Art in Northern Italy

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1911 Excerpt: ...(1522-1590) was the son of the goldsmith Pietro; he studied under Giulio and thence passed to the studio of Ippolito Costa in Mantua, where he saw and imitated the works of Giulio FIG. 328.--HOLY CONVERSATION. (BOCCACCIO BOCCAC Cino.) Accademia, Venice. (Photo. Alinari.) Romano. He certainly gave proof of good taste when he shook himself free from this influence, and turned both eye and mind to the study of the works of Correggio; but if he succeeded in borrowing some formal elements from this master, he entirely failed to penetrate his spirit. A man of prodigious activity, he worked at an endless number of places in Lombardy and in Emilia. At this period, too, Cremona gave birth to Giuseppe Dattaro, known as Pizzafuoco (1540-1619), an architect of great merit (Fig. 330), and at later dates to Pannlo and to his son Carlo Francesco, of whom we have spoken on p. 181; to Giovanni Angelo Borroni (1684-1772), to his son Vincenzo, and to Francesco Boccaccino (d. 1 750). The exhibition of sacred art held at Cremona in 1899 resulted in making the artists of that city better known to us. These men had been less studied of late than in the past, when Zaist (1774), Grasselli (1827), and Sacchi (1872), were actively occupied in their researches. The exhibition led to fresh discussion and fresh investigation; but before long all was again abandoned, for Cremona is generally neglected both by the studious and by the public, lying apart as it does on the banks of the Po, remote from the main lines of communication. And yet what city can boast of a more beautiful cathedral (Fig. 331), a building in which the vigour of the Romanesque is tempered by the graces of the Renaissance? However, after Milan, the most important city from the artistic Coint of view is, of course, Pav...