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Lanzi writes of it that, imperfect as it is, it may be regarded as a true lesson in art, and bears the same relation to painting as the clay model to the finished statue, the genius of the inventor being impressed upon it. Messrs.
The style of Guercino displays a strong contrast of light and shadow, both exceedingly bold, yet mingled with great sweetness and harmony, and a powerful effect in relief, a branch of art so much admired by professors. "Hence," says Lanzi, "some foreigners bestowed upon him the title of the Magician of Italian painting, for in him were renewed those celebrated illusions of antiquity.
The unfinished marble figures so unworthily housed in the stupid rock-work grotto of the Boboli Gardens, Florence, may have been for the Tomb, although their measurements do not agree with the Slaves of the Louvre. How well these superlative fragments would look in the corners of the Loggia dei Lanzi, or in the courtyard of the Bargello.
In the square, where the spring sun scattered its yellow roses, the bells at noon dispersed the rustic crowd of grain-merchants assembled to sell their wares. At the foot of the Lanzi, before the statues, the venders of ices had placed, on tables covered with red cotton, small castles bearing the inscription: 'Bibite ghiacciate'. And joy descended from heaven to earth.
On one occasion he commenced and finished three portraits, on canvass, of three-quarters size, with heads as large as life, from sun-rise to sun-set, on a summer's day. Lanzi warns all artists, especially the youthful aspirant, not to imitate such expedition, as they value their reputation. Was the son of the preceding, and born at Amsterdam in 1644.
He early showed a passion for the art, which was carefully cultivated by his parents. Lanzi says in a note, that it is pretty clearly ascertained that he received his first instruction from Antonio Rossi, a painter of Cadore; if so, it was at a very tender age, for when he was ten years old he was sent to Trevigi, and placed under Sebastiano Zuccati.
The cheeks of the Virgin and those of the Child are of a bright vermilion which the old master, from a naive preference for clear definitions, has placed on each face in two circumferences as exact as if they had been traced out by a pair of compasses. A learned critic of the eighteenth century, the Abbe Lanzi, has treated Margaritone's works with profound disdain.
From the sporidia, the Italian physicians, Lanzi and Perrigi, in the course of their attempts at its cultivation, have seen produced the Monilia penicinata friesii, which is, consequently, the second generation of the Limnophysalis hyalina, in which alternate generation takes place, admitting that their observations may be verified. The sporangia are never spherical, but always flat.
On the right the gracious beauty of the Loggia de' Lanzi; then before you the lofty, fierce old Palazzo Vecchio; and beside it the fountains play in the farther Piazza. Cosimo I rides by as though into Siena, while behind him rises the palace of the Uguccioni, which Folfi made; and beside you the Calzaioli ebbs and flows with its noisy life, as of old the busiest street of the city.
Vasari also says that Giovanni Bellini obtained the art surreptitiously from Messina, by disguising himself and sitting for his portrait, thus gaining an opportunity to observe his method of operating; but Lanzi has shown that Messina made the method public on receiving a pension from the Venetian Senate.
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