1416; a time, says the writer, when he enjoyed his highest reputation, by painting in his second manner, in oil. It represents the Virgin in a majestic seat with the divine infant, who is seen very gracefully receiving an apple from St. Anne, seated on a couch of straw. The young St. John is seen assisting, and also St. Joseph, whose countenance represents the portrait of the painter himself. The introduction of arms shews that the picture must have been executed for some distinguished person. It is in high preservation, and is pronounced by Guarienti the miracle of painting, from its display of extreme diligence, even in the minute furniture, and particularly because the chamber in which the scene is represented, the couch, the window, the pavement, executed a punto alto, together with the whole action, are conducted with the most exact rules of perspective.
[74] In 1454 he was in great credit at Perugia. (See Mariotti, Lett. Perug. p. 133.)
[75] Lib. i. c. 18. Accipe semen lini, et exsicca illud in sartagine super ignem sine aqua, &c. Brustolato says, it should be pounded, and again subjected to the fire in water, then put into a press between cloths, and the oil extracted. He continues: Cum hoc oleo tere minium sive cenobrium super lapidem sine aqua, et cum pincello linies super ostia vel tabulas quas rubricare volueris, et ad solem siccabis, deinde iterum linies et siccabis. And in chap. 22, he says—Accipe colores quos imponere volueris, terens eos diligenter, oleo lini sine aqua; et fac mixturas vultuum ac vestimentorum sicut superius aqua feceras, et bestias, sive aves, aut folia, variabis suis coloribus prout libuerit.
[76] Gottingen, 1792. See Esprit des Journaux, Ottobre, 1792.
[77] Raspe (Lib. Cit.). Della Valle (Ann. al Vasari, tom. iii. p. 313). Tiraboschi (St. Lett. tom. vi. p. 407). Vernazza (Giorn. Pisano, tom. xciv. p. 220), cited by Morelli (Notizia, p. 114). More recently is added the authority of P. Federici Domenicano. It is absurd to suppose that Tommaso da Modena, or, according to him, da Trevigi, carried the discovery from this city into Germany, from whence it was subsequently communicated to Flanders.
[78] Pisa Illustrata, p. 160, et seq.
[79] See Opuscoli del Calogerà, tom. xlv.
[80] This person invented and fabricated an ornament called ghirlanda or garland, worn on the heads of the Florentine children.
[81] Mengs, tom. ii. p. 109.
[82] Tom. vi. p. 1204.
[83] Victurus genium debet habere liber. Martial.
FLORENTINE SCHOOL.
EPOCH I.
Origin and progress of Engraving on Copper and Wood.
SECTION III.
The subject of which I propose here to treat, ought to be more carefully examined than any other portion of this work. The age in which I write is, we know, by many called the age of brass, inasmuch as it has been less productive of great names and great pictoric works, than the preceding; yet I believe we might better denominate it such from the number of engravings, which have recently been carried to a high degree of excellence. The number of their connoisseurs has increased beyond calculation; new collections every where appear, and the prices have proportionably advanced, while treatises upon the art are rapidly multiplied. It has become a part of liberal knowledge to discern the name and hand of a master, as well as to specify the most beautiful works of each engraver. Thus, during the decline of painting, the art of engraving on copper has risen in estimation; modern artists in some points equal or surpass the more ancient; their reputation, their remuneration, and the quick process of their labours, attract the regard of many men of genius born to adorn the arts, who to the loss of painting, devote their attention to the graver.
The origin of this art is to be sought for in that of cutting on wood, just as in printing, the use of wooden types led to the adoption of metal. The period of the first invention of wood engraving is unknown; the French and the Germans tracing it to that of playing-cards, which the former affirm were first used in France in the time of Charles V.; while the latter maintain they were in use much earlier in Germany, or before the year 1300.[84] Both these opinions were first attacked by Papillon, in his "Treatise upon cutting in Wood," where he claims the merit of the discovery for Italy, and finds the most ancient traces of the art about the year 1285, at Ravenna. His account of it is republished in the preface to the fifth volume of Vasari, printed at Siena; but it is mixed up with so many assertions, to which it is difficult to give credit, that I must decline considering it at all. The Cav. Tiraboschi is a far more plausible and judicious advocate in favour of Italy.[85] On the subject of cards, he brings forward a MS. by Sandro di Pippozzo di Sandro, entitled Trattato del Governo della Famiglia. It was written in 1299, and has been cited by the authors of the Della Cruscan dictionary, who quote, among other passages, the following words: "if you will play for money, or thus, or at cards, you shall provide them," &c. We may hence infer, that playing-cards were known with us earlier than elsewhere, so that if the invention of stamping upon wood was derived from them, we have a just title to the discovery. In all probability, however, it does not date its origin so early; the oldest playing-cards were doubtless the work of the pen, and coloured by the old illuminators, first practised in France, and not wholly extinct in Italy at the time of Filippo Maria Visconti, duke of Milan.[86]
The first indication we meet with of printed play-cards, is in a public decree issued at Venice in 1441; where it says that "the art and trade of cards and printed figures, that is carried on at Venice," was on the decline, "owing to the great increase of playing-cards with coloured figures stamped," which were introduced from abroad; and that such importation should be prohibited for the future. Sig. Zanetti, to whom we are indebted for this information,[87] is of opinion, that they were in use long before 1441; because the art is seen to have first flourished there, afterwards to have fallen into disuse, and again revived, owing to the protection afforded it by the State. These vicissitudes, that suppose the lapse of many years, will carry us back at least to the commencement of the fifteenth century. To this period, it appears, we ought to refer those ancient specimens of play-cards, which were collected for the cabinet of Count Giacomo Durazzo, formerly imperial ambassador at Venice, and are now to be seen in that of the Marquis Girolamo, his nephew. They are of larger dimensions than those now in use, and are of a very strong texture, not unlike that of the paper made of cotton, found in the ancient manuscripts. The figures are exhibited on a gold ground in the manner before described;[88] there are three kings, two queens, and two knaves, one on horseback; and each has a club, or sword, or money. I could perceive no trace of suits, either because they had not then come into use, or more probably because so limited a number of cards can convey no complete idea of the whole game. The design approaches very nearly to that
