The History of Italian Painting. Luigi Lanzi

view. Another collection, of which I have spoken in my description of the tenth cabinet of the royal gallery, is better preserved, and indeed is quite perfect. It now occupies another apartment. It consists of thirty-four fabulous and historical pictures, painted on the panels of a writing desk for Prince Francesco,[205] by various artists of this epoch. Vasari, to whom the work was entrusted, there represented Andromeda delivered by Perseus, and procured the assistance of the academicians, who thus emulated each other, and strove to recommend themselves to the court. Most of them have put their names to their work;[206] and, if the defects common to that age, or peculiar to the individual, are here and there visible in the work, it demonstrates that the light of painting was not yet extinguished in Florence. Nevertheless, I advise him who examines this collection, to suspend his judgment on the merits of those artists until he has considered their other productions in their own country or at Rome, where some of them have a place in the choicest collections. They may be divided in several schools: we shall begin with that of Angiolo.

      Alessandro Allori, the nephew and pupil of Bronzino, whose surname he sometimes inscribed on his pictures, is reckoned inferior to his uncle. Wholly intent upon anatomy, of which he gave fine examples in the Tribune of the Servi, and on which he composed a treatise for the use of painters, he did not sufficiently attend to the other branches of the art. Some of his pictures in Rome, representing horses, are beautiful; and his sacrifice of Isaac, in the royal museum, is coloured almost in the Flemish style. His power of expression is manifested by his picture of the Woman taken in Adultery in the church of the Holy Spirit. He was expert in portrait painting; but he abused this talent by introducing portraits in the modern costume in ancient histories, a fault not uncommon in that age. On the whole his genius appears to have been equal to every branch of painting; but it was unequally exercised, and consequently unequally expanded. He painted much for foreigners, and enjoyed the esteem of the ducal family, who employed him to finish the pictures at Poggio a Caiano, begun by Andrea del Sarto, Franciabigio, and Pontormo, and by them left more or less imperfect. Opposite to these pictures he painted, from his own invention, the Gardens of the Hesperides, the Feast of Syphax, and Titus Flaminius dissuading the Etolians from the Achæan league; all which historical subjects, as well as those of Cæsar and Cicero, were chosen as symbols of similar events in the lives of Cosmo and Lorenzo de' Medici. Such was the manner of thinking in that age; and moderns personified in ancient heroes obtained a less direct, but higher honour from the art. Giovanni Bizzelli, a disciple of Alessandro, of middling talents, painted in S. Gio. Decollato, at Rome, and in some Florentine churches. Cristofano, a son of Alessandro, became eminent; but he is to be considered hereafter.

      Santi Titi, of Città San Sepolcro, a scholar of Bronzino and Cellini, studied long at Rome, whence he returned, with a style full of science and of grace. His beautiful is without much of the ideal; but his countenances exhibit a certain fulness, an appearance of freshness and of health, that is surpassed by none of those who took nature for their model. Design was his characteristic excellence; and for this he was commended by his imitator, Salvator Rosa. In expression he has few superiors in other schools, and none in his own. His ornaments are judicious; and having practised architecture with applause, he introduced perspectives, that gave a dignity and charm to his compositions. He is esteemed the best painter of this epoch, and belongs to it rather from the time in which he lived than his style; if we except his colouring, which was too feeble, and without much relief. Borghini, at once his critic and apologist, remarks that even in this department he was not deficient, when he chose to exert himself; and he seems to have studied it in the Feast of Emmaus, in the church of the Holy Cross at Florence, in the Resurrection of Lazarus, in the cathedral of Volterra, and in a picture at Città di Castello, in which he represents the faithful receiving the Holy Spirit from the hands of the Apostles; a painting that may be viewed with pleasure, even after the three by Raffaello which adorn that city.

