*** START OF THE PROJECT GUTENBERG EBOOK 41533 ***

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This book contains many abbreviations that have been expanded using the title attribute. Screenreader users may wish to set their computer to read only the title attribute.

THE

HISTORY OF PAINTING

IN

ITALY.

VOL. VI.

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. VI.

CONTAINING THE INDEXES.

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 SIXTH VOLUME.
Page
Index I. Professors of Painting mentioned in the work; together with the dates, &c. 1
Index II. Historical and Critical Publications relating to the Art, cited in the Work 167
Index III. Of some of the most important Matters contained in the Work 197

*** With regard to the Abbreviations of words adopted in the above Indexes, that of b. is applied to dates of birth, and that of d. to the deaths of artists. The rest will be perfectly intelligible to the English reader.

ERRATUM.

Page 96, line 17, in some copies, for 1666 read 1766.[1]

FIRST INDEX.

Artists referred to in this work, noting the periods of their Birth and Death, and the authorities for the dates.

A B C D E F G H I L
M N O P Q R S T V W Z

A.

B.

C.

D.

E.

F.

G.

H.

I.

L.

M.

N.

O.

P.

Q.

R.

S.

T.

V.

W.

Z.

SECOND INDEX.

Historical and Critical Publications cited in this Work.

A B C D E F G H J L
M N O P R S T V W Z

A.

B.

C.

D.

E.

F.

G.

H.

J.

L.

M.

N.

O.

P.

R.

S.

T.

V.

W.

Z.

* * * * *

*** The MSS. cited in the Index of Artists are pointed out in the work, where the names of the correspondents are given, who have favoured me with information respecting native or foreign painters. Others, either professors or connoisseurs, from whom I have received any account, either oral or written, are noticed in the Preface. I have also availed myself of their intelligence in the nomenclature and epochs of artists.

THIRD INDEX

Of some of the most important Matters contained in the Work.

A B C D E F G H I L
M N O P Q R S T U V W

A.

B.

C.

D.

E.

F.

G.

H.

I.

L.

M.

N.

O.

P.

Q.

R.

S.

T.

U.

V.

W.

THE END.

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

Critical Opinions on

LANZI'S HISTORY OF PAINTING IN ITALY,

TRANSLATED BY THOMAS ROSCOE.

FROM THE EDINBURGH REVIEW.

"When we consider the number of painters, the great quantity of historical matter, the numerous anecdotes, the solid and sensible criticism, and the vast mass of valuable information, and especially the astonishing variety of original and striking ideas, that are expressed in a brief, terse style, in six volumes, we are surprised at the comprehensive shortness of THIS HIGHLY ESTIMABLE WORK. We are delighted to find much of the ancient simplicity in the ELEGANT AND CLASSICAL STYLE OF THESE GOLDEN PAGES, from which, more than from any other book, and perhaps as much as it can be derived from books, we are able to attain an idea of the wonderful genius of the Italians for the Fine Arts. It is well adapted to form the taste correctly; and is a faithful guide to travellers, many of whom, having examined the works upon which Lanzi delivers his opinion, with his review in their hands, have bestowed upon him this expressive, strong, and hearty panegyric, 'HE IS A FINE FELLOW.'

Mr. Roscoe deserves and will receive the thanks of all lovers of the Fine Arts, for his valuable contribution towards the advancement of objects which they have much at heart, and which may be considered of high importance. He has here afforded his countrymen another opportunity to acquire some knowledge of the Fine Arts, and of their history, which assists the mind in reflecting upon the productions of the great masters; teaches us to admire them upon sound principles, and redoubles the pleasure of contemplating them; and so shews the truth of the ancient saying, that the most wise are the most happy. This knowledge, moreover, forms, in the present day, a necessary part of polite education.

FROM THE LITERARY GAZETTE.

Lanzi's History of Painting has long and justly enjoyed the highest reputation upon the Continent. From 1795 to the present time, (during which period a considerable number of editions have appeared) it has increased in fame, and widened its circle, as a work of great original talent on the general subject of the Fine Arts, and one of much authority for reference. Altogether, the Arts owe a debt of the deepest gratitude to the man, with whom Mr. Roscoe has, by this excellent translation, put it in the power of every English reader to become familiarly acquainted. And we will say, that in so doing he has enabled them to enjoy a very great pleasure. Unlike the majority of works upon Science or Art, Lanzi has contrived to render his work at once FULL OF INTERESTING INFORMATION AND AGREEABLE INCIDENT. There is nothing dry about the narrative; but, on the contrary, it seems to us that NO ONE WHO EVER ADMIRED A FINE PICTURE, CAN TURN OVER A PAGE OF THIS PUBLICATION WITHOUT BEING ATTRACTED TO PROCEED, and without feeling an increase of appetite grow with what it feeds on. In truth, WE ARE OURSELVES SO DELIGHTED WITH THE HISTORY, that we do not exaggerate our opinion of its merits, when we transcribe as our own the panegyric of the Cavalier Boni, already alluded to. (See Lit. Gat. No. 567.) 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.

FROM THE MONTHLY REVIEW.

