For the Anthology. THE SCHOOLS OF PAINTING AND THE MASTERS. There is no subject of inquiry, their charms, and the sound of the more important to the study of clashing of armour and of the clanhuman understanding, than that, gour of trumpets has lengthened, which relates to the first action of and subsided in distance, that the genius ; or, to use the expression lyre might sweep over the ear, in of an idea rather than a term va- the deep tones and faint vibrations cant of it, that impulse of intellect, of inspiration. which propels an individual to the It is not merely poetry,that kinachievement of some sublime de- dles the passions into a pure and sign. It has been this bright prin- regular flame, and excites the whole ciple, which has shot light through mass of our natures into a motion the immeasurable extent of the re- of feeling and sympathy. They gions of the imagination, produced burst likewise from our hearts, a splendid medium to the mental with the sight of the enchanting vision, and presented new objects surface of the picture, and with the of beauty, grandeur, and delight. representation of the various exWhat philosophy has done in disa pressions and attitudes of beauty ciplining the forces of the under and grace in the forms of sculpture. standing, the ARTS have perform- Painting and sculpture imitate,and, ed in civilizing and refining them by infinite combinations, even im. The stubbornness of prejudice and prove, nature Poetry describes the awkwardness of pedantry, which her. Thousands of separate, natuhave followed the rigour of herim ral beauties are thus gathered, and position, have been won by their concentrated into one imaginary tenderness and grace. The max- perfection. Apelles so forcibly exims of the profound Stagirite, and pressed power in his figure of Aeven the pomp of Philip, might lexander, that the thunder seemed never have roused the mighty rushing from his hand, to destroy spirit of Alexander, if the glory of the spectator ; and his AnadyoAchilles had not sprung from the mene was so lovely, that the paintfancy of Homer. Even the hard- er even became charmed with the ness and cruelty of millions, ming- fiction of his own creation. He, led in war and slaughter, have been who has not gazed on the tortures melted by the stealing influence of of the Laocoon, hardly has felt the

VOL III, No. 9, 31

emotions of pity ; and he, who has which, though often beyond nature, once beheld the Apollo and Venus, is always inagnificent. can never look again, for grace of The Lombard school has united form and loveliness of limb, on the all the qualities, which form the human figure. The Madovas of perfection of the art. To the Riphael and Guilo, Correzio and study of the antique, on which it Sassaferetto, fill and purify the has formed itself for design, as soal with divine love, and the List well as the Roman and Florentine Juilizamont of Michael Angelo schools, it has joined all the most brightens the consciunce with more lively, beautiful, and sensible parts heavenly light, or overspreads it of nature ; it has also assembled with a thicker ploom, than all that all the science and graces of the theological rhetorick has effccted. art. Corregio is considered as the

Sonne account of the orders of first painter and master of this pinting, and of those who are school. Amongst his scholars ranked is classical pinters, may were Parmegiano, Schiedoni, the be usviulif not interesting ; but Carracci, Guido, &c. to those, to whom it is useful, it The Venetian school is remarkought to be interesting. For able for the perfection, with which fuiler information the reader is re- its painters have imitated nature. ferred to the Abbé Richard. Their colouring is exquisite. You

The Roman school ranks the observe a discrimination of light first, and dates its institution at the and shade, and touches of the pentime of Rapiael, who has always cil, most gracious and lovely, in all been acknowledged as its chief. the pictures of Titian and Paul This school is particularly distin- Veronese. These great artists, guished for peculiar beauty, cor- however, seem to have neglected ructness of design, and elegance of that design, so essential to percomposition; the truth of expres- fection. sion, and intelligence of att: udes. These are the four great schools, The able misters of this school which have produced works, which have principally formed themselves scem destined to remain forever on the study of the antique. The superiour to human art and imimost of the Romild school have tation. attended less to colour, than to the The French school has studied sublime expression and solemin the Italian, and Poussin has altostyle of their figures, awakening gether followed the Roman. in the mind of those, who behold The Flemish school has done them, all the grand emotions, with much by the works of Rubens and which they themselves were struck. Vandyke. In Italy they are even By this style they acquired a su- esteemed artists of an illustrious premacy, and their pictures hold order. Vandyke for portrait disthe highest rank amongst the putes the first rank, and Rubens Painters.

in history and allegory yields to The Florence school has for none. Their colouring is so pure its founders Leonardo de Vinci, and bright, that a constant freshand Michael Angelo Bounarotti. ness and glow is ever on their Taese great artists have transmit- figures. The Flemish school is ted to their students a manner, remarkable for labour and nicety, strong and bold, and a sublimity of and the closest imitation of nastyle and gigantick expression, ture. Delicacy and patience of

the pencil are peculiarly observed ed, that many of his pictures pass in all their pictures.

for those of his master. Having now given these short Innocentio de Imola, pupil of sketches of the illustrious and Raphael ; he designed much like ancient academies of painting, we his great master. His pictures proceed to the drudgery of births, are rare and valuable. Fin dates, and deaths.

