Page:Encyclopædia Britannica, Ninth Edition, v. 10.djvu/170

158  1em 1em  GENOVA, (–). This is the familiar name given to the painter Luca Cambiasi (written also Cambiaso or Cangiagio), who was born at Moueglia in the Genoese state, son of a painter named Giovanni Cambiasi. He took to drawing at a very early age, imitating his father, and developed great aptitude for foreshortening. At the age of ﬁfteen he painted, along with his father, some subjects from Ovid’s .lletamorphoses on the front of a house in Genoa, and afterwards, in conjunction with Calvi, a ceiling showing great daring of execution, in the Palazzo Doria. He also formed an early friendship with Giambat- tista Castelle; both artists painted together, with so much similarity of style that their works could hardly be told apart ; from this friend Cambiasi learned much in the way of perspective and architecture. Luchetto’s best artistic period lasted for twelve years after his ﬁrst successes ; from that. time he declined in power, though not at once in re- putation, owing to the agitations and vexations brought upon him by a Passion which he conceived for his sister-in-law. His wife having died, and the sister-in-law having taken charge of his house and children, he endeavoured to procure a papal dispensation for marrying her ; but in this he was disappointed. In he accepted an invitation from Philip II. to continue in the Escoriala series of frescos which had been begun by Castello, now deceased ; and it is said that one principal reason for his closing with this offer was that he hoped to bring the royal inﬂuence to bear upon the pope, but in this again he failed. lVorn out with his disquietudes, he died in the Escorial in the second year of his sojourn. Cambiasi had an ardent fancy, and was a bold designer in a Raphaelesque mode. His extreme facility astonished the Spanish painters; and it is said that l‘hilip II., watching one day with pleasure the offhand zest with which Luchetto was painting a head of a laughing child, was allowed the further surprise of seeing the laugh changed, by a touch or two upon the lips, into a weeping expression. The artist painted sometimes with a brush in each hand, and with a certainty equalling or transcending that even of Tiutoret. He made a vast number of drawings, and was also something of a sculptor, executing in this branch of art a ﬁgure of Faith. Altogether he ranks as one of the ablest artists of his day. In personal character, notwith- standing his executive energy, he is reported to have been timid and difﬁdeut. His son Orazio became likewise a painter, studying under Luchetto.

1em  GENOVESI, (1712–1769), an Italian writer on philosophy and political economy, was born in November 1712, at Castiglione, near Salerno. At an early age he was destined by his father for the church and began the study of philosophy and theology. He distinguished himself highly by his acuteness and diligence, and after some struggles, caused. by his disinclination for an ecclesiastical life, he took orders at Salerno in 1736. He had not been long in this position when the archbishop of the town, re- cognizing his rare abilities, nominated him to the chair of rhetoric in the theological seminary. During this period of his life Genovesi began the study of philosophy as it ex— isted outside the limits of theology. He read with eager— ness the works of the chief modern philosophers, and was particularly attracted by Locke. Apparently still dissatisﬁed with ecclesiastical life, Genovesi, resigning his post at Salerno, proceeded to Rome, undertook the study of law, and qualiﬁed as an advocate. The details of legal practice, however, proved as distasteful as theology, and for some years he gave himself entirely to the study of philosophy, attending most of the distinguished lecturers at the university of Naples. At this place, after having obtained the appointment of extraordinary professor of philosophy, he opened a seminary or private College for students. His reputation as a teacher was increased by the publication in 17 43 of the ﬁrst volume of his Elements of Illetaphysics, and in 17 45 of his Logic. loth works are imbued with the spirit and principles of the empirical school of philosophy, and the latter, an eminently practical treatise, had long a recognized position as one of the best logical text-books written from the point of View of Locke. On account of the accusations of inﬁdelity and heresy naturally excited by his discussion of metaphysical prin- ciples, he had some dilliculty .iu obtaining the professor- ship of moral philosolmy, and failed to be appointed to the