The History of Italian Painting. Luigi Lanzi

the singular novelty of female angels; if we may ascribe this to him, and not to the Cavalier d'Arpino or Alessandro Allori, as some are inclined to do. But whatever exertions he made (if we may so express it) to discredit himself, he did not succeed. His spirit is greatly superior to the conceits of other artists; and his performances at Florence, in which he bridled his eccentricities, prove that he knew more than he was ambitious to shew. Among these we may notice his Flight into Egypt in the royal academy, some semicircular pieces in the church of All Saints, the Expulsion of the Sciences from Greece, of the Pitti palace, in which the blind Homer appears groping his way with great nature, as he is exiled from his native land. It is related of Pietro di Cortona, that on seeing some one of the works of Giovanni, which did him no credit, he did not therefore condemn him; but, pointing to the piece, only observed, "Giovanni painted that when he was already conscious of being a great man." His pictures on panel and on canvass are less admired, nor are they always exempt from crudity. He had a son called Gio. Garzia, who produced several fresco works at Pistoia, tolerably well executed.

      Baldassare Franceschini, surnamed Volterrano, from the place of his nativity, and also the younger Volterrano, to distinguish him from Ricciarelli, seemed to have been formed by nature to adorn cupolas, temples, and magnificent halls, a style of work in which he is more conspicuous than in painting cabinet pictures. The cupola and nave of the Niccolini chapel, in the church of the Holy Cross, is his happiest effort in this way; and surprises even an admirer of Lanfranco. That of the Nunziata is most beautiful; and we must not omit the ceiling of a chapel in S. Maria Maggiore, where Elias appears so admirably foreshortened, that it calls to mind the S. Rocco of Tintoretto, by the optical illusion occasioned by it. His talents excited the envy of Giovanni da S. Giovanni, who having engaged him as his assistant in the decoration of the Pitti palace, speedily dismissed him. His spirit is tempered by judgment and propriety; his Tuscan design is varied and ennobled by an imitation of other schools; to visit which, he was sent to travel for some months by his noble patrons of the house of Niccolini. He derived great advantages from studying the schools of Parma and of Bologna. He knew Pietro di Cortona, and adopted some of his principles, which was a thing not uncommon among the artists of this epoch.

Volterrano painted a great many frescos in Florence, one in the Palazzo del Bufalo at Rome, and some at Volterra, that are noticed by Baldinucci. The praise bestowed on him by the historian appears rather scanty than extravagant to those who duly consider the propriety of his inventions, the correctness of his design, qualities so rare in this class of artists, his knowledge of the perspective, of foreshortening figures in ceilings,[217] the spirit of his attitudes, the clearness of his graduated, well balanced, and properly united colours, and the pleasing and quiet harmony of the whole. The same talents are proportionally evident in his oil pictures, as may be observed in his S. Filippo Benizi, in the Nunziata of Florence; in his S. John the Evangelist, a noble figure which he painted along with other saints in S. Chiara at Volterra; his S. Carlo administering the communion to those sick of the plague, in the Nunziata of Pescia, and some of his other paintings that are well finished, which was not the case with all his works. The same observations apply to his cabinet pictures, which abound in the ducal palace, and in the houses of the nobility of Volterra, especially in those of the families of Maffei and Sermolli.

