target="_blank" rel="nofollow" href="#ulink_66e2d4a3-0ffb-5bbe-bd81-b9604c7dd7cb">[200] From such fundamental principles proceeded some of his obnoxious criticisms on Bassano, Tiziano, and on Raffaello himself. But is this the effect of his malignity, or of his education? Does it not happen in philosophy as in painting, that every one gives a decided preference to those of his own sect. Has not Petrarca generalized the observation, when he asks,
——"Or che è questo Che ognun del suo saper par che si appaghi?"
We may, then, forgive in Vasari what appeared to this philosophic poet a weakness of human nature; and may observe on a few passages in his work what was applied to Tacitus; that we condemn his principles, but admire his history. Such, I believe, was the opinion of Lomazzo, who though not wholly satisfied with the opinions of Vasari, not only excused but defended him;[201] and in this he acted properly.
Vasari is, moreover, the father of the history of painting, and has transmitted to us its most precious materials. Educated in the most auspicious era of the art, he has in some measure perpetuated the influence of the golden age. In perusing his Lives, I fancy myself listening to the individuals of whom he has collected the traditions and the precepts. It was thus, think I, that Raffaello and Andrea imparted these facts to their scholars; thus spoke Bonarruoti; the friends of Giorgio heard this from Vinci and Porta, and in this manner must have related it to him. I am delighted with the facts, and also with the luminous, simple, and natural manner in which they are expressed, interwoven with the technical terms that originated in Florence, and worthy of every writer whose subject is the fine arts. Finally, should I discover in him any prejudice of education, or, if you will, arising from self-love, it seems to me unjust on account of such a fault, to forget his many services, and to declare hostilities against him for such blemishes.
Another service Vasari conferred on the fine arts yet remains to be noticed, and that is the establishment of the Academy of Design in Florence, about the year 1561, principally through his exertions. The society of S. Luke there existed from the fourteenth century, but it had fallen into decay, and was almost extinct, when F. Gio. Angiolo Montorsoli Servita, a celebrated statuary, conceived the design of reviving it. He communicated his idea to Giorgio, who so effectually recommended it to Cosmo I., that, shortly after, it arose with new vigour, and became at the same time a charitable institution and an academy of the fine arts. The prince wished to be considered its head, and D. Vincenzio Borghini was appointed his representative in transacting his ordinary business, which situation was afterwards filled by Cav. Gaddi, by Baccio Valori, and successively by some of the most accomplished gentlemen of the city; an arrangement maintained by the sovereigns down to the present day. The chapter house of the Nunziata, "decorated with the sculpture and pictures of the best masters" of the age, was granted to this college of artists for a hall, as we are informed by Valori.[202] Another place was assigned for their meetings, and they have frequently experienced the liberality of succeeding princes. Their rules were drawn up by the restorers of this institution, of whom Vasari was one. He wrote concerning it to Michelangiolo,[203] and asserted that every member of this academy "was indebted to him for what he knew;" and indeed this academy in all its branches partakes strongly of his style. A similar doctrine, as we have observed, already prevailed at Florence; but it would have been better that every one followed the master whom his genius pointed out. In the choice of a style nature ought to direct, not to follow; every one should make his election according to his talents. It is true that the error of the Florentines is common to other nations; and has given rise to an opinion, that academies have had a baneful influence on the arts; since they have only tended to constrain all to follow the same path; and hence Italy is found fruitful in adherents to systems, but barren in true painters. To me the institution of academies has always appeared highly useful, when conducted on the plan of that of the Caracci, of which we shall treat under their school. In the mean time I return to the Florentine school.
The contemporaries of Vasari were Salviati and Jacopo del Conte, both of whom lived also with Andrea del Sarto, and Bronzino, the scholar of Pontormo. Like Giorgio, their genius led them to an imitation of Michelangiolo. Francesco de' Rossi, called Salviati, from the surname of his patron, was the fellow student of Vasari, under Andrea del Sarto and Baccio Bandinelli. The last mentioned artist was an excellent sculptor, who usually taught design to students in painting, an art which, like Verrocchio, he sometimes practised for amusement. While at Rome, Salviati, contracting an intimate friendship with Giorgio, pursued the same studies, and adopted the same fundamental principles of the art. He finally became a painter more correct, more elevated, and more spirited than his companion, and Vasari classes him among the best artists then in Rome. There he was employed in the palace of his patron, in the Farnese and Riccio palaces, in the Chancery, in the church of S. Gio. Decollato, and in various other places, where he filled extensive walls with historical frescos, an employment which was his chief delight. His invention was very fertile, his compositions varied, his architecture grand; he is one of the few who have united celerity of execution with scientific design, in which he was deeply versed, although occasionally somewhat extravagant. His best production now in Florence is the battle and triumph of Furius Camillus, in the saloon of the old palace, a work full of spirit, that appears from the representations of armour, draperies, and Roman customs, conducted by an able antiquary. There is also in the church of Santa Croce, a Descent from the Cross; to him a familiar subject, which he repeated at the Panfili palace at Rome, and in the Corpus Domini at Venice; and it may be seen in some private collections, in which his Holy Families and portraits are not rare. The octagonal picture of Psyche, in the possession of the Grimani family, is highly celebrated, and Giorgio pronounces it the "finest picture in all Venice." His remark would have been less invidious, had he said it was the most scientific in design; but who can concede to him that it appeared a paragon in that city? The features of Psyche have nothing uncommon; and the whole, though well composed, and adorned with a beautiful landscape, and an elegant little temple, cannot be compared to the charming compositions of Tiziano, or of Paolo Veronese, in which we sometimes behold, as Dante would express it, "the whole creation smile." The design of Salviati was better than his colouring; and on this account he did not meet with success at Venice; on his going to France he was but little employed, and is now less sought after and esteemed than Tiziano or Paolo. In ornamental arts such as poetry and painting, it would seem that mankind are more easily contented with a mediocrity in knowledge, than with mediocrity in the art of pleasing. It was very correctly observed by Salvator Rosa, when requested to give his opinion upon the relative merits of design and colouring, that he had been able to meet with many Santi di Tito in the shops of the suburbs, at a very low price, but that he had never seen there a single specimen of Bassano. Salviati was the best artist of this epoch, and if he was little employed at Florence, according to Vasari, it arose partly from the envy of malevolent persons, partly from his own turbulent, restless, and haughty demeanour. He trained up, however, some artists who belong to this school. Francesco del Prato, an eminent goldsmith, and an excellent artist in the inlaying of metals, when advanced in life, imbibed the love of painting from Salviati, and became his pupil. Having a good idea of design, he was soon able to execute cabinet pictures; two of which, the Plague of Serpents and the Limbo, are pronounced most beautiful by Vasari. It is not improbable that some of the minor pictures ascribed to Salviati may be the work of this artist, who is as little named as if he had never existed. Bernardo Buontalenti, a man of rare and universal genius, was instructed in miniature painting by Clovio, and had Salviati, Vasari, and Bronzino, for his masters in the other branches of painting. He was so successful that his works were in request by Francis I., by the emperor, and the king of Spain. His portrait is in the royal gallery, besides which little in Florence can be ascribed to him with certainty, for he dedicated his time chiefly to architecture and to hydrostatics. Ruviale Spagnuolo, Domenico Romano, and Porta della Garfagnana, belong to the school of Salviati. We shall notice the last among the Venetians, among whom he lived. In the treatise of Lomazzo, Romolo Fiorentino is assigned to the same school; the individual conjectured by P. Orlandi to be the Romolo Cincinnato, a Florentine painter, employed by Philip II. of Spain. He is very honourably mentioned by Palomino, together with his sons and
