fresh artists, which I have either collected from ancient MSS.[13] and the correspondence of my learned friends, or deciphered on old paintings. Although such pictures are confined to cabinets, it cannot prove useless to extend a more intimate acquaintance with their authors. The reader will also meet with many new observations on the origin of painting, and on its diffusion in Italy, formerly a fruitful subject of debate and contention; and likewise here and there with some original reflections on the masters, to whom various disciples may be traced; a branch of history, the most uncertain of any. Old writers of respectability often mention Raffaello, Correggio, or some other celebrated artist, as the master of a painter, without any better foundation than a similarity of style; just as the credulous heathens imagined one hero to be the son of Hercules, because he was strong; another of Mercury, because he was ingenious; a third of Neptune, because he had performed several long voyages. Errors like these are easily corrected when they are accompanied by some inadvertency in the writer; as for instance, where he has not been aware that the age of the disciple does not correspond with that of his supposed master. Occasionally, however, their detection is attended with more difficulty; and in particular when the artist, whose reputation is wholly founded upon that of his master, represented himself in foreign parts, as the disciple of men of celebrity, whom he scarcely knew by sight. Of this we have an example in Agostino Tassi, and more recently in certain soidisant disciples of Mengs; to whom it scarcely appears that he ever so much as said, "Gentlemen, how do you do?"

Finally, the reader will find some less obvious notices relating to the name, the country, and the age of different artists. The deficiency of our Dictionaries in interesting names, together with their inaccuracy, are common subjects of complaint. I can excuse the compilers of these works; I know how easily we may be misled in regard to names which have been often gathered from vulgar report, or even from authors who differ in point of orthography, some giving opposite readings of the same name. But it is quite necessary that such mistakes should once for all be cleared up. The index of this work will form a new Dictionary of Painters, certainly more copious, and perhaps more accurate than usual, although it might be still further improved, especially by consulting archives and manuscripts.[14]

The second object which I had in view was to advance the interests of the art as much as lay in my power. It was of old observed that examples have a more powerful influence on the arts than any precepts can possess; and this is particularly true in respect to painting. Whoever writes history upon the model of the learned ancients, ought not only to narrate events, but to investigate their secret sources and their causes. Now these will be here developed, tracing the progress of painting as it advanced or declined in each school; and these causes being invariable, point out the means of its improvement, by shewing what ought to be pursued and what avoided. Such observations are not of importance to the artist alone, but have a reference also to other individuals. In the Roman school, during its second epoch, I perceive that the progress of the arts invariably depends on certain principles universally adopted in that age, according to which artists worked, and the public decided. A general history, by pointing out the best maxims of art, may contribute considerably to make them known and regarded; and hence artists can execute, and others approve or direct, on principles no longer uncertain and questionable, nor deduced from the manner of a particular school, but founded on maxims unerring and established, and strengthened by the uniform practice of all schools and all ages. We may add, that in a history so diversified, numerous examples occur suited to the genius of different students, who have often to lament their want of success from this circumstance alone, that they had neglected to follow the path in which nature had destined them to tread. On the influence of examples I shall add no more: should any one be desirous also of precepts under every school, he will find them given, not indeed by me, but by those who have written more ably on the art, and whom I have diligently consulted with regard to different masters, as I shall hereafter mention.

My third object was to facilitate an acquaintance with the various styles of painting. The artist or amateur indeed, who has studied the manner of all ages and of every school, on meeting with a picture can very readily assign it, if not to a particular master, at least to a certain style, much as antiquarians, from a consideration of the paper and the characters, are enabled to assign a manuscript to a particular era; or as critics conjecture the age and place in which an anonymous author flourished, from his phraseology. With similar lights we proceed to investigate the school and era of artists; and by a diligent examination of prints, drawings, and other relics belonging to the period, we at length determine the real author. Much of the uncertainty, with regard to pictures, arises from a similitude between the style of different masters: these I collect together under one head, and remark in what one differs from the other. Ambiguity often arises from comparing different works of the same painter, when the style of some of them does not seem to accord with his general manner, nor with the great reputation he may have acquired. On account of such uncertainty, I usually point out the master of each artist, because all at the outset imitate the example offered by their teachers; and I, moreover, note the style formed, and adhered to by each, or abandoned for another manner; I sometimes mark the age in which he lived, and his greater or less assiduity in his profession. By an attentive consideration of such circumstances, we may avoid pronouncing a picture spurious, which may have been painted in old age, or negligently executed. Who, for instance, would receive as genuine all the pictures of Guido, were it not known that he sometimes affected the style of Caracci, of Calvart, or of Caravaggio; and at other times pursued a manner of his own, in which, however, he was often very unequal, as he is known to have painted three or four different pieces in a single day? Who would suppose that the works of Giordano were the production of the same artist, if it were not known that he aspired to diversify his style, by adopting the manner of various ancient artists? These are indeed well known facts, but how many are there yet unnoted that are not unworthy of being related, if we wish to avoid falling into error? Such will be found noticed in my work, among other anecdotes of the various masters, and the different styles.

I am aware that to become critically acquainted with the diversity of styles is not the ultimate object to which the travels and the eager solicitude of the connoisseur aspire. His object is to make himself familiar with the handling of the most celebrated masters, and to distinguish copies from originals. Happy should I be, could I promise to accomplish so much! Even they might consider themselves fortunate, who dedicate their lives to