This Narrative, which exhibits the traces of the utmost diligence and the most scrupulous regard to accuracy, is interspersed with critical views, so philosophical, so eloquent, and so just, as to convince us of the thorough competence of the Abbe Lanzi for the task which he has undertaken. The extent of his general erudition appears abundantly throughout his work. To vast and varied acquirements, he united uncommon powers of intellect, together with an enthusiastic love for the beauties of the Art, to the study of which he devoted himself from an early period of life;—with what success, is attested by the favourable reception of his labours. Completeness and impartiality as to its details, are not the only merits of this work. To the connoisseur it will form a guide to facilitate his acquaintance with the peculiar styles, and their varieties, of the great masters; a species of knowledge which it is difficult to convey, although of the greatest importance to possess. Nor is the utility of this work to be overlooked, in disseminating amongst all classes a just taste for, and sound opinions upon, the Arts. To pretend that, in the foregoing notice, we have furnished anything like an indication of the multitude of interesting details contained in these volumes, would be as offensive to truth, as it would be unjust to the author of as singular a monument of labour and diligence as modern literature can boast of. Neither do we attempt to insinuate that we have been able to suggest any adequate notions of the admirable tact and skill shewn in his arrangement, in which, without excluding any topics necessary to the purposes of his history, the Abbe Lanzi disposes of every personage and event in the rank that is due to their relative importance. And if we have been deficient in these respects, we feel that we have still more failed in giving a proper idea of the accurate and discriminating mind of the critic, or of the perfectly judicial impartiality of his opinions; and when we compare our imperfect analysis of his work with our own impressions of the author, we are sensible how little we have been able to transfer to our pages any portion of those lineaments of taste, graceful propriety, and eloquence of language, or of that spirit of regulated enthusiasm, which are diffused through the 'History of Painting in Italy.' With respect to the merits of the translator, the most obvious one is that of having given to British literature a work of the very highest value, at no inconsiderable sacrifice of time and trouble. His version, in general, has all the force and precision of style which belong to the original.

FROM THE FOREIGN QUARTERLY REVIEW.

Luigi Lanzi was a learned churchman, a skilful antiquarian, a lover of painting and sculpture, a sensible critic, something of a poet, and in all those matters remarkably diligent and enthusiastic. He travelled, he examined, he collected, he studied, and he wrote; and early acquired the reputation of a candid judge of art, and a sagacious antiquarian. His admirable work has been recently translated into English by Mr. Thomas Roscoe, a gentleman whose varied knowledge in foreign literature entitles him to much respect. His name is sufficiently known to the public, not to need any great recommendation at our hands; but we must indeed say, that the translator has conferred a great benefit on that portion of his readers who are not professed Italian scholars. The work of Lanzi is full of difficulties, even to Italians themselves, on account of the terms of Art with which almost every page is full: it thus very much redounds to the credit of Mr. Roscoe, to have produced so excellent and faithful a translation, and written wherewithal with great elegance of diction. Of this our readers cannot fail to be at once convinced, when we inform them that he was materially assisted by his own respectable[16] father; by Mr. W. H. Ottley; by Dr. Traill; and by Signor Panizzi, at present resident at Liverpool, one of the profoundest scholars and best of Italian critics.

Transcriber's Notes:

The prior five volumes of this series are identified in the indexes with lower case Roman letters. At the time of posting, these volumes can be found in the Project Gutenberg collection as follows:

i—http://www.gutenberg.org/ebooks/34479
ii—http://www.gutenberg.org/ebooks/34585
iii—http://www.gutenberg.org/ebooks/34645
iv—http://www.gutenberg.org/ebooks/38967
v—http://www.gutenberg.org/ebooks/39996

Although we verify the correctness of these URLs at the time of posting, they may not work, for various reasons, for various people, at various times.

In the first index, names beginning with "I" and "J" are alphabetized as though the "I" and "J" are the same letter, so that Ja... entries appear before Ib... and Jo... after In.... Names beginning with "U" and "V" are treated in the same manner.

Some dates of birth and death cited by the author are at variance from those reported by subsequent sources. Dates that are clearly typographical errors were adjusted, as listed below. Otherwise, dates were left as printed, even though the given dates lead to illogical results (e.g., see entries for Stephano and Alessandro Magnasco).

Some page numbers in the indexes are not in numerical order and may not correspond to the item indexed. The numbers were not changed. Several entries omit the volume number associated with the listed page numbers.

Punctuation was standardized.

"Ib." was changed to "ib." for consistency within the text.

Alphabetical jump tables were added at the beginning of each index for the convenience of users.

A bindery note at the bottom of the first page of "Critical Opinions" indicates that the reviews following THE END should have been published at the beginning of Volume I.

Other changes:

[1] - Correction had already been made to this edition of the book.
[2] - Changed date of birth from 1690 to 1600.
[3] - Changed date of birth from 1686 to 1586.
[4] - Changed from 'Visacei.'
[5] - Changed from 'Galti.'
[6] - Changed dates of notices from 1613 to 1513.
[7] - Removed duplicate 'd.' from entry.
[8] and [9] - Volume 5 had two extra pages, identified as *63 and 64*, inserted following pages 63 and 64. In the version at www.gutenberg.org, these two pages are identified as 63A and 64A.
[10] - Changed date of death from 4625 to 1625.
[11] - Changed date of death from 1530 to 1630.
[12] - Changed from 'Costantino.'
[13] - Changed from 'where-ever.'
[14] - Changed from 'Punic Wax.'
[15] - Changed page number from 234.
[16] - Changed from 'respectacle.'

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