Books Should Be Free is now
Loyal Books
Free Public Domain Audiobooks & eBook Downloads
Search by: Title, Author or Keyword

The History of Painting in Italy, Vol. 2 from the Period of the Revival of the Fine Arts to the End of the Eighteenth Century   By:

Book cover

First Page:

THE

HISTORY OF PAINTING

IN

ITALY.

VOL. II.

THE

HISTORY OF PAINTING

IN

ITALY,

FROM THE PERIOD OF THE REVIVAL OF

THE FINE ARTS,

TO THE END OF THE EIGHTEENTH CENTURY:

TRANSLATED

From the Original Italian

OF THE

ABATE LUIGI LANZI.

BY THOMAS ROSCOE.

IN SIX VOLUMES.

VOL. II.

CONTAINING THE SCHOOLS OF ROME AND NAPLES.

LONDON:

PRINTED FOR

W. SIMPKIN AND R. MARSHALL,

STATIONERS' HALL COURT, LUDGATE STREET.

1828.

J. M'Creery, Tooks Court, Chancery lane, London.

CONTENTS OF THE SECOND VOLUME.

HISTORY OF PAINTING IN LOWER ITALY.

BOOK THE THIRD.

ROMAN SCHOOL.

Page

EPOCH I. The old masters 1

EPOCH II. Raffaello and his school 48

EPOCH III. The art declines, in consequence of the public calamities of Rome, and gradually falls into mannerism 124

EPOCH IV. Restoration of the Roman school by Barocci and other artists, subjects of the Roman state and foreigners 177

EPOCH V. The scholars of Pietro da Cortona, from an injudicious imitation of their master, deteriorate the art Maratta and others support it 262

BOOK THE FOURTH.

NEAPOLITAN SCHOOL.

EPOCH I. The old masters 345

EPOCH II. Modern Neapolitan style, founded on the schools of Raffaello and Michelangiolo 368

EPOCH III. Corenzio, Ribera, Caracciolo, flourish in Naples Strangers who compete with them 389

EPOCH IV. Luca Giordano, Solimene, and their scholars 426

HISTORY OF PAINTING

IN

LOWER ITALY.

BOOK III.

ROMAN SCHOOL.

I have frequently heard the lovers of art express a doubt whether the Roman School possesses the same inherent right to that distinctive appellation as the schools of Florence, Bologna, and Venice. Those of the latter cities were, indeed, founded by their respective citizens, and supported through a long course of ages; while the Roman School, it may be said, could boast only of Giulio Romano and Sacchi, and a few others, natives of Rome, who taught, and left scholars there. The other artists who flourished there were either natives of the cities of the Roman state, or from other parts of Italy, some of whom established themselves in Rome, and others, after the close of their labours there, returned and died in their native places. But this question is, if I mistake not, rather a dispute of words than of things, and similar to those objections advanced by the peripatetic sophists against the modern philosophy; insisting that they abuse the meaning of their words, and quoting, as an example, the vis inertiƦ ; as if that, which is in itself inert, could possess the quality of force. The moderns laugh at this difficulty, and coolly reply that, if the vis displeased them, they might substitute natura , or any other equivalent word; and that it was lost time to dispute about words, and neglect things. So it may be said in this case; they who disapprove of the designation of school, may substitute that of academy, or any other term denoting a place where the art of painting is professed and taught. And, as the learned universities always derive their names from the city where they are established, as the university of Padua or Pisa, although the professors may be all, or in great part, from other states, so it is with the schools of painting, to which the name of the country is always attached, in preference to that of the master. In Vasari we do not find this classification of schools, and Monsignor Agucchi was the first to divide Italian art into the schools of Lombardy, Venice, Tuscany, and Rome... Continue reading book >>




eBook Downloads
ePUB eBook
• iBooks for iPhone and iPad
• Nook
• Sony Reader
Kindle eBook
• Mobi file format for Kindle
Read eBook
• Load eBook in browser
Text File eBook
• Computers
• Windows
• Mac

Review this book



Popular Genres
More Genres
Languages
Paid Books