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Every day parties of pleasure, every evening magnificent suppers, and every night a great faro bank. The banker at the gaming table was a certain Don Joseph Marratti, the same man whom I had known in the Spanish army under the name of Don Pepe il Cadetto, and a few years afterwards assumed the name of Afflisio, and came to such a bad end.
It is true, there is nothing very captivating in Carlo Marratti; but this proceeded from wants which cannot be completely supplied; that is, want of strength of parts. In this, certainly men are not equal, and a man can bring home wares only in proportion to the capital with which he goes to market.
Every day parties of pleasure, every evening magnificent suppers, and every night a great faro bank. The banker at the gaming table was a certain Don Joseph Marratti, the same man whom I had known in the Spanish army under the name of Don Pepe il Cadetto, and a few years afterwards assumed the name of Afflisio, and came to such a bad end.
Le Seure's first manner resembles very much that of his master Vovet: but as he soon excelled him, so he differed from him in every part of the art. Carlo Marratti succeeded better than those I have first named, and I think owes his superiority to the extension of his views; besides his master Andrea Sacchi, he imitated Raffaelle, Guido, and the Carraches.
Guido was thus meanly copied by Elizabetta Sirani, and Simone Cantarini; Poussin, by Verdier and Cheron; Parmigiano, by Jeronimo Mazzuoli; Paolo Veronese and Iacomo Bassan had for their imitators their brothers and sons; Pietro de Cortona was followed by Ciro Ferri and Romanelli; Rubens, by Jacques Jordans and Diepenbeck; Guercino, by his own family, the Gennari; Carlo Marratti was imitated by Giuseppe Chiari and Pietro da Pietri; and Rembrandt, by Bramer, Eckhout, and Flink.
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