Cosimo Ulivelli is also a good historical painter; and his style is sometimes mistaken for that of his master by less skilful judges; but a good connoisseur discovers in him forms less elegant, a colouring less strong and clear, a character approaching to mannerism and to meagreness. We ought to form an opinion from the works of his best period, such as his semicircular pieces in the cloister of the Carmine. Antonio Franchi, a native of Lucca, who lived at Florence, is reckoned by many inferior to Ulivelli; but he is generally more judicious, if I do not mistake, and more diligent. His S. Joseph of Calassanzio, in the church of the Fathers of Scolopi, is a picture of good effect, and is commended also for the design. Another of his fine works is in the parish church of Caporgnano, in the state of Lucca; it represents Christ delivering the keys to S. Peter, and I am informed by an experienced artist that it is the most esteemed of his productions; many more of which may be found in the account of his Life, published at Florence, by Bartolozzi. He was painter to the court, by which he was much employed, as well as by private individuals. He was a moderate follower of Cortona. He wrote a useful tract on the Theory of Painting, in which he combated the prejudices of the age, and enforced the necessity of proceeding on general principles. It was printed in 1739; and afterwards defended by the author against certain criticisms made on it. Giuseppe and Margherita, his two sons, have met with some commendation, and I am told there is a fine altar-piece by the former, which adorns the parish church at Borgo Buggiano. It is retouched, however, by his father, who honourably makes mention of the fact. I repeat, honourably; because many fathers are known to have aided their sons with a view of obtaining for them a reputation beyond their deserts. Michelangiolo Palloni da Campi, a pupil of Volterrano, is well known in Florence by a good copy of the Furius Camillus, of Salviati, in the old palace; which was placed by the side of the original. He resided long, and was much employed in Poland. An eminent pupil of Baldassare, named Benedetto Orsi, was omitted by Baldinucci. A fine picture of S. John the Evangelist, in the church of S. Stephen, at Pescia, his native place, is attributed to him. He also painted the Works of Mercy, for the religious fraternity of nobles. These oil paintings were shewn to strangers among the curiosities of that city; but they were dispersed on the suppression of the order. There still exists a large circular picture which he produced at Pistoia for S. Maria del Letto, enumerated by good judges among the finest works of Volterrano, until an authentic document discovered the real author. Last in this list I have to mention Arrighi, the fellow citizen of Franceschini, and his favourite pupil. He has nothing remaining in public, in which his master cannot boast a great share.[218]

      After Franceschini, who may be considered the Lanfranco of the Rosselli, or rather Florentine school, we proceed to Francesco Furini, who is its Guido and its Albano. Foreigners recognized him as such: hence he was invited to Venice, for the express purpose of painting a Thetis, as a companion to an Europa by Guido Reni. He had seen the works of masters of this class at Rome, and appears to have aspired at rivalling, rather than at imitating them. His ideas certainly do not seem borrowed from them, nor from any other artists. He spent a long time in meditating on his subject, and was accustomed to consider his picture completed when he had finished his studies for it; so little time and trouble did it cost him to embody his ideas in colours. Having been ordained a priest about his fortieth year, and becoming curate of S. Ansano in Mugello, he executed some pictures truly valuable, both on account of the rarity of his works and their excellence, for the neighbouring town of S. Lorenzo. Above all, we may notice with admiration a S. Francis receiving the Stigmata, and a Conception of the Blessed Virgin, in which, elevated above mortality, she appears soaring and resplendent. But his great name in Italy arose from his cabinet pictures, which are rare out of Florence, and in Florence are highly esteemed, though considerable numbers of them remain there. His Hylas carried away by the Nymphs, which he painted for the family of Galli, and in which he introduced noble figures that are grandly varied, is highly celebrated; not to mention the three Graces of the Strozzi palace, and the many historical pieces and half-length figures dispersed through the city that are unnoticed in his life. They chiefly consist of nymphs, or of Magdalens, no less naked than the nymphs; for Furini was a very expert painter of delicate flesh, but not one of the most modest. Furini must have had a great number either of pupils or imitators, as his pictures for private houses before mentioned, which were copied, are of frequent occurrence in Florence. They are often of a dusky hue, through the defect of their ground, and Simone Pignone is made, often erroneously so, their most common author. He was Francesco's best pupil; very delicate in the colours of his fleshes, as we may judge from the altar-piece of B. Bernardo Tolomei, at Monte Oliveto, where the Virgin and the Infant are coloured very beautifully in the flesh, if not handsome in their features. His picture of St. Louis, king of France, at S. Felicità, is still more celebrated. It was much commended by Giordano, and the artist received five hundred crowns for its execution. In the first volume of Lettere Pittoriche we are informed, that Maratta only esteemed Gabbiani and Pignone among all the Florentine painters of his time. He was also praised by Bellini in the work entitled Bucchereide, where he coins a new term