A history of with a preface by Frank Brangwyn . e Marieschi, and Gasparo Diziani. The collapse of the Republic now brought the art ofVenice down with a crash. With the Republic passedalso the splendid patrons who had kept alive the colour-creators of Venice. Raphael Mengs brought his new Eclecticism into theland, from across the Alps. Pompeo Battoni made aneffort to catch the new movement, and fairly well succeededin his altar-piece of the Fall of Simon Magus in S. Mariadegli Angeli at Rome. The French Revolution broughtDavid into the leadership of the art fashions ; and theItalian
A history of with a preface by Frank Brangwyn . e Marieschi, and Gasparo Diziani. The collapse of the Republic now brought the art ofVenice down with a crash. With the Republic passedalso the splendid patrons who had kept alive the colour-creators of Venice. Raphael Mengs brought his new Eclecticism into theland, from across the Alps. Pompeo Battoni made aneffort to catch the new movement, and fairly well succeededin his altar-piece of the Fall of Simon Magus in S. Mariadegli Angeli at Rome. The French Revolution broughtDavid into the leadership of the art fashions ; and theItalians tried to follow. About the best of them wasPietro Benvenuti of Perugia, with his Judith displaying theHead of Holofernes to the assembled People in the Duomo ofArezzo, and his Pyrrhus killing Priam after the taking ofTroy at the Corsini in Rome. Andrea Appiani is also 78 VIII GUARDI1712-1793 BAROQUE PAINTERS OF VENICE VIEW IN VENICE (National Gallery) Painted in oil on canvas. 1 ft. 2\ in. h. x 1 ft. 9 in. w. (o*36xo532) PAINTING IN SPAIN VOL. Ill L 8 I. OF PAINTING perhaps to be taken seriously, and Vincenzio Cammuccini. WHEREINBut it was a thoroughly false art, steeped in the decay that WE TURNis in all academic vision. ASIDE It is to-day, since Italy has won to liberty and become AWHILEa nation, that Italian art shows signs of becoming a part of the ^KOM OUREuropean achievement, and of creating again with high |xjTnoPA1Njendeavour the utterance of the emotional communion of ^q yTci-rlife which is Art—content to bury her great dead, to turn VENICEher inquisitive vision to life instead of to the paintings ofan age that has gone—self-reliant, and concerned only withthe realities. 79 CHAPTER VII OF THE SIGNIFICANCE OF SPAIN It is the habit of writers on art to begin a dissertation on the OF THE achievement of Spain and of Holland with a trite common- SIGNIFI- place that these are the mirror of the national life and CANCE OF character. It is quite true. But all living art i
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