      Among his numerous pupils in design, we may reckon his son Tiberio; but this artist attended less to the pursuits of his father, than to painting small portraits in vermilion, in which he had singular merit; these were readily received into the collection formed by Cardinal Leopold, which now forms a single cabinet in the royal museum. Two other Florentines are worthy of notice, viz. Agostino Ciampelli, who flourished in Rome under Clement VIII.; and Lodovico Buti, who remained at Florence. They resemble twins by the similarity between them; less scientific, less inventive, and less able in composition, than Titi, they possessed fine ideas, were correct in design, and cheerful in their colouring, beyond the usage of the Florentine school; but they were somewhat crude, and at times profuse in the use of red tints not sufficiently harmonized. Frescos by the first may be seen in the Sacristy at Rome, and the chapel of S. Andrea al Gesù, and an oil painting of the Crucifixion at S. Prassede, in his best manner. A Visitation, with its two companions, at S. Stephen of Pescia, may be reckoned among his choicest works; to which the vicinity of Tiarini does little injury. The second may be recognised by a picture of the miracle of the loaves and fishes, abounding in figures, which is in the royal gallery. Baccio Ciarpi, a pupil of the same school, is celebrated as the master of Berrettini, and deserves to be commended for his diligence and correctness. He was thought worthy of being employed at La Concezione at Rome, a most splendid gallery, painted by the greatest artists of that age. A portrait of one Andrea Boscoli, his pupil and imitator, remains in the royal museum of Florence, and many of his paintings with horses are dispersed through the city. He travelled into different parts, leaving various specimens of his art in different countries, at S. Ginesio, at Fabriano, and other places in the district of Piceno. His largest work is a S. John the Baptist in the attitude of prayer, at the Teresiani of Rimino; a picture that shews invention, but it was unknown to Baldinucci, who compiled anecdotes of this artist. Constantino de' Servi is conjectured by Baldinucci to be a scholar of Titi. He is well known to have been originally his imitator, and having gone into Germany, there adopted the style of Pourbus. In foreign countries he seems to have painted few portraits, a branch in which he had greater merit than employment. His celebrity was greater as a master architect and engraver of gems, as we shall notice in a subsequent epoch. In closing the account of the school of Santi, it may be proper to observe, that his example reclaimed a great proportion of the succeeding generation, and inclined artists to mitigate the severity of the style of Michelangiolo, by introducing more grace in the contours, and a better taste in the heads.

      Batista Naldini holds the third rank among the scholars of Bronzino. He was first the pupil of Pontormo, afterwards of Bronzino, and having resided some time at Rome, he was chosen by Vasari as the companion of his labours in the old palace, and retained by him about fourteen years. The historian makes honourable mention of Naldini, even when a young man, and denominates him a painter skilful and vigorous, expeditious and indefatigable. Naldini obtained similar praise in Rome from Baglione, especially for the chapel of John the Baptist, at Trinità de' Monti, which he painted with the history of the saint. He painted many pictures in his native city, some of which, as the taking down from the Cross, and the Purification of the Virgin, are commended by Borghini for the colouring and the design, for the disposition, the perspective, and the attitudes. The defects observable in most of his pictures are, that the knees are rather too much swollen, the eyes too open, and marked with a certain fierceness, by which he may be generally recognized; his colouring is also characteristic, and those changeable hues in which he delighted more than any other artist of the age.

      He taught according to the method then pursued by most masters, which was to employ his scholars in designing after the chalk drawings of Michelangiolo, and to give them his own finished pictures to copy; for, like bees, artists were exceedingly anxious to work in secret, and ready to wound all who overlooked them. Baldinucci has recorded several instances of this peculiarity. From these circumstances the fault of the scholars of Naldini was stiffness, the common failing of that age; they had little of that free touch and taste in colouring which he possessed, but yet they deserve to be recorded. Giovanni Balducci, called also Cosci, from the surname of his maternal uncle, was long his assistant. His Last Supper in the cathedral, the Finding of the Cross at the Crocetta, his historical compositions in the cloister of the Domecans at Florence, and in S. Prassede at Rome, prove his genius to have been more refined than that of his master. To second the latter, he now and then, perhaps, went beyond his province, and to some, his attitudes at times appear