The History of Italian Painting. Luigi Lanzi

to Vasari himself. In the second edition he omitted this censure, either because he repented of it, or was appeased; but did not, however, conceal that she was a perpetual source of misfortune to her husband. He there repeated that Andrea was invited to the French court by Francis I. where, caressed and rewarded, he might have excited the envy of every artist; but influenced by the womanish complaints of Lucrezia, he returned to Florence; and remained in his own country, in violation of his faith solemnly pledged to that monarch. He afterwards repented and was anxious to regain his former situation; but his efforts were ineffectual. He dragged out a miserable existence, amid jealousy and domestic wretchedness, until, infected with the plague, and abandoned by his wife and every other individual, he died, in 1530, in the forty-second year of his age, and had a very mean funeral.

      The two who approximated most nearly to the style of Andrea were Marco Antonio Francia Bigi, as he is named by Baldinucci, called also Franciabigio, or Francia, as Vasari denominates him, and Pontormo. Francia was the scholar of Albertinelli for a few months, and then appears to have formed himself on the best models of the school; and few are commended so highly by Vasari for a knowledge of anatomy, for perspective, for the daily habit of drawing the naked figure, and the exquisite finish of all his performances. One of his Annunciations was formerly in S. Pier Maggiore; the figures were small and highly finished, accompanied by good architecture, but not without a certain degree of dryness. Andrea, his friend, and the associate of his studies, helped him to a more elevated style. From a companion Francia became his enthusiastic follower; but, inferior in talents, he never attained the art of representing such sweetness of disposition, affection so true, and grace so natural. A semicircular piece of his, representing the Marriage of the Virgin, may be seen near the works of Andrea, in the cloister of the Nunziata, where we recognize him as a painter who sought to attain by labour what the other accomplished by genius. This work was never completed. Some of the monks having uncovered it before it was finished, the artist was so offended that he struck the work some blows with a hammer, in order to deface it; and though they prevented his accomplishing this, he never after could be prevailed on to complete it, and no other dared to undertake the task. He was a competitor with Andrea also in the Scalzo, where he executed two histories that are not much eclipsed by the pictures in their vicinity. He imitated his friend likewise at Poggio a Caiano, in a picture of the return of Cicero from exile: a work of merit, though never finished. It is the great glory of his pencil, that it was so often employed in contending with Andrea, in whom it awakened emulation and industry, from the fear of being surpassed.

      Jacopo Carrucci, called Pontormo, from the place of his nativity, was a man of rare genius, whose early productions obtained the admiration of Raffaello and Michelangiolo. He got a few lessons from Vinci, and was afterwards under the care of Albertinelli, and Pier di Cosimo, but he finally became the pupil of Andrea. He excited the jealousy of this master, was induced by unhandsome treatment to withdraw from his school, and afterwards became not only the imitator of Andrea, but his rival in many undertakings. The Visitation in the cloister of the Servi, the picture of several saints at S. Michelino, the two pictures of the History of Joseph, represented in minute figures, in an apartment of the ducal gallery, shew that he trod without difficulty in the footsteps of his master, and that congeniality of talent led him into a similar path. I use the term similar; for he is not a copyist, like those who borrow heads or whole figures, but invariably retains a peculiar originality. I saw one of his Holy Families in the possession of the Marquis Cerbone Pucci, along with others by Baccio, by Rosso, and Andrea: the picture by Pontormo vied with them all; but yet was sufficiently characteristic.

