[66] This work is extolled by Lomazzo as one of the best of Lazzaro; it is classed with the Triumphs of Giulio Romano, Polidoro, and other eminent artists, in the Trattato della Pittura, p. 398.
[67] A strict intimacy existed, especially between him and the Cav. Marino, among whose letters we may enumerate twenty-eight more to Castello than to any other person. It is pleasing to observe the dexterity of the poet, who often praises the "miraculous pencil" and the "divine hand" of the painter, an homage bestowed still more liberally in the Galleria; and the gratitude of the artist who designed and coloured for his friend gratis, and who exerts himself to requite every letter of the poet by some acceptable work of art, (p. 175).
[68] In the Dictionary of the Artists of Urbino the existence of this artist is rejected as fabulous; and it is attempted to substitute for him, in Soprani's work, Antonio Viviani, who was indeed in Genoa. Considerable weight is given to the conjecture, from the family of Antoniano not being mentioned in Urbino; and I may add the circumstance of not finding any other works of this Antonio than those named by Soprani and his copyists. And how is it possible that one who came to Genoa an accomplished master, should not have left, either in Urbino or the neighbouring territory, even a vestige or memorial of his pencil?
L'opera con bon arte, e colpi franchi,
L'osserva el natural con bon giudizio,
In l'atizar l'atende al bon ofizio,
Che i movimenti sia vivi e nò stanchi.
Carta del Navegar Pittoresco, p. 538.
[70] He had prepared for the press some further information respecting this school, both with regard to ancient and modern times. The MS. with which he favoured me to perfect this edition of my work, I have unfortunately, and to the great detriment of my own work, mislaid. He was not a great painter, but certainly not deserving of the contempt with which he has been treated. Gratitude, friendship, truth, and humanity itself call on me to say all the good I can of him; every thing that malevolence could dictate has been already recorded against him. We may therefore refer the reader to the perusal of the Defence of him before mentioned by us, and noticed afterwards with its true title, in our second index, under the head Ratti. There (whoever may be the author of it,) many works are enumerated which, in our opinion, would confirm to him the title of a praiseworthy artist. But he derives peculiar honour from the opinion of him expressed by Mengs, who proposed him as director to the academy of Milan; and some historical and national subjects being required in the royal palace in Genoa, Ratti was recommended to this honourable commission both by Mengs and Batoni, and he executed them to the entire satisfaction of the public. The more experienced judges pretend to detect in these works something more than an imitation of the great masters; and it is acknowledged, indeed, that he willingly availed himself of the designs of others, either painted or engraved; but how few are there of whom the same may not be said? Afterwards in Rome, where he lived four years in the house of Mengs, he executed under his eye some excellent works; as a Nativity, for which Mengs made the sketch; which, when painted on a larger scale by Ratti, was placed in a church in Barcelona. Being called on to paint a St. Catherine of Genoa, afterwards placed there in the church of that saint, Mengs designed for him the face of the saint, of an enchanting expression, and afterwards retouched the picture, rendering it a delightful performance. On this it may be observed, that great masters were not accustomed to shew such favours to their scholars and friends, except when they discovered in them considerable talent. As a copyist Ratti excelled in the opinion of Mengs; the latter purchasing, at a considerable sum, a copy of the S. Jerome of Coreggio, which Ratti had made in Parma. Another proof of the esteem in which he held him was his instigating him to write on art; for which they must have amassed great materials during the four years they lived together. In the before-mentioned Difesa we read of the academies that elected him, the poets and men of letters that extolled him, the cross of a cavalier that he obtained from Pius VI., the direction of the academy of Genoa, conferred on him for life if he had chosen to retain it; finally, the numerous commissions for pictures he received from various places; all these things have their weight, but the favourable opinion of Mengs is the strongest protection that this Defence affords to shield him from his enemies.
When the materials were prepared for the new edition, the Elogio of the Cav. Azara was published, where it is said that the MSS. of Mengs were given in a confused mass into the hands of Milizia, who took the liberty of modifying at his pleasure the opinions of Mengs respecting the great masters. This information, which comes from a very creditable quarter, I have wished to insert here for many reasons. It takes away from Mengs the odium of some inconsiderate criticism, or at least lessens it. It confirms what the Difesa of Ratti says respecting the true author of the Life of Coreggio, who was in fact Ratti; but, with some retouching, it was published as the work of Mengs, without reflecting that the author was there placed in contradiction with himself. It also shews us that Mengs, for his great name, was indebted not only to his acknowledged merit, but also to his good fortune, which gave him greater patrons and friends than were perhaps ever enjoyed before by any painter in the world.