DOI Page / Citation link:
https://doi.org/10.11588/diglit.49607#0011
ADVERTISEMENT.
In addition to what has already been said in the Prospectus, we have now
to state the mode of arrangement intended to be adopted in this division of
the Work, which is designed to comprise a series of descriptive catalogues
of the Picture Galleries in these kingdoms, illustrated by small engravings
of the principal pictures contained in them.
Each collection will be divided into schools, and the pictures of the
several schools will be described in chronological order, agreeably to the
periods in which the respective artists flourished. The pictures which
occupy one plate will, in every case, be selected from the same school, and
from the same collection; and in order to prevent this plan of arrangement
from being disconcerted by the intervention of small collections, as well as
to avoid perplexing subdivisions, the Italian painters will be divided into two
great classes, which we shall denominate the Schools of Upper and of
Lower Italy.
To the schools of Lower Italy we are in a more especial manner indebted
for the revival of Painting: this class will therefore occupy the first place in
our Catalogue. It will include the works of the Painters of Florence,
Siena, and every other part of Tuscany; embracing those also of Rome and
Naples. This arrangement is the more appropriate, as these schools are
closely, nay, almost inseparably connected. The chief works of the great
Florentine, Michelangiolo Buonaroti, are at Rome, where the principal
part of his life was spent in the service of a succession of Pontiffs: moreover,
for a century after the death of Raffaele, the style of Michelangiolo was
In addition to what has already been said in the Prospectus, we have now
to state the mode of arrangement intended to be adopted in this division of
the Work, which is designed to comprise a series of descriptive catalogues
of the Picture Galleries in these kingdoms, illustrated by small engravings
of the principal pictures contained in them.
Each collection will be divided into schools, and the pictures of the
several schools will be described in chronological order, agreeably to the
periods in which the respective artists flourished. The pictures which
occupy one plate will, in every case, be selected from the same school, and
from the same collection; and in order to prevent this plan of arrangement
from being disconcerted by the intervention of small collections, as well as
to avoid perplexing subdivisions, the Italian painters will be divided into two
great classes, which we shall denominate the Schools of Upper and of
Lower Italy.
To the schools of Lower Italy we are in a more especial manner indebted
for the revival of Painting: this class will therefore occupy the first place in
our Catalogue. It will include the works of the Painters of Florence,
Siena, and every other part of Tuscany; embracing those also of Rome and
Naples. This arrangement is the more appropriate, as these schools are
closely, nay, almost inseparably connected. The chief works of the great
Florentine, Michelangiolo Buonaroti, are at Rome, where the principal
part of his life was spent in the service of a succession of Pontiffs: moreover,
for a century after the death of Raffaele, the style of Michelangiolo was