Читать книгу The History of Painting in Italy - Luigi Lanzi - Страница 6

Table of Contents

Luigi Lanzi was born in the year 1732, at Monte dell' Olmo, in the diocese of Fermo, of an ancient family, which is said to have enjoyed some of the chief honours of the municipality to which it belonged. His father was a physician, and also a man of letters: his mother, a truly excellent and pious woman, was allied to the family of the Firmani. How deeply sensible the subject of this memoir was of the advantages he derived, in common with many illustrious characters, from early maternal precepts and direction, he has shewn in a beautiful Latin elegy to her memory, which appeared in his work, entitled Inscriptionum et Carminum.

Possessed of a naturally lively and penetrating turn of mind, he began early to investigate the merits of the great writers of his own country; alike in poetry, in history, and in art. His poetical taste was formed on the models of Petrarch and of Dante, and he was accustomed, while yet a child, to repeat their finest passages to his father, an enthusiastic admirer of Italy's old poets, who took pride in cultivating the same fervour in the mind of his son, a fervour of which in more northern climates, we can form little idea. His imitations of these early poets, whose spirit he first imbibed at the fountain head, before he grew familiar with the corrupt and tasteless compositions of succeeding eras, are said to have frequently been so bold and striking, as to deceive the paternal eye. To these, too, he was perhaps mainly indebted for that energy of feeling, and solidity of judgment, as well as that richness of illustration and allusion, which confer attractions upon his most serious and elaborate works. He was no less intimate with the best political and literary historians at an early age; with Machiavelli, Davila, and Guicciardini; with Muratori and Tiraboschi; whose respective compositions he was destined to rival in the world of art.

Lanzi's first studies were pursued in the Jesuits' College at Fermo, where an Italian Canzone, written in praise of the Beata Vergine, is said to have acquired for him, as a youth of great promise, the highest degree of regard. Under the care of his spiritual instructor, father Raimondo Cunich, Lanzi likewise became deeply versed in all the excellences of classical literature, not as a vain parade of words and syllables; for along with the technical skill of the scholar, he imbibed the spirit of the ancient writers. In his succeeding philosophical and mathematical studies he was assisted by Father Boscovich, one of the first mathematicians of his day. Thus to a keen and fertile intellect, animated by enthusiasm for true poetry and the beauties of art, was added that regular classical and scientific learning, inducing a love of order and of truth, capable of applying the clear logic derived from Euclid to advantage, in subjects of a less tangible and demonstrative nature. The value of such preliminary acquirements to the examination of antiquarian and scientific remains, which can only be conducted on uncertain data and a calculation of possibilities, as in ancient specimens of art, can bear no question; and of this truth Lanzi was fully aware. To feel rightly, to reason clearly, to decide upon probabilities, to distinguish degrees, resemblances, and differences, comparing and weighing the whole with persevering accuracy; these were among the essentials which Lanzi conceived requisite to prepare a writer upon works of art.

These qualities, too, will be found finely relieved and elevated by frequent and appropriate passages of eloquent feeling; flowing from that sincere veneration for his subject, and that love which may be termed the religion of the art to which he became so early attached. How intimately such a spirit is connected with the best triumphs of the art of painting, is seen in the angelic faces of Da Vinci, of Raffaello, and Coreggio; and the same enthusiasm must have been felt by a true critic, such as Lanzi. Far, however, from impeding him in the acquisition of his stores of antiquarian knowledge, and in his scientific arrangements, his enthusiasm conferred upon him only an incredible degree of diligence and despatch. He was at once enabled to decipher the age and character, to arrange in its proper class, and to give the most exact description of every object of art which passed under his review.

Lanzi thus came admirably prepared to his great task, one of the most complete models of sound historical composition, of which the modern age can boast. It was written in the full maturity of his powers; no hasty or isolated undertaking, it followed a series of other excellent treatises, all connected with some branches of the subject, and furnishing materials for his grand design. Circumstances further contributed to promote his views. Shortly after the dissolution of the order of Jesuits, to which he belonged, he was recommended by his friend Fabroni, prior of the church of S. Lorenzo, to the grand duke Leopold of Florence, who, in 1775, appointed him to the care of his cabinet of medals and gems, in the gallery of Florence. This gave rise to one of his first publications, entitled, A Description of the Florentine Gallery, which he sent in 1782 to the same friend, Angiolo Fabroni, then General Provveditore of the Studio at Pisa, and who conducted the celebrated Literary Journal of that place, in which Lanzi's Description appeared.

