DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.18734#0135
S C H 127
The Venetian fchool, unequal in purity of defign to
the Roman, becaufe not favoured with fuch excellent
inftrudlors, applied itfelf to the more captivating graces
of colouring, and its dependent principles ; nor was its
labour without fuccefs ; the abilities of TitiAN, Pau-
lo Veronese, &c. have fecured its reputation.
Corregio, as chief of the Lombard School, fuc-
ceeded wonderfully in colouring, in breadth, and great-
nefs of manner ; but, being equally with Venice, des-
titute of capital antiques, the Lombard School has
little to boaft of in defign.
The Flemifh, and German Schools, never propofed to
themfelves (like the Roman) to furpafs nature, to add
new beauties, to omit, or conceal actual blemifhes, but
confining their excellence to fidelity. They fucceeded
indeed in that, to the prejudice of other no lefs impor-
tant branches of art. If the perfon, for inftance, who
ferved for a model of Venus or Juno, was herfelf
beautiful, the goddefs was a gainer by her beauty,
and appeared in correfpondent charms ; if, on the con-
trary, the model was unamiable, fo much the worfe for
the goddefs, who fufFered correfpondent injuftice. To
this exact and faithful imitation of nature, they owe
neverthelefs, that truth and vigour of colouring, and that
union of effect, for which their productions are ex-
amples to painters of other nations j whofe imitations
are hitherto unequal.
The works of the French School, correfpondent to
the genius of the nation, poffefs vivacity and lightnefs :
Compofitions lively and animated, brilliant, not folidj
fparkling, not rich ; and fluttering, rather than elegant.
The
The Venetian fchool, unequal in purity of defign to
the Roman, becaufe not favoured with fuch excellent
inftrudlors, applied itfelf to the more captivating graces
of colouring, and its dependent principles ; nor was its
labour without fuccefs ; the abilities of TitiAN, Pau-
lo Veronese, &c. have fecured its reputation.
Corregio, as chief of the Lombard School, fuc-
ceeded wonderfully in colouring, in breadth, and great-
nefs of manner ; but, being equally with Venice, des-
titute of capital antiques, the Lombard School has
little to boaft of in defign.
The Flemifh, and German Schools, never propofed to
themfelves (like the Roman) to furpafs nature, to add
new beauties, to omit, or conceal actual blemifhes, but
confining their excellence to fidelity. They fucceeded
indeed in that, to the prejudice of other no lefs impor-
tant branches of art. If the perfon, for inftance, who
ferved for a model of Venus or Juno, was herfelf
beautiful, the goddefs was a gainer by her beauty,
and appeared in correfpondent charms ; if, on the con-
trary, the model was unamiable, fo much the worfe for
the goddefs, who fufFered correfpondent injuftice. To
this exact and faithful imitation of nature, they owe
neverthelefs, that truth and vigour of colouring, and that
union of effect, for which their productions are ex-
amples to painters of other nations j whofe imitations
are hitherto unequal.
The works of the French School, correfpondent to
the genius of the nation, poffefs vivacity and lightnefs :
Compofitions lively and animated, brilliant, not folidj
fparkling, not rich ; and fluttering, rather than elegant.
The