of possessing a magnificent corridor with a groined roof passing entirely around it; the point of sight of this work, which displays most beautiful foreshortenings, is in the centre of the nave, and the performance is so fine a one as to astonish all who behold it, seeing that the wood-work, which is indeed level, is made to appear as if it had great depth of recession, an effect which is much heightened by the rich variety of cornices, and festoons, with masks and various figures which enrich the same, and add infinite magnificence to the whole. This production does indeed merit very great praise, as well for its novelty as because it has been executed throughout with extraordinary ingenuity and care.[1]
Now the work above-mentioned pleased the most illustrious Senate of Venice very highly, insomuch that these Signori commissioned the same artists to execute a similar performance in the Library of San Marco,[2] and this, though a smaller one, is a very admirable work for a thing of that kind.
These brothers have lately been invited to paint a magnificent hall in their native city of Brescia, with decorations of similar kind: the building was commenced at a very great cost many years since on the Piazza of the city, and is erected over a vast colonnade, beneath which the citizens have their walk. The hall is sixty-two paces long, by thirty-five broad, and at the highest point its elevation is equal to its width: the building has indeed the appearance of much greater extent, being entirely isolated on all sides, and havingno other chamber or edifice near it In this magnificent hall, therefore, the above-named brothers have produced numerous works to their very great credit: they first arched the roof with strong rafters, bound with clamps of iron, and, having covered it with lead, they formed a coved ceiling, which is an exceedingly rich and handsome work.[3]
- ↑ This work is still in existence, but somewhat faded and obscured.
- ↑ Now no longer a library, but the Palace of the sovereign.— Ed. Flor., 1832-8.
- ↑ These artists survived the account here given many years. Cristofano died in 1576, Stefano in 1572. For details respecting these artists see Ridolfi, Maraviglie dell’Arte; Zamboni, Notizie delle Fabbriche piu celebri di Brescia, &c.; and Lanzi, History of Painting, vol. ii. p. 229, et seq., where their works are very highly praised.
