Page:Encyclopædia Britannica, Ninth Edition, v. 21.djvu/469

Rh SCHOOLS OF PAINTING 447 small collection at Pisa also possesses some curious early panels by local painters ; in the church of S. Caterina is a magnificent altar- piece by Fran. Traini, Orcagna's chief pupil. At JPrato are the finest frescos of Lippo Lippi. The gallery at Bologna contains some of Francia's chief works, the St Cecilia of Raphael, and a number of examples of the Caracci and others of the later Bolognese school. Parma is specially rich in the works of Correggio and Pannigiano ; unhappily the great frescos by the former in the cathedral have almost wholly perished. The small collection at Ferrara possesses interesting examples of paintings of the local school. Brescia and Bergamo are very rich in fine works of Moretto and Moroni, and also possess a number of fine Venetian paintings of various dates. Padua has but a small and unimportant gallery, but the town is rich in frescos by Giotto, Altichiero, and Jacopo Avanzi, and most noble frescos by Andrea Mantegna. Mantua also contains some grand frescos by Mantegna in the Castello di Corti, and a large quantity of showy and cleverly executed wall and ceiling paintings by Giulio Romano in the Palazzo del Te. The Verona gallery con- tains some few good examples of the local school. The church of S. Zenone possesses a magnificent altarpiece by Mantegna ; and in S. Anastasia is the wreck of a fine fresco of St George and the Dragon by. Pisanello. The Vicenza collection contains little of value except some good examples of Bart. Montagna. The Turin gallery possesses a few good pictures, especially some fine panels by Botticelli and splendid portraits by Vandyck. Many of Vandyck's finest works exist in the various palaces of Genoa. The large gallery at Naples contains an unusual proportion of bad pictures ; there are, however, some fine works of Titian and some interesting examples of the early Flemish school which have been in Naples ever since the 15th century. The only painting of much importance in the gallery at Palermo is a very beautiful triptych of the school of Van Eyck. Venice. Venice is extraordinarily rich in the works of its own school, with the exception of those of Crivelli, who is completely absent. The works in Venice of the Bellini family, of Carpaccio and others of Gian. Bellini's pupils, of Titian, Tintoretto, and Paul Veronese, are among the chief glories of the world. The Grimani breviary, in the doge's library, contains a very beautiful series of miniature pictures of the school of Memling. Milan. The Brera Gallery at Milan contains a large number of master- pieces, especially of the Lombard and Venetian schools, among them the chief work of Gentile Bellini, St Mark at Alexandria, some unrivalled portraits by Lorenzo Lotto, and very important examples of Moretto's religious paintings. One of its greatest treasures is the altarpiece painted for the duke of Montefeltro by Piero della Francesca, and wrongly attributed to his pupil Fra Carnovale. The celebrated Sposalizio is the most important work of Raphael, executed wholly under the influence of Perugino. The gallery is especially rich in works of the pupils and imitators of Leonardo and other Milanese painters. The Biblioteca Ambrogiana contains some priceless drawings by Leonardo da Vinci and a large number of his autograph MSS., selections from which have been published by Dr Richter, London, 1883. Another important MS. of Da Vinci from the same library, the Codice Atlantico, is now (1886) in course of publication in Rome in its entirety. This very scanty sketch of the contents of the chief galleries of Europe will give some notion of the places where the works of special schools and masters can best be studied. In some cases there is but little choice : the greatness of Giotto can only be fully realized in Florence and Padua, of Carpaccio and Tintoretto in Venice, of Signorelli at Orvieto and Monte Oliveto, of Fra Angelico in Florence, of Correggio in Parma, of Velazquez in Madrid, and of Murillo in Seville. List of Works to be consulted.' 