



Produced by Barbara Tozier, Carol Brown, Bill Tozier and
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  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 inertiae_; 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