His next dissertation, still more enriched with antiquarian illustration and research, was his Essay on the Ancient Italian dialects, which contains a curious account of old Etruscan monuments, and the ducal collection of classical vases and urns. This was followed by his Preliminary Notices respecting the Sculpture of the Ancients, and their various Styles, put forth in the year 1789, in which he pursues the same plan which he subsequently perfected in the history before us, of allotting to each style its respective epochs, to each epoch its peculiar characters, these last being exemplified by their leading professors, most celebrated in history. He farther adduces examples of his system as he proceeds, from the various cabinets of the Royal Museum, which he explains to the reader as a part of his chief design in illustrating them. He enters largely into the origin and character of the Etruscan School, and examines very fully the criticisms, both on ancient and Italian art, by Winckelmann and Mengs.

From the period of these publications, the Grand Duke, entertaining a high opinion of Lanzi's judgment, was in the habit of consulting him before he ventured to add any new specimens to his cabinet of antiquities. He was also entrusted with a fresh arrangement of some new cabinets belonging to the gallery, which together with the latter, he finally completed, on a system which it is said never fails to awaken the admiration of all scientific visitors at Florence. During this task, his attention had been particularly directed to the interpretation of the monuments and Etruscan inscriptions contained in the ducal gallery, which, together with the ancient Tuscan, the Umbrian, and other obsolete dialects, soon grew familiar to him, and led to the composition of his celebrated Essay upon the Tuscan Tongue. For the purpose of more complete research and illustration, he obtained permission from the duke to visit Rome, in order to consult the museums, and prepare the way for his essay, which he published there in 1789; a work of immense erudition and research.

It was here Lanzi first appeared as the most profound antiquarian of modern Italy, by his successful explanation of some ancient Etruscan inscriptions and remains of art, which had baffled the skill of a number of his most distinguished countrymen. Upon presenting it to the grand duke, after his return from Rome, Lanzi was immediately appointed his head antiquary and director of the Florentine gallery; while the city of Gubbio raised him to the rank of their first patrician order, on account of his successful elucidation of the famous Eugubine Tables. In one of his Dissertations upon a small Tuscan Urn, he triumphantly refuted some charges which had been invidiously advanced against him, and defended his principles of antiquarian illustration by retorting the charge of fallacy upon his adversaries.

In the year 1790, Lanzi, at the request of the Gonfaloniere and priors of Monte dell'Olino, published an inquiry into the Condition and Site of Pausula, an ancient City of Piceno; said to be written with surprising ingenuity, yet with equal fairness; uninfluenced by any prejudices arising from national partiality, or from the nature of the commission with which he had been honoured. This was speedily followed by a much more important undertaking, connected with the prosecution of his great design, which it would appear he had already for some time entertained.

During the period of his travels through Italy in pursuit of antiquities, he had carefully collected materials for a general History of Painting, which was meant to comprize, in a compendious form, whatever should be found scattered throughout the numerous authors who had written upon the art. These materials, as well as the work itself, had gradually grown upon his hands, as might be expected from a man so long accustomed to method, to criticism, to perspicuity; in short, to every quality requisite in the philosophical treatment of a great subject. The artists and literati of Italy, then, were not a little surprised at the appearance of the first portion of the Storia Pittorica, comprehending Lower Italy; or the Florentine, Sienese, Roman, and Neapolitan Schools, reduced to a compendious and methodical form,[Pg xlviii] adapted to facilitate a knowledge of Professors and of their Styles, for the lovers of the art. It was dedicated to the grand duchess Louisa Maria of Bourbon, in a style, observes the Cav. Bossi, "which recalls to mind the letters of Pliny to Trajan, composed with mingled dignity and respect; with genuine feeling, and with true, not imaginary, commendations." Elogio, p. 127.