Frederico Barroci, born 1528,

died 1612 ; his pictures are very OF THE ROMAN SCHOOL. striking ; he resembled Corregio

much in the beauty of his colourRaphael Sanzio, torn at Urbin ing; his heads are particularly A. D. 1483, died 1520. He is es- graceful. teemed the most perfect of the Dominichino, born at Rome, painters. His genius was of the 1589, died 1624. He copied the highest intelligence. Grace and Antique, and Julio Romano. His love make all his female figures imagination was full of spirit and angels, and refined dignity and genius. His pictures striking, and majesty elevate his men into the remarkable for the sombre tone of nature and form of the gods. As their colouring. you behold the “ SCHOOL OF A. Claude Lorrain, born 1600, died TIENS," you are at once in the 1682, at Rome. He is considered midst of the awful solemnity of the the first of the landscape painters. Academia of Plato. The heads of His beauty is in the aerial perspechis philosophers are full of vener- tive and distance of his painting, able wisdom; their visage solemn, and in his power of displaying naand fixed in the holiness of medi- ture. But he failed in the figures tation. His Parnassus partakes in his landscapes. Those, that are much of the air of the heavens, and good, are by his scholar Bourgig. the gods, who have lit on it, have non. brought, from the other world, Andrea Sacchi, born at Rome, forms that cannot be described. 1599, died 1661; a painter worthy But was ever a spot so pleasant for of the finest period of the art. His Apollo to rest upon, in his aërial pictures are of admirable design, course, and divert himself with the and full of grace and tenderness, sound of his lyre! His great works and glowing with the colouring of are at Rome, in the Vatican, with his master Albano. the exception of the Transfigura. Salvator Rosa, born 1614, died tion, St. Cecilia, and the Virgine del 1673. His pictures are full of Sedia.

truth and nature strongly expresJulio Romano, born 1492, died sed; he seemed to have studied 1546 ; the favourite pupil of Ra- nature only. He excelled in batphael. His colouring is faint and tles, ferocious animals, and wild feeble, but his figures tender and landscapes. delicate.

Michael Angelo de Carravagio, Polidore, born 1495, died 1543. born 1569, died 1609. His picHis colouring is fine, his design tires are remarkable for depth of correct, and his heads remarkable shade, and style of nature. for strength.

Perino de Bonacorri, born 1500, OF THE FLORENTINE SCHOOL. died 1547 ; he painted at the Vatican under the instruction of Ra • Cimabue, born 1230, died 1300. phael, whom he so closely imitat. He is regarded as the father of modern painting. He learnt the Florence, sprung also from his inart from some Grecian painters at finite genius. His picture of the Florence, and he imitated them LAST JUDGMENT is the work of with much spirit.

an age, and the great sketch of all Leonardo da Vinci, born 1445, that is mighty and majestick in the died 1520 ; also sculptor and ar- art. The imagination is forever chitect; the greatest genius,which falling in the abyss of bell, drawy has graced the fine arts. His fa- by bis demons, or rising into the mous picture of the Last Supper highest heavens on the rustling was painted in fresco in the refec, motion of his angels. tory of the Convent of Dominicans, Andrea del Sarto, born 1478, in Milan. The modern Gauls, on died 1530, is among the first pain, their first inroad into Italy, at- ters of this school. His manner tempted to cut out the wall to is large and his pencil soft and make this one of their spoils of delicate, and his pictures have yet painting ; but failing in their pur. a wonderful freshness. He is es, pose, with their wonted barbarity teemed the greatest colourist of his they reduced its beauty and mag- school. His pictures are chiefly nificence into a state of ruin and in Florence, particularly in the decay, and the Last Supper of church del Annunziazione, belong Leonardo is now extant only by its ing to the convent of the Domini. masterly preservation in the en- cans. They are in fresco, and graving of Morghens. He was wonderfully fresh. Michael An, the first painter of his age, and gelo is said to have sat for hours died in the arms of Francis I. to study his picture of the Virgin

. Pietro Perrugino, born 1446, on the sack. died 1524. The heads of his fig ures are full of grace and beauty ; OF THE LOMBARD SCHDOL. his colouring is faint.

