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Updated: May 17, 2025
At San Giorgio Maggiore, where there are a Tintoretto and a Veronese, and four horrible swindling big pictures by Romanino, I discovered to my great dismay that I had in my pocket but five soldi, which I offered with much abasement and many apologies to the sacristan; but he received them as if they had been so many napoleons, prayed me not to speak of embarrassment, and declared that his labors in our behalf had been nothing but pleasure.
Brescia and Bergamo remained within the influence of Venice, producing work of nearly first-rate quality in Moretto, Romanino, and Lorenzo Lotto.
The result of this critic's heavy labours is to reduce the certain Giorgiones to thirteen, among which is the S. Rocco altar-piece. With great daring he goes on to say who painted all the others: Sebastian del Piombo this, Andrea Schiavone that, Romanino another, Titian another, and so forth.
This is not the sparkling brilliancy of those Veronese transformed into Venetians Bonifazio Primo and Paolo Caliari; or the gay, stimulating colour-harmony of the Brescian Romanino; or the more violent and self-assertive splendour of Gaudenzio Ferrari; or the mysterious glamour of the poet-painter Dosso Dossi.
From the Chapel of the Annunziata he drove us to the Church of Santa Giustina, where is a very famous and noble picture by Romanino. But as this writing has nothing in the world to do with art, I here dismiss that subject, and with a gross and idle delight follow the sacristan down under the church to the prison of Santa Giustina.
In Brescia, also, there have been, and still are, persons most excellent in the arts of design, and, among others, Girolamo Romanino has executed innumerable works in that city.
Not a bit of it. They come under the head of Giorgionismo. The little ones, according to him, are the work of Anonimo; the larger ones were painted by Romanino. But whether or not Giorgione painted any or all, the irrefutable fact remains that but for his genius and influence they would never have existed. He showed the way. The eyes of that beautiful sad pagan shine wistfully through.
In Brescia there was a man who was able and masterly at working in fresco, called Vincenzio Verchio, who acquired a very great name in his native place by reason of his beautiful works. The same did Girolamo Romanino, a fine master of design, as is clearly demonstrated by the works made by him in Brescia and in the neighbourhood for many miles around.
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