But the unfeigned pleasure and admiration expressed in the world of literature and art, on being presented with the Pictorial History of Lower Italy, was almost equalled by its disappointment at the delay experienced with regard to the appearance of the second part; and which it was feared would never see the light. Lanzi's state of health had, some time subsequent to 1790, been very precarious; and he suffered severely from a distressing complaint,[25] which frequently interrupted his travels in which he was then engaged, collecting further materials for his History of Painting in Upper Italy. While thus employed, on his return from Genoa in December, 1793, he experienced a first attack of apoplexy, as he was passing the mountains of Massa and Carrara. After his recovery, and return to Florence, he was advised in the ensuing spring to visit the baths of Albano, which being situated near Bassano, afforded him an opportunity of superintending the publication of his history, in the Remondini Press, and on a more extensive scale than he had at first contemplated. He likewise obtained permission from the grand duke Leopold to absent himself, during some time, from his charge at Florence, in September, 1793. The first portion of his labours he conceived to be too scanty in point of names and notices to satisfy public taste, so that upon completing the latter part upon a more full and extensive scale, he gave a new edition of that already published, very considerably altered and augmented.

To these improvements he invariably contributed, both in notes and text, at every subsequent edition, a number of which appeared in the course of a few years, until the work attained a degree of completeness and correctness seldom bestowed upon labours of such incredible difficulty and extent. The last which received the correction and additions of the author was published at Bassano, in the year 1809.

That a work upon such a scale was a great desideratum, no less to Italy than to the general world of art, would appear evident from the character of the various histories and accounts of painting which had preceded it. They are rather valuable as records, than as real criticism or history; as annals of particular characters and productions derived from contemporary observation, than as sound and enlightened views, and a dispassionate estimate of individual merits. Full of errors, idle prejudices, and discussions foreign to the subject, a large portion of their pages is taken up in vapid conceits, personal accusations, and puerile reasoning, destitute of method.

The work of Lanzi, on the other hand, as it is well remarked by the Cav. Boni, observes throughout the precept of the serie et junctura of Horace. It brings into full light the leading professors of the art, exhibits at due distance those of the second class, and only glances at mediocrity and inferiority of character, insomuch as to fill up the great pictoric canvas with its just lights and shades. The true causes of the decline and revival of the art at certain epochs are pointed out, with those that contribute to preserve the fine arts in their happiest lustre; in which, recourse to examples more than to precepts is strongly recommended. The best rules are unfolded for facilitating the study of different manners, some of which are known to bear a resemblance, though by different hands, and others are opposed to each other, although adopted by the same artist; a species of knowledge highly useful at a period when the best productions are eagerly sought after at a high rate. It is a history, in short, worthy of being placed at the side of that on the Literature of Italy by Tiraboschi, who having touched upon the fine arts at the outset of his labours, often urged his ancient friend and colleague to dilate upon a subject in every way so flattering to the genius of Italy; to Italy which, however rivalled by other nations in science and in literature, stands triumphant and alone in its creative mind of art.

It is, however, difficult to convey a just idea of a work composed upon so enlarged and complete a scale; which embraces a period of about six centuries, and fourteen Italian schools, but treated with such rapidity and precision, as to form in itself a compendium of whatever we meet with in so many volumes of guides, catalogues, descriptions of churches and palaces, and in so many lives of artists throughout the whole of Italy. (pp. 130–1.)

It is known that Richardson expressed a wish that some historian would collect these scattered accounts relating to the art of painting, at the same time noting down its progress and decline in every age, a desideratum which Mengs in part supplied in one of his letters, briefly marking down all the respective eras. Upon this plan, as far as regarded Venetian painting, Zanetti had partially proceeded; but the general survey, in its perfect form, of the whole of the other schools, was destined to be completed by the genius of Lanzi. Here he first gives the general character of each, distinguishing its particular epochs, according to the alterations in taste which it underwent. A few artists of distinguished reputation, whose influence gave a new impulse and new laws to the art, stand at the head of each era, which they may be said to have produced, with a full description of their style. To these great masters, their respective pupils are annexed, with the progress of their school, referring to such as may have more or less added to, or altered the manner of their prototype. For the sake of greater perspicuity, the painters of history are kept distinct from the artists in inferior branches; among whom are classed portrait and landscape painters, those of animals, of flowers, of fruits, &c. Nor are such as bear an affinity to the art, like engraving, inlaying, mosaic work, and embroidery, wholly excluded. Being doubtful whether he should make mention of those artists who belong neither to the senatorial, the equestrian, nor the popular order of the pictorial republic, and have no public representation, such as the names of mediocrity; Lanzi finally decided to introduce them among their superiors, like third-rate actors, whose figures may just be seen, in order to preserve the entireness of the story. To this he was farther induced by the general appearance of their names in the various dictionaries, guides, and descriptions of cities and of galleries; and by the example of Homer, Cicero, and most great writers; Homer himself commemorating, along with the wise and brave also the less valiant—the fools and the cowards. (Elogio, pp. 129, 130, 131.)

