was silent. Their disciples followed, divided into a variety of sects; and these continued, for a long period, to hold sway in Italy. The reputation of the figurists being somewhat on the decline, a substitute sprang up in the decorative and perspective painters, who established laws, and produced examples, still eagerly imitated both in Italy and other parts. Neither the Bibieni, the Tesi, nor the others whom I have mentioned towards the close, are so exclusively entitled to historical consideration, but that the Gandolfi[56] family, with several others, which have either recently become extinct, or still flourish, may claim a share. Doubtless these will not be in want of deserved eulogy from other pens, that will successively follow mine.
[49] Literally, the little baker.
[50] See Lett. Pittor. tom. iv. p. 136.
[51] In his two letters, directed to Rosalba Carriera. See Catalogue of the deceased Canon Vianelli's Collection, (p. 34). This artist also published a Diary, in 1720 and 1721, written at Paris by the same lady; in which she notices her own works, her remuneration, and honours. It is accompanied by learned notes. I have recently received notice of the work, which causes me to mention it in this school.
[52] Gobbino, the little hunch-back.
[53] These paintings, executed in the abside of the cathedral, with the assistance of his pupils, constitute his most celebrated frescos. In this "Account" there is a Discourse, well worth notice, on Ancient Marbles of different Colours, which he introduced in those paintings, and the method he adopted in uniting them. Such a treatise, not to be found in any other writer, renders this little volume valuable; which shews, too, that he likewise excelled in architecture.
[54] These Treatises were published at Pesaro in 1806; and, although, as the industrious editor well observes, they were drawn up from unfinished sketches, they still gratify us, no less by their extensive information, than by the ingenuity which they display.