Bartolameo della Porto, born Antonio Allegro, called Il Core 1465, died 1517. He taught regio, born 1494, died 1534. NaRaphael colouring.

ture and genius made Corregio a Michael Angelo Bounarotti, painter, he having seen nothing of born in Florence 1475, died 1564 ; the masters. He painted much so well known as the greatest before he knew his own perfection, painter, sculptor, and architect of and discovered it by comparing modern times. His principal pic. his powers with a picture of Ratures are in fresco, in the Vatican. phael. No one has been able to His statue of Moses is ranked with imitate the enchanting tints and the antique. There is about it a mellow softness of the pencil of supernatural majesty and gran- Corregio. . deur, which constitute as much Francisco Massuotti, called Il original character, as force and Parmegiano ; his mander is gracestrength do in the Farnese Here ful, his colouring fresh and natucules. Had Michael Angelo have ral, and the drapery of his figures done no more than his Moses, graceful and flowing. his fame would remain forever Pelegrine Tibaldi, a good painamong the sculptors of antiquity ; ter and fine architect, born 1522, but the figures of Morning and died 1592. Evening Twilight, and of Day and Luca Cambiagi. His pictures Night, in the Medici Chapel at are bold. He painted with great facility and expedition, being able 1477, died 1511; his colouring is to paint with both hands at once. beautiful, and his pictures full of

I Carracci, Loudovico ; Augus, pature. His portraits admirable. ting and Annibale ;...born at Bologna Titiano, born 1477. The death about 1560. Annibale is consid of Georgione, at so early a period, ered the greatest, kis designs ben gave full scope to his genius, and ing grand, his colouring strong and be became the head of the school composition admirable. Their of Venice. The expression and pictures are chiefly at Bologna, colouring of his figures and lande They there had a school of paint, seapes are in the fulpess of nature, ing, where Guido, Albano, and and his portraits teem with fresh Schedoni formed themselves. and perpetual life. In this last

Bartholomeo Schedoni,born 1560, branch of the art he excels all died 1616, he closely imitated Cor: others. regio.

Sebastiano del Piombo : he was Guido Rheni, born at Bologna, a successful scholar of Georgione. 1575, died 1640. All that is ten. He was considered by Michael der, beautiful, and lovely in nature Angelo the first painter of his age, is in his pictures. The visage and superiour even to Raphael. The form of his women are full of famous Descent of the Cross, in beauty and love. His most fa- fresco, at Rome, was sketched by mous picture is that of Peter and this great master, and finished by Paul in the Palace Zampierri, at Sebastiano. Bologna. He is said to have stud. Gio Antonio Gegillo, born 1508, ied much the theatre of Niobe, and died 1580. He was a powerful thereby attained that enchanting rival of Titian. beauty, which remains unequalled. Paolo Veronese, borp 1532, died

Albano, born 1578, died 1660. 1588. His pictures will forever His pictures show much attention, delight by their fulness of componicety, and fine colouring ; his in- şition, beauty of colouring, and fants are remarkable for beauty and gracefulness of design. nature.

Benedetto Castigliane, born at The churches of Rame, as well Genoa, 1616, died 1670. He imi as of the other principal cities of tated all the painters with suc- Italy, have for ages been the halçess, and excelled all in pasto- lowed sanctuaries of the magnifi, ral scenes and landscapes. The cent works of these great masters. touches of his pencil delicate, and Some of them have been violated his light pure.

by the sacrilegious hands of French

soldiers ; and the Holy Virgin, OF THE VENETIAN SCHOOL. who was drawn to shed a benign

Jook on the devotee at the altar, is I Bellini, brothers, are consid- now smiling on the prinking Par ered as the founders of this school, isian petit maitre, in the Louvre. born between 1440 and 1445, and The French have, in some mea." lived to a great age; their pictures sure, been to the modern Roremarkable for clear and bright mans what the ancient were to colouring. They were the mas- Greece, with this difference, the ters of Georgicne and Titian.. Romans took from Greece all that

Il Georgione deserves a rank was minutely beautiful and ex. amongst the first painters, born quisite in the arts; the French


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