1 PAINTING GENERALLY. Agincourt, Histoire de I' Art, Paris, 1811-23 ; Bell, Schools of Painting, London, 1842 ; Blanc, His- toire des Peintres de toutes les Ecoles, Paris, 1848-76 ; Buchanan, Memoirs of Painting, London, 1S24 ; Chabert, Galerie des Peintres, Paris, 1822 ; Daryl, Dictionary of Painters, London, 1878 ; Duchesne, M-useum of Painting, Paris, 1829-34 ; Eastlake, Handbook of Painting, 4th ed., London, 1874 ; Gorling, Geschichte der Malerei, Leipsic, 1867 ; Havard, Histoire de la Peinture, Paris, 1882 ; Mrs Heaton, Concise History of Painting, London, 1872 ; Heinrich, Leben nnd Werke der beriihmtesten Maler, Berlin, 1854 ; Lecarpentier, Galerie des Peintres Celebres, Paris, 1810-21 ; Menard, Histoire des Beaux-Arts, Paris, 1873 ; Montabert, Traite de la Peinture, Paris, 1829-51 ; Parrocel, Annales de la Peinture, Paris, 1862 ; Destreman,,/fisfoire dt I' Art, Paris, 18S2; Diderot, Essais sur la Peinture, Leipsic, 1862; Erneric - David, La Peinture Moderne, 1862; Michiels, La Peinture du IVmeau-XVImeSiede, Brussels, 1853 ; Miintz, Histoire de la Peinture, Paris, 1881 ; Stendhal, Histoire de la Peinture, Paris, 1860 ; Miss K. Thompson, Handbook to Picture Galleries of Europe, 3d ed., London, 1880 ; Wornum, History of Painting, London, 1847, and. Epochs of Painting, 1864; Eckl and Atz, Die Madonna als Gegenstand christlicher Kunstmalerei, Brixen, 1883 ; Hotho, Gesch. der christlichen Malerei, Stuttgart, 1873 ; Argens, Examen des Ecoles de Peinture, Berlin, 1768 ; Hobbes, Picture-Collector's Manual, London, 1849 ; Bryan, Dictionary of Painters, London, 1865 ; Sivet, Diction. Hist, des Peintres, Paris, 1855 ; Bartsch, Peintre graveur, Vienna, 1802-21 ; Sorg, Gesch. der christlichen Malerei, Berlin, 1853 ; Waagen, Treasures of Art in Britain, London, 1854-57 ; Rebre, Kunstgeschichte des Mittelalters, Leipsic, 1885. EARLY MEDLEVAL SCHOOLS. Mullooly, Paintings in S. Clemente, Rome, 1866 ; Ferret, Catacombes de Rome, Paris, 1852-57 ; De Rossi, Roma Sotterranea, Rome, 1864-80 ; Didron, Manuel d' Iconographie Chretienne, Paris, 1845 (in this is printed the 11th-century MS. "Ep/uT/ce/a TT}S faypoxfiiKijs, on the hieratic rules of Byzan- tine art) ; Bayet, La Peinture Chretienne en Orient, Paris, 1879 ; Carter, Specimens of Ancient Sculpture and Painting, London, 1812; Pownall, "Ancient Painting 1 For further lists of authorities see the various articles on the separate painters. in England," in Archxologia, ix. p. 141, and other papers in the same publica- tion ; the Vetusta Afonumenta, published by the Society of Antiquaries, has valuable reproductions of the 14th-century wall-paintings in St Stephen's Chapel, Westminster, which are now destroyed, except a few fragments in the British Museum ; many articles on mediteval painting occur in the volumes of the Archieological Journal, and in the Proceedings of many other societies in England and abroad. ITALIAN SCHOOLS GENERALLY. Crowe and Cavalcaselle, History of Painting in Italy, London, 1864-66, and History of Painting in North Italy, 1871 ; Woermann and Woltmann, History of Painting, ed. by S. Colvin, London, 1880 ; Kugler, Handbook of Painting, London, 1874 ; Lanzi, Storia pittorica, Florence, 1822 ; Rosini, Storia della Pittura Italiana, Pisa, 1839-47 ; Rumohr, Italienische Forschungen, Berlin, 1826-31 ; Forster, Denkmale ital. Malerei, Leipsic, 1870-73 ; Dohme, Kunst und Kiinstler Ital., Berlin, 1878 ; Burck- hardt, The Cicerone, best ed. London, 1879 ; Coindet, Histoire de la Peinture en Italie, Paris, 1861 ; Liibke, Gesch. der ital. Malerei, Stuttgart, 1878 ; Ottley, Italian School, London, 1823 ; W. B. Scott, Pictures by Italian Masters, London, 1876 ; Mrs Jameson, Early Italian Painters, London, 1859 ; Symonds, Renais- sance in Italy (Fine Arts), London, 1877 ; Tytler, Old Masters and their Pictures, London, 1873 ; Bernasconi, Storia d. Pittura Italiana, Pisa, 1864 ; Clement, La Peinture Italienne, Paris, 1857 (on early painters); Pascoli, Vite dei Pittori, Rome, 1736; Poynter, Painting, Early Christian, &c., small handbook, London, 1882 ; L. Scott, Renaissance in Italy, small handbook, London, 1883 ; Richter, Italian Art in the National Gallery, London, 1883; Frizzoni, L'Arte Italiana nella Gal. Nat. di Londra, Milan, 1880, published in the Archivio Storico di Milano ; Reiset, in the Gaz. des B.-Arts for 1877, gives a valuable series of articles entitled " Une Visite aux Musees de Londres " ; Morelli, Italian Masters in German Galleries, trans., London, 1883, and his valuable series of articles on the Borghese Gallery in Liitzow's Zeitschrift fur bildende Kunst. This very able art critic, who also writes under the name of " Lermqlieff," has developed a somewhat new system of criticism, based on minute observation of the way in which each painter treated details, such as the hand and ear, in most cases (according to Morelli) a safer guide than the general impression derived from the whole effect or spirit of a picture, and less misleading than a judgment formed from technical peculiarities ; the Comm. Morelli, aided by a good know- ledge of the documentary history of art, has thus been enabled to give back to their right authors many paintings which for long have been wrongly named. ITALIAN SPECIAL SCHOOLS. - Bordiga, Opere del Gaud. Ferrari, Milan, 1835; Pagani, Le Pitture di Modena, Modena, 1770 ; Vedriani, Pittori, &c., Modanesi, Modena, 1662 ; Zaist, Pittori Cremonesi, Cremona, 1774 ; Graselli, Biog. dei Pittori Cremonesi, Cremona, 1827; Arco, Delle Arti di Mantova, Mantua, 1857- 58; Codde, Dizionario dei Pittori Manlovani, Mantua, 1837; Pozzo, Vite dei Pittori Veronesi, Verona, 1718 ; Ferri, Pittori Milanesi, Rome, 1868 ; Rio, L. da Vinci et son Ecole, Paris, 1855 ; Moschini, La Pittura in Padova, Padua, 1826 ; Pitture di Ferrara, Ferrara, 1770 ; Laderchi, La Pittura Ferrarese, Ferrara, 1856 ; Baruffaldi, Vite dei Pittori Ferraresi, Ferrara ; Mesnard, La Peinture a Sienne, Paris, 1878 ; Delia Valle, Lettere Sanesi, Venice, 1782-86 ; Lasinio, Pitture. . . di Siena, Florence, 1825 ; Milanesi, Documenti deW Arte Senese, 1858 ; Boullier, I! Art Venitien, Paris, 1870 ; W. B. Scott, Pictures by Venetian Painters, London, 1875 ; Ruskin, St Mark's Rest, London, 1879, Stones of Venice, 1856, and Guide to Pittori, &c,, Bergamaschi, Bergamo, 1793 ; Chizzola, Pitture di Brescia, Brescia, 1809 ; Calvi, Vita di Francia, Bologna, 1812, and Vita di Fran. Barbieri (Guercino), 1808; Ratti, Pittura, <fo., in Genova, Genoa, 1780; Pascoli, Vite dei Pittori, &c., Perugini, Rome, 1732; Mariotti, Lettere Pittoriche Perugine, Perugia, 1788; Fiorillo, Gesch. der Malerei in, Toscana, Berlin, 1850; Marchese, Pittori Domenicani, Florence, 1845 ; Ricci, Mem. di Melozzo da Forli, Forii, 1834 ; Reggiani, Mem. star. d. Arti della Marca di Ancona, Macerata, 1834 ; Domenici, Vite dei Pittori Napoletani, Naples, 1840-46, not trustworthy in its account of supposed early Neapolitan painters ; Crowe and Cavalcaselle, Life of Titian, London, 1878, and Life of Raphael, 1880-85 ; Vischer, L. Signorelli und die ital. Renaissance, Leipsic, 1879. GERMAN, FLEMISH, AND DUTCH SCHOOLS. Bode, Frans Hals und seine Schule, Leipsic, 1871, Die Kiinstler von Haarlem, 1872, and Gesch. der holldndischen Malerei, 1883 ; Burger, Etudes sur les Peintres Hollandais, Paris, 1859 ; Burnet, Rembrandt and his Works, London, 1859 ; Scheltema, Rem- brand, Redevoering, <c., Amsterdam, 1845 ; Fairholt, Homes, c., of the Dutch Painters, London, 1871 ; R. Gower, Figure Painters of Holland, London, 1880 ; Havard, L'Art Hollandais, Paris, 1879, and Histoire de la Peinture Hollandaise, Paris, 1882 ; Kramm, Levens en Werken der Hollandische Kunstschilders, Amster- dam, 1857-64 ; Rathgeber, Annalen der niederlandischen Malerei, Gotha, 1842- 44; Renouvier, Les Peintres de I'Ancienne Ecole Hollandaise, Paris, 1857; Van Mander, Le Livre des Peintres, Paris, 1884 ; Riegel, Beitrdgezur niederlandischen Kunstgeschichte, Berlin, 1882 ; Van Eynden, Geschiedenis der vaterlandsche Schilderkunst, Amsterdam, 1842 ; Vloten, Nederlands Schilderkunst, Amsterdam, 1874 ; Van Gool, Nieuwe Schouburg der Kunstschilders, Amsterdam, 1858 ; Hotho, Gesch. der deutschen und niederldnd. Malerei, Berlin, 1840-43 ; Descamps, La Vie des Peintres Flamands, Paris, 1753-64; Dehaisnes, L'Art Chrct. en Flandre, Douai, 1860 ; Fetis, Les Artistes Beiges, Brussels, 1857 ; Fromentin, Les Maitres d'autrefois, Paris, 1876; Saint-Germain, Guide de Tableaux, Ecole Allemande, c., Paris, 1841 ; Heris, Histoire de I' Ecole Flamande, Brussels, 1856 ; Houssaye, Histoire de la Peinture Flamande, &c., Paris, 1866 ; Michiels, Les Peintres Brugeois, Brussels, 1846, Histoire de la Peinture Flamande, &c., 1847, and L'Ecole d'Anvers, Paris, 1877 ; Potvin, L'Art Flamand, Paris, 1868 ; Rooses, Gesch. der Malerschule Antwerpens, Munich, 1880; Stanley, Principal Painters of Dutch and Flemish Schools, London, 1855 ;' Head, Handbook of Painting, German, Flemish, and Dutch, London, 1846 ; Waagen, Die deutschen und niederlandischen Ufalerschulen, Stuttgart, 1862 ; Kugler, Handbook of Painting, 2d ed., London, 1874 ; Crowe and Cavalcaselle, Early Flemish Painters, London, 1872 ; J. Smith, Catalogue of Works of Dutch, Flemish, and French Painters, London, 1829-42 ; Sandrart, L'Accademia Tedesca, Nuremberg, 1675-79 ; Lindau, Lucas Cranach, Leipsic, 1883 ; Heller, Cranach's Leben und Werke, Nuremberg, 1804 ; VVilligen, Les Artistes de Haarlem, Haarlem, 1870 ; Woltmann, Hans Holbein, Berlin, 1865 ; Wornum, Life of Holbein, London, 1866 ; Thausing, Albrecht Diirer, Berlin, 1872-76 ; Mrs Heaton, Life of A. Diirer, London, 1881 ; Heller, Leben und Werke A. Diirers, Leipsic, 1831 ; Innstadten, Darstellung der Gesch. der Malerei, Vienna, 1853; Knirini, Die Hartzmalerei, c., Leipsic, 1839; Passavant, Beitrage zur Kenntniss, <Cc., Berlin, 1846 ; Honbraken, Nederlandsche Kunstschilders, Amster- dam, 1718-21 ; Immerzeel, De Levens en Werken der Hollandsche, c., Amsterdam, 1842-43 ; Weale, Notes sur Jean Van Eyck, .London, 1861 ; Carton, Les trois Van Eyck, Bruges, 1848 ; Heinecken, Neue Nachrichten von Kilnstlern, Dresden, 1768-71 ; Gwinner, Kunat und Kiinstler in Frankfurt, Frankfort, 1862 ; Merlo, Nachrichten von dem Leben, &c., kolnischer Kiinstler, Cologne, 1850 : Busscher, Corporation des Peintres a Gand, Brussels, 1853 ; Taurel, L'Art en Hollande, c., Amsterdam, 1872; Burget, Musees de la Hollande, Brussels, 1858-60; Aus m Weerth, Kunstdenkmaler des chrut. Mittelalters, Leipsic, 1857-60 ; Saint-Germain, Guide de Tableaux (German, Flemish, and Dutch), Paris, 1841 ; Dohme, Bode, and others, Gesch. der deutschen Kunst, Berlin, 1885 ; W. B. Scott, The Little Masters, London, 1879. MODERN GERMAN SCHOOLS. Bouniol, L'Art Chretien et