DOI Page / Citation link:
https://doi.org/10.11588/diglit.63509#0049
GIOVANNI ANTONIO LICINIO,
CAIzLED
REGILLO DA PORDENONE.
HortraiL
DIED 1540. AGED 56*
Pordenone, in Friuli, the birth-place of this painter, gave him the appella-
tion by which he is usually distinguished. That of Licinio he renounced, from
a wish to avoid the recollection of an unnatural brother, who had attempted
his life. On receiving from the emperor the dignity of knighthood, he as-
sumed the name of Regillo.
Stimulated by an ardent desire of realizing the magnificent images of his
luxuriant imagination, he commenced the study of painting with no better ex-
ample than the works of Pellegrino da San Daniello. Improvement bade him
seek a nobler model; and, proceeding to Venice, he found in Giorgione a
friend, who led him to the same pure springs from whence his own abundant
reputation flowed.
The grandeur of Pordenone’s invention usually sought its scope in large
frescoes, of which the best preserved are at Piacenza and Cremona; but he
painted in oil with vigour, richness, and grace.
At Venice, among other paintings, he executed twelve grand pieces of fresco
in the cloister of St. Stefano, which were not long since esteemed among the
chief embellishments of that city. The subjects are from Scripture, and one
of them, David slaying the Giant, was a wonderful specimen of fore-shorten-
ing.f It is said that the jealousy between Titian and this artist had fermented
to such a state of animosity, that Pordenone thought it prudent at the time of
* Ridolfi. According to Vasari 59.
f Picture della Citta di Venezia.
CAIzLED
REGILLO DA PORDENONE.
HortraiL
DIED 1540. AGED 56*
Pordenone, in Friuli, the birth-place of this painter, gave him the appella-
tion by which he is usually distinguished. That of Licinio he renounced, from
a wish to avoid the recollection of an unnatural brother, who had attempted
his life. On receiving from the emperor the dignity of knighthood, he as-
sumed the name of Regillo.
Stimulated by an ardent desire of realizing the magnificent images of his
luxuriant imagination, he commenced the study of painting with no better ex-
ample than the works of Pellegrino da San Daniello. Improvement bade him
seek a nobler model; and, proceeding to Venice, he found in Giorgione a
friend, who led him to the same pure springs from whence his own abundant
reputation flowed.
The grandeur of Pordenone’s invention usually sought its scope in large
frescoes, of which the best preserved are at Piacenza and Cremona; but he
painted in oil with vigour, richness, and grace.
At Venice, among other paintings, he executed twelve grand pieces of fresco
in the cloister of St. Stefano, which were not long since esteemed among the
chief embellishments of that city. The subjects are from Scripture, and one
of them, David slaying the Giant, was a wonderful specimen of fore-shorten-
ing.f It is said that the jealousy between Titian and this artist had fermented
to such a state of animosity, that Pordenone thought it prudent at the time of
* Ridolfi. According to Vasari 59.
f Picture della Citta di Venezia.