The History of Painting in Italy, Vol. 4 (of 6): From the Period of the Revival of the Fine Arts to the End of the Eighteenth Century

In Short

This volume serves as a comprehensive chronicle of the painting schools of Upper Italy, specifically focusing on Mantua, Modena, Parma, Cremona, and Milan. Tracing the development from the early masters of the revival through the late eighteenth century, the narrative categorizes these schools into distinct epochs. It balances technical evaluation with biographical detail, documenting the influence of foundational figures like Mantegna, Coreggio, and Vinci. The work remains a vital reference for its systematic approach to regional stylistic differences and its earnest attempt to preserve the artistic heritage of the Italian states.

The Story

The narrative begins with the early masters of Mantua and the influence of Andrea Mantegna, whose work established a foundation of technical rigor in Lombardy. The story of these schools is one of constant evolution, as local styles are shaped by the arrival of influential figures and the subsequent formation of academies. In Mantua, the focus shifts to Giulio Romano and his school, eventually leading to a period of decline that necessitates the founding of an academy to restore the city's lost artistic prestige.

A similar arc unfolds across the various regions. In Modena, the story moves from the "old masters" to the transformative impact of Coreggio and the later imitation of Bolognese styles. Parma’s history is anchored by the towering genius of Coreggio, whose innovative approach to foreshortening and grace leaves an indelible mark on his successors. The narrative tracks these artists as they navigate the competing pressures of tradition and innovation, often attempting to balance the "Roman manner" of Raffaello with local predilections.

In Cremona, the story centers on the Campi family and the rise of notable figures like Sofonisba Angussola, whose success at the Spanish court illustrates the international reach of Lombard talent. The Milanese account is perhaps the most complex, tracing the city's artistic life from the period of the ancient masters through the profound influence of Leonardo da Vinci. Vinci’s establishment of an academy in Milan marks a high point, fostering a generation of pupils who carry his lessons forward. However, the recurring theme remains the inevitable cycle of growth and subsequent waning of creative power.

As the timeline advances toward the eighteenth century, the narrative addresses the emergence of new academies, such as the one founded in Parma in 1757 by Don Philip of Bourbon. These institutions represent a shift in how art is cultivated and sustained, moving away from informal studio apprenticeship toward formalized, competitive education. The volume concludes by looking at the state of these schools in the author's own time, noting that while the "Cortona manner" of the past has faded, the modern era is characterized by a tentative experimentation with new styles. By documenting these transitions, the text provides a final look at the enduring effort of the Italian states to preserve their creative identity through institutional support, hoping that reason and structured study will eventually lead to a renewal of the ancient excellence in painting.

How It Unfolds

The foundations of Mantua The survey opens with the legacy of Mantegna, whose work established a standard for foreshortening and technical precision. The narrative moves through the period of Giulio Romano, detailing how his school flourished before eventually entering a cycle of decline that required formal intervention to reverse.

The influence of Coreggio The chapters on Modena and Parma highlight the profound impact of Coreggio, whose mastery of grace and chiaroscuro became the model for subsequent generations. His influence extended far beyond his own lifetime, drawing artists from various cities to study and copy his work in a quest for artistic perfection.

The Cremonese transition Cremona serves as a study in the rise of regional families and individual masters like Sofonisba Angussola, who brought international recognition to the local style. The narrative meticulously tracks how these artists balanced their own creative inclinations with the widespread demand for the "Roman manner."

The Milanese peak and decline The history of Milan is defined by the arrival of Leonardo da Vinci, whose academy fostered a distinct school of painting characterized by unity and atmospheric harmony. The account tracks the subsequent decades as the city's artistic output evolved through different masters, eventually reaching a point where a new academy was required to address the changing tastes and needs of the eighteenth century.

The People

Luigi Lanzi approaches his subjects as representatives of a broader stylistic development, yet he grants individual artists distinct personalities. Mantegna stands as the rigorous architect of a new technical language in Lombardy, setting a standard that his son Francesco and other disciples struggle to maintain. Coreggio emerges as the central, almost spiritual, force whose "grace" becomes the benchmark for all who follow; his ability to capture natural beauty and infantile innocence commands deep respect.

Parmigianino represents the pursuit of "grace" taken to its logical extreme, sometimes bordering on the artificial, as seen in his preference for elongated figures like the "long neck" Madonna. In Cremona, Sofonisba Angussola stands out not only for her technical skill in portraiture but for her role as a bridge between the local tradition and the royal courts of Europe, eventually acting as a mentor even in her final years of blindness. Finally, Leonardo da Vinci is portrayed as the ultimate catalyst, the master whose academic influence and intellectual approach to painting transformed Milanese art, leaving behind a group of disciples who struggled to replicate his unique synthesis of light, shadow, and conversational action.

In Its Own Voice

"There is a pleasing air about the heads, and some care in the colours; for the rest it is minute; not exact, nor sufficiently shaded; and in fine, modelled upon the composition of one who aimed at imitating the grace, not of rivalling the power of Giulio."

The author describes the limitations and characteristic style of the Costa family of Mantua, who were considered among the last disciples of the great school.

"In truth from his very first attempts, he appears to have aimed at a softer and fuller style than Mantegna's; and several, among whom is the Abate Bettinelli, have pointed out some such specimens in Mantua."

This passage discusses the early artistic development of Coreggio and his departure from the stiffness of his predecessors.

What It's Really About

At its core, this volume explores the relationship between artistic genius and institutional structure. It examines how specific regional styles—often defined by their relationship to the "Roman manner" of Raffaello or the unique atmospheric innovations of Da Vinci—are formed, transmitted, and eventually diluted. The text asks whether art is something that can be taught through the rigid constraints of an academy or whether it is an organic outgrowth of individual talent. By tracking the rise, decline, and attempted restoration of various schools, the work reflects on the vulnerability of culture and the deliberate efforts made by patrons and states to ensure that the "noble genius" of the past remains relevant in a changing, modern world.

Why Read It Today

Readers with a deep interest in art history will find this volume an invaluable, if dense, resource. It is written with a scholarly, evaluative tone that prioritizes the categorization of styles and the documentation of lineage over mere anecdote. Because the text is a product of its time, readers should be prepared for a formal, nineteenth-century prose style and a focus on the attribution and classification of works that reflect the priorities of that period.

The book is not a fast-paced narrative; it is a catalog of artistic evolution, best suited for those who enjoy meticulously mapping how a style moves from one master to the next. You will walk away from it with a heightened awareness of the distinct regional identities of Northern Italy and the realization that the "old masters" were, in their own time, constantly navigating the same tensions between tradition and innovation that artists face today. While the length and technical detail of the regional chapters can be challenging, the rewards lie in the author’s ability to synthesize a vast amount of information into a cohesive, historically grounded portrait of a golden age of painting.