The History of Painting in Italy. Luigi Lanzi

and are superior to those of Cherubino, who was not so eminent in perspectives. Baglione mentions a Francesco, the son of Durante, who died at Rome. I am uncertain whether he is the Pierfrancesco to whom we attribute the Ascension, in the church of S. Bartholomew at Borgo, with some pictures of no great merit in the church of S. John, and in other places. History mentions also Donato, Girolamo, Cosimo, and Alessandro Alberti, of whom I can collect nothing further.

      The writers of Prato exalt their countryman, Domenico Giuntalocchio, pupil to Soggi, in whose life Vasari mentions Domenico more as an engineer than a painter. He describes him as a correct portrait painter, but so extremely tardy in his works in fresco, that he became tiresome to the Aretini, with whom he for some time dwelt. I cannot point out any genuine picture from his hand; but his memory is still fresh in the minds of his fellow citizens, because, instead of leaving his native place ornamented with his pictures, he left 10,000 crowns as a fund to be appropriated to the education of young artists.

      After the death of Daniel, his scholar and relation Giovanni Paolo Rossetti, retired to Volterra, and, as is attested by Vasari, executed works of great merit in this his native place; among which we may reckon the Deposto, in the church of S. Dalmatius. At a short distance from the city is a place which gave name to Niccolò dalle Pomarance, of the family of Circignani. Vasari describes him as a young man of ability. He neglects to inform us who was his master; but he appears to have been Titi, whom he assisted in the great salon of the Belvidere palace. He grew old in Rome, where he left numerous specimens of the labours of his pencil, which he employed with freedom, and at a good price. He shewed himself greatly superior to the artists of this period, in some of his works, as in the Cupola of S. Pudenziana. Cavalier Roncalli was a native of the same place; there are pictures by them both at Pomarance; where there are also some by Antonio Circignani, the son of the former, an able artist, though little known. All three will again be treated of in the third book.

Pistoia possessed at the same time two scholars of Ricciarelli; Biagio da Cutigliano, noticed by Vasari,[210] and P. Biagio Betti Teatino, a miniature painter, sculptor, and historical painter of merit, whom Baglione represents as constantly employed in the service of the church and convent to which he belonged. Leghorn gave birth to Jacopo Rosignoli, pupil of an unknown master, who lived in Piedmont, where his works must be sought. Baccio Lomi, whose style much resembles that of Zuccaro, remained at Pisa: he owes much of his skill and of his reputation to his two nephews, as we shall afterwards relate. Though unknown beyond the limits of his native country, he must not be passed over in silence. The Assumption, in the residence of the Canons, and some of his other pictures, participate of the hardness of the age, but exhibit very good design and colouring.

      Paolo Guidotti distinguished himself in the neighbouring state of Lucca, as a painter of genius and of spirit, no less than a man of letters, and well grounded in anatomical knowledge; but his taste was not polished and refined. He came to Rome in the distracted times of Gregory and Sixtus, and lived there during the pontificate of Paul V., who created him a knight, and conservator of Rome: he further permitted him to assume the additional name of Borghese, the family name of the pontiff. Many of his paintings in fresco are preserved at Rome, in the Vatican library, in the Apostolic chamber, and in several churches: the artists with whom he was associated, prove that he was reputed a good artist. Several of his pictures are in his native place; and there is a large piece representing the Republic, in the palace. Girolamo Massei pursued a similar track, only confining himself to the art of painting. Baglione, who gave an account of him, introduces him into Rome as an artist, already much commended for his accuracy; to which Taia adds, that he was both a good designer and colourist; so much so as to lead us to distinguish him from the crowd of Gregorian and Sixtine practitioners, in the same way that he was chosen by P. Danti to ornament the chambers of the Vatican; of which more hereafter. He returned to his native place in his old age, not to employ himself anew, but to die in tranquillity among his friends. Benedetto Brandimarte, of Lucca, is mentioned by Orlandi. I saw a decollation of S. John by this artist in the church of S. Peter, at Genoa, which was but a miserable performance; a single production, however, is not sufficient to decide the character of an artist.

      The name of a Pietro Ferabosco is mentioned only by the continuator of Orlandi; he is supposed to have been a native of Lucca, though he is referred to the academy of Rome, where he probably pursued his first studies; I say probably, because the excellence of his colouring in the Titian manner, would lead me rather to include him among the Venetian artists. There are three of his half-length figures, together with his name, and the date of 1616, reported as being in the possession of a gentleman in Portugal; where he resided, most likely, a longer period than in Italy.

We have already noticed some Tuscans who acquired distinction in the inferior branches of painting; such as Veltroni, Constantino de' Servi, Zucchi, and Alberti: Antonio Tempesti, of Florence, a scholar both of Titi and Stradano, was among the first to acquire a celebrated name in Italy for landscapes and for battles. He practised engraving on copper, prepared cartoons for tapestry, and gave scope to his genius in the most fanciful inventions in grotesque and ornamental work. He surpassed his master in spirit, and was inferior to none, not even to the Venetians. In a Letter on Painting by the Marquis Giustiniani,[211] he is adduced as an example of great spirit in design, a gift conferred by nature, and not to be acquired by art. He attempted few things on a large scale, and was not so successful as in small pictures. The Marquis Niccolini, the Order of the Nunziata, and several Florentine families, possess some of his battles painted on alabaster, in which he appears the precursor of Borgognone, who is said to have studied him attentively. He most frequently painted in fresco, as at Caprarola, in the Este Villa at Tivoli, and in many parts of Rome, from the time of Gregory XIII. Most of the historical pictures in the Vatican gallery are the work of his hands; the figures are a palm and a half high, and display astonishing variety and spirit, accompanied by beautiful architecture and landscapes, with every species of decoration. He is not, however, very correct; and his tints are sometimes too much inclined to a brownish hue; but all such faults are pardonable in him, as being occasioned by that pictoric fury which inspired him, that fancy which hurried him from earth, and conducted him through novel and sublime regions, unattempted by the vulgar herd of artists.

[181] "All painters seem to worship him as their great master, prince, and god of design." It is thus Monsig. Claudio Tolomei writes in a letter to Apollonio Filareto, towards the end of the fifth book. Such is the opinion of the artists of the Leonine age, whatever may be the judgment passed in the age of Pius VI.

[182] Baldinucci, tom. ix. p. 35.

[183] He executed a picture of S. Sigismund for the church of S. Lorenzo, at the desire of the noble family of Martelli, which delighted the Duke Cosmo. This picture ought to be removed from the altar, for the tints are fading.

[184] We learn from Pliny, that Filosseno Eretrio, celeritatem præceptoris (Nicomachi) secutus breviores etiamnum quasdam picturæ vias, et compendiarias invenit. (Lib. xxxv. cap. 36.) We perceive, however, from the context, that his pictures were no less perfect on that account; and I believe that those compendious means were more particularly connected with the mechanism of the art.

[185] See Lettere Pittoriche, tom. ii. let. 2.

[186] Bald. tom. ix. p. 35.

[187] See his "Description of the preparations for the marriage of the Prince D. Francesco, of Tuscany." It is inserted in volume xi. of the ed. of Siena, which we frequently allude to.

[188]