To these improvements he invariably contributed, both in notes and text, at every subsequent edition, a number of which appeared in the course of a few years, until the work attained a degree of completeness and correctness seldom bestowed upon labours of such incredible difficulty and extent. The last which received the correction and additions of the author was published at Bassano, in the year 1809.
That a work upon such a scale was a great desideratum, no less to Italy than to the general world of art, would appear evident from the character of the various histories and accounts of painting which had preceded it. They are rather valuable as records, than as real criticism or history; as annals of particular characters and productions derived from contemporary observation, than as sound and enlightened views, and a dispassionate estimate of individual merits. Full of errors, idle prejudices, and discussions foreign to the subject, a large portion of their pages is taken up in vapid conceits, personal accusations, and puerile reasoning, destitute of method.
The work of Lanzi, on the other hand, as it is well remarked by the Cav. Boni, observes throughout the precept of the serie et junctura of Horace. It brings into full light the leading professors of the art, exhibits at due distance those of the second class, and only glances at mediocrity and inferiority of character, insomuch as to fill up the great pictoric canvas with its just lights and shades. The true causes of the decline and revival of the art at certain epochs are pointed out, with those that contribute to preserve the fine arts in their happiest lustre; in which, recourse to examples more than to precepts is strongly recommended. The best rules are unfolded for facilitating the study of different manners, some of which are known to bear a resemblance, though by different hands, and others are opposed to each other, although adopted by the same artist; a species of knowledge highly useful at a period when the best productions are eagerly sought after at a high rate. It is a history, in short, worthy of being placed at the side of that on the Literature of Italy by Tiraboschi, who having touched upon the fine arts at the outset of his labours, often urged his ancient friend and colleague to dilate upon a subject in every way so flattering to the genius of Italy; to Italy which, however rivalled by other nations in science and in literature, stands triumphant and alone in its creative mind of art.
It is, however, difficult to convey a just idea of a work composed upon so enlarged and complete a scale; which embraces a period of about six centuries, and fourteen Italian schools, but treated with such rapidity and precision, as to form in itself a compendium of whatever we meet with in so many volumes of guides, catalogues, descriptions of churches and palaces, and in so many lives of artists throughout the whole of Italy. (pp. 130–1.)
It is known that Richardson expressed a wish that some historian would collect these scattered accounts relating to the art of painting, at the same time noting down its progress and decline in every age, a desideratum which Mengs in part supplied in one of his letters, briefly marking down all the respective eras. Upon this plan, as far as regarded Venetian painting, Zanetti had partially proceeded; but the general survey, in its perfect form, of the whole of the other schools, was destined to be completed by the genius of Lanzi. Here he first gives the general character of each, distinguishing its particular epochs, according to the alterations in taste which it underwent. A few artists of distinguished reputation, whose influence gave a new impulse and new laws to the art, stand at the head of each era, which they may be said to have produced, with a full description of their style. To these great masters, their respective pupils are annexed, with the progress of their school, referring to such as may have more or less added to, or altered the manner of their prototype. For the sake of greater perspicuity, the painters of history are kept distinct from the artists in inferior branches; among whom are classed portrait and landscape painters, those of animals, of flowers, of fruits, &c. Nor are such as bear an affinity to the art, like engraving, inlaying, mosaic work, and embroidery, wholly excluded. Being doubtful whether he should make mention of those artists who belong neither to the senatorial, the equestrian, nor the popular order of the pictorial republic, and have no public representation, such as the names of mediocrity; Lanzi finally decided to introduce them among their superiors, like third-rate actors, whose figures may just be seen, in order to preserve the entireness of the story. To this he was farther induced by the general appearance of their names in the various dictionaries, guides, and descriptions of cities and of galleries; and by the example of Homer, Cicero, and most great writers; Homer himself commemorating, along with the wise and brave also the less valiant—the fools and the cowards. (Elogio, pp. 129, 130, 131.)
After having resided during a considerable period at Bassano, occupied in the superintendence of the first edition of his great work, Lanzi found himself compelled to retire to Udine, in 1796, from the more immediate scene of war; a war which subsequently involved other cities of Italy in its career. From Udine he shortly returned to Florence, where he again resumed his former avocations in the ducal gallery, about the period of the commencement of the Bourbon government.
Lanzi's next literary undertaking was three Dissertations upon Ancient painted Vases, commonly called Etruscan; and he subsequently published a very excellent and pleasing work, entitled, Aloisii Lanzii Inscriptionum et Carminum Libri Tres: works which obtained for him the favourable notice of the Bourbon court. Nor was he less distinguished by that of the new French dynasty, which shortly obtained the ascendancy throughout all Italy, as well as at Florence, and by which Lanzi was appointed President of the Cruscan Academy.
Among Lanzi's latest productions may be classed his edition and translations of Hesiod; entitled I Lavori, e le Giornate di Esiodo Ascreo opera con L. Codici riscontrata, emendata la versione latina, aggiuntavi l'Italiana in Terze Rime con annotazioni. In this he had been engaged as far back as the year 1785, and it had been then announced in a beautiful edition of Hesiod, translated into Latin by Count Zamagua.
The list will here close with his Opere Sacre, sacred treatises, produced on a variety of occasions, and on a variety of spiritual subjects. One of these was upon the Holy Sacrament, entitled, Il divoto del SS. Sacramento istruito nella pratica di tal devozione. In truth, Lanzi was a good Christian, and may be ranked in the number of that great and honoured band of Christian philosophers, who like Newton, Locke, and Paley, have triumphantly opposed the whole strength of their mighty intellect, and vast reach of their reasoning powers to the specious and witty, but less powerful and argumentative genius of Gibbon, of Hume, and of Voltaire. Nor was the conviction of these great truths in the mind of Lanzi the result of sickness and misfortunes, or sombre reflections in the decline of life. Great as was the reputation he had acquired by his valuable labours, he was often known sincerely to declare, among his private friends, that he would willingly renounce all kind of literary honours for the pleasure of being assured, that his sacred works had in any degree promoted the cause of Christianity.
Shortly after the last edition of the History now before us, which he had personally superintended, though at a very advanced age, in the year 1809, at Bassano, Lanzi's health began rapidly to decline, and he prepared with perfect composure to meet the termination of his earthly career. He had already attained his seventy-eighth year; but his mind preserved its usual tone and vigour, though he could