      He had a certain singularity of disposition, and readily abandoned one style to try a better; but he was often unsuccessful; as likewise happened to Nappi, of Milan; to Sacchi, of Rome; and to every other artist who has made this attempt, at an age too far advanced for a change of manner. The Carthusian Monastery at Florence has some of his works, from which connoisseurs have inferred the three styles attributed to him. The first is correct in design, vigorous in colouring, and approaches the manner of Andrea. In the second the drawing is good, but the colouring somewhat languid; and this style became the model for Bronzino and the artists of the succeeding epoch. The third is a close imitation of Albert Durer, not only in the composition but in the heads and draperies; a manner certainly unworthy of so promising an outset. It is difficult to find specimens of Pontormo in this style, except some histories of the Passion, which he servilely copied from the prints of Albert Durer, for the cloister of that monastery, where he trifled away several years. We might perhaps notice a fourth manner, if the Deluge and Last Judgment, on which he spent eleven years at S. Lorenzo, had still existed: but this his last performance, with the tacit consent of every artist, was whitewashed. Here he attempted to imitate Michelangiolo, and like him to afford a model of the anatomical style, which at this time began to be extolled at Florence above every other: but he taught us a different lesson, and only succeeded in demonstrating that an old man ought not to become the votary of fashion.

      Andrea pursued the custom of Raffaello and other artists of that age, in conducting his works with the assistance of painters experienced in his style, whether they were friends or scholars; a remark not useless to those who may trace in his pictures the labours of another pencil. It is known that he gave Pontormo some pieces to finish, and that he retained one Jacone, and a Domenico Puligo; two individuals who possessed a natural turn for painting, ready and willing to try every species of imitation, and more desirous of recreation than of fame. The façade of the Buondelmonte Palace, at S. Trinità, by the former, was highly extolled. It was in chiaroscuro; the drawing, in which department he excelled, was very beautiful, and the whole conducted in the manner of Andrea. He also executed some oil pictures at Cortona, which are much commended by Vasari. Domenico Puligo was less skilled in design than in colouring: his tints were sweet, harmonious, and clear, but he apparently aimed at covering the outline, to relieve him from the necessity of perfect accuracy. By this mark he is sometimes recognized in Madonnas and in cabinet pictures, (his usual occupation) which having been perhaps designed by Andrea, at first sight pass for the work of that master. Domenico Conti was likewise very intimate with Andrea, was his scholar and the heir to his drawings; and that great artist was honoured with a tomb and epitaph designed by Conti, in the vicinity of his own immortal works in the Nunziata. Excepting this circumstance, Vasari notices nothing praiseworthy in Conti, and therefore I shall take no more notice of him. He gives a more favourable opinion of Pierfrancesco di Jacopo di Sandro, on account of his three pictures in the church of S. Spirito. He makes honourable mention of two other artists, who lived long in France, viz. Nannoccio and Andrea Squazzella, who always retained a similarity to the style of Andrea del Sarto. It is not our present business to notice those who abandoned it; for in this work it is my wish to keep sight rather of the different styles than of the masters.

      The fine copies that so often pass for originals, in Florence and other places, are chiefly the work of the above mentioned artists; nor does it seem credible that Andrea copied so closely his own inventions, and reduced them with his own hand from the great scale to small dimensions. I have seen one of his Holy Families, in which S. Elizabeth appears, in ten or twelve collections; and other pictures in three or four private houses. I found the S. Lorenzo surrounded by other saints, at the Pitti Palace, in the Albani gallery; the Visitation, in the Giustiniani palace; the Birth of our Lady, in the convent of the Servi, in the possession of Sig. Pirri, at Rome: all these are beautiful little pictures, all on small panels, all of the old school, and all believed the work of Andrea. It seems to me not improbable that the best of these were at least painted in his studio, and retouched by him, a practice adopted by Tiziano, and even by Raffaello.

Rosso, who contended in the cloisters of the Nunziata, with the best masters, and who appears in his Assumption to have aimed at a work not so much superior in beauty as in size to the productions of the other artists, is among the greatest painters of his school. Endowed with a creative fancy, he disdained to follow any of his countrymen or strangers; and indeed one recognizes much originality in his style: his heads are more spirited, his head dresses and ornaments are more tasteful, his colouring more lively, his distribution of light and shade broader, and his pencilling more firm and free, than had been hitherto seen in Florence. He appears in short to have introduced into that school a peculiar spirit, that would have been unexceptionable, had it not been mingled with something of extravagance. Thus, in the Transfiguration at Città di Castello, instead of the Apostles he introduced