GIOVANNI COSTA.
(To THE EDITOR OF THE "SPECTATOR.") Srs,—Your readers may be interested by a few biographical details in regard to one of the most interesting personalities of contemporary Italian art just passed away in the person of Giovanni Costa. Born in Trastevere, the transpontine suburb of Rome, in 1826, he was patriot as well as painter, the first forty-four years of his life having been spent in a Dumasesque melange of fighting, painting, and plotting. It was only alter the events of 1870 and the accomplishment of Italian unity that he gave himself up entirely to his art, although long before this he had done good work in the intervals of peace. He studied under Cammucini, Podesta, and Coghetti, and in Paris gained the praise of both Meissonier and Corot. In 1853 he made the acquaintance of Leighton in Rome, an event which had great influence upon his artistic life. in 1862 he paid his first visit to England, where he met, among other leading painters, Watts and Burne-Jones, and painted landscapes in Warwickshire, Cumberland, and else- where. He cherished a warm admiration for English scenery, saying on one occasion to the present writer that while in Italian landscape the background claims excessive attention, the misty atmosphere of England gives due prominence to the foreground, and in addition allows of far more beautiful tone-effects than does the clear jewel-cut air of Italy. It is after 1870 that the artistic records of Rome become more particularly interwoven with the life of Costa. At that period art was at the lowest ebb. Fortuny and Vertunni were its high priests, and their supremacy was undisputed. Little was attempted save effects of light falling upon steel or glass, or the rendering of satins, lace, and the like, to the exclusion of worthier ideals. Costa set himself with characteristic vigour to combat this state of things. He inaugurated a little exhibition near the Pincio, where he grouped in separate rooms the works of the Fortuny school, of the neo-classicists, and of those seeking "art for art's sake." This attempt at enlightenment met with slight encouragement ; but Costa was not dismayed. Aided by his small band of disciples, he founded various societies to further his aims, and later became the moving spirit in " Arte e Liberth.." This Society, entirely unaided, held exhibitions in Rome, which attracted the fore- most foreign painters, besides many Italians of the purer school. These exhibitions raised a storm of adverse criticism, but their good effect in time became apparent. Costa has exhibited intermittently in the Royal Academy from 1857 onwards, and the exhibition of his works in the Fine Art Society's Galleries established his reputation in this country. One of his paintings was presented to the National Gallery by his English admirers some years ago. Of late years his style altered greatly, showing a curious affinity to that of Lord Leighton. Among the best of his works may be mentioned "In England" (painted in England in 1862), " Bocca d'Arno," and "Eventide among the Carrara Mountains." Socially there were few more attractive figures in Roman life than that of the veteran painter, and the English visitor to his Roman studio bore away with him warm recollections of courteous gentleness and unfailing kindness.—I am, Sir, &c.,
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