After having resided during a considerable period at Bassano, occupied in the superintendence of the first edition of his great work, Lanzi found himself compelled to retire to Udine, in 1796, from the more immediate scene of war; a war which subsequently involved other cities of Italy in its career. From Udine he shortly returned to Florence, where he again resumed his former avocations in the ducal gallery, about the period of the commencement of the Bourbon government.

Lanzi's next literary undertaking was three Dissertations upon Ancient painted Vases, commonly called Etruscan; and he subsequently published a very excellent and pleasing work, entitled, Aloisii Lanzii Inscriptionum et Carminum Libri Tres: works which obtained for him the favourable notice of the Bourbon court. Nor was he less distinguished by that of the new French dynasty, which shortly obtained the ascendancy throughout all Italy, as well as at Florence, and by which Lanzi was appointed President of the Cruscan Academy.

Among Lanzi's latest productions may be classed his edition and translations of Hesiod; entitled I Lavori, e le Giornate di Esiodo Ascreo opera con L. Codici riscontrata, emendata la versione latina, aggiuntavi l'Italiana in Terze Rime con annotazioni. In this he had been engaged as far back as the year 1785, and it had been then announced in a beautiful edition of Hesiod, translated into Latin by Count Zamagua.

The list will here close with his Opere Sacre, sacred treatises, produced on a variety of occasions, and on a variety of spiritual subjects. One of these was upon the Holy Sacrament, entitled, Il divoto del SS. Sacramento istruito nella pratica di tal devozione. In truth, Lanzi was a good Christian, and may be ranked in the number of that great and honoured band of Christian philosophers, who like Newton, Locke, and Paley, have triumphantly opposed the whole strength of their mighty intellect, and vast reach of their reasoning powers to the specious and witty, but less powerful and argumentative genius of Gibbon, of Hume, and of Voltaire. Nor was the conviction of these great truths in the mind of Lanzi the result of sickness and misfortunes, or sombre reflections in the decline of life. Great as was the reputation he had acquired by his valuable labours, he was often known sincerely to declare, among his private friends, that he would willingly renounce all kind of literary honours for the pleasure of being assured, that his sacred works had in any degree promoted the cause of Christianity.

Shortly after the last edition of the History now before us, which he had personally superintended, though at a very advanced age, in the year 1809, at Bassano, Lanzi's health began rapidly to decline, and he prepared with perfect composure to meet the termination of his earthly career. He had already attained his seventy-eighth year; but his mind preserved its usual tone and vigour, though he could with difficulty pace his apartment. He wrote letters, and even pursued his beloved studies on the day of his decease, which took place on Sunday, the 30th of March, 1810, occasioned by a fresh attack of apoplexy. For this he had long been prepared, and only the preceding evening had taken an affectionate leave of his friends and domestics, thanking the Cav. Boni for his kindness in continuing so long to mount his staircase to visit an old man.

[24] It may be proper to observe, that the materials of the biographical sketch here offered to the public, are extracted from an extremely pleasing and popular tribute to the memory of Lanzi, of very general repute in Italy, from the pen of his intimate friend and associate, the Cavalier Bossi, himself a man of singular merit and acquirements, whose Elogio upon his distinguished countryman has deservedly been added to the recent editions of his invaluable history.

[25] Repeated attacks of strangury which often threatened his life, unless he obtained instant relief.