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maxims in painting, and abolished the old: and thus artists of little celebrity gave birth to others more minute and mannered, resembling their prototype in maxims, but inferior in reputation. About this time it became fashionable to paint with a certain degree of careless ease, or Sprezzatura, as it is styled by some; and Giordano and some Venetians are applauded for this manner. Several Florentine artists tried to imitate them, and have produced works that resemble sketches: this species of mannerism is not uncommon in other schools. It is unnecessary to be particular, but only to observe generally that such artists are as rare in choice collections of pictures, as Andrea del Sarto or Cigoli: the latter are there scarce, because they painted with great care; the former class because they painted with very little. In the work entitled Series of the most celebrated painters, we find Antonio Riccianti, Michele Noferi, and some others whose names are merely mentioned as scholars of Vincenzio; and Gabbiani is the only one particularly praised. In like manner, among the pupils of Pietro Dandini we find the names of Gio. Cinqui, whose portrait is in the ducal gallery, Antonio Puglieschi, of Florence, who studied under Ciro, and Valerio Baldassari of Pescia; but there is a particular eulogy bestowed on Fratinelli, whom we shall notice hereafter. I find also that P. Alberigo Carlini, a Minorite monk of Pescia, was the pupil of Ottaviano, and attended Conca at Rome. He painted some good pictures, chiefly in the church of his order at Pietrasanta. To his we may also add the name of Santarelli, a patrician of the same country, and who died at Rome.

The most celebrated pupil of the Dandini was Anton Domenico Gabbiani, not long ago mentioned; before he was the pupil of Vincenzio, he had lessons from Subtermans, and finished his education at Rome under Ciro Ferri, and at Venice by studying the best masters. We must not give credit to Pascoli, who has represented him as a mean artist.[232] Gabbiani ranks amongst the best designers of his age; a collection of his drawings is in the possession of Sig. Pacini, which was often inspected and commended by Mengs for the facility and elegance he there discovered. Many of his designs were engraved and published in his life by Ignatius Hugford. His colouring sometimes borders on the languid, but is generally good: he is correct and natural, especially in fleshy tints; juicy, and tempered by a pleasing harmony. The greatest fault in the style of this artist is in his draperies, which, though correct, and studied with his usual diligence, always exhibit a degree of heaviness in the execution, are too confined, and sometimes are not quite true in the colouring. His merit is very great in light subjects: in the Pitti, and other palaces of some of the nobility of Florence, his dances of genii and groups of boys are to be met with, and yield little to those of Baciccio. One of the finest is in the house of the Orlandini family; and the Marquis of Riccardi has specimens among the mirrors placed in his collection. His largest and most celebrated work in fresco is the vast cupola of Cestello, which he did not wholly finish. His oil pictures are esteemed precious even in the ducal gallery. Several of his works of unequal merit are preserved in churches; but his S. Philip, in possession of the fathers Dell' Oratorio, justifies the assertion of Redi, that, except Maratta, there was then no painter in Rome that could eclipse him.[233] The catalogue of his scholars is extensive; but some of them, as happens to every master, may be also claimed by other preceptors. Benedetto Luti was an honour to Gabbiani and to Florence. Having formed himself in this school, he went to Rome, in hopes of receiving the instructions of Ciro Ferri; but the death of that master intervening, he was guided by his own genius, and the monuments of art existing in that city. The style he there formed may be considered a compound of various imitations, select in the forms, pleasing and bright in colouring, shewing art in the distribution of light and shade, and as harmonious to the eye as is the orator to the ear, who enchants an audience by his well turned periods; the delightful fascination is felt, but the source of it cannot be assigned. In that metropolis we shall find him master of the new style; but in Tuscany we cannot point out many of his pictures besides those in the ducal palace: private collections are rich only in his crayon pieces, which are likewise well known out of Italy. There is one of his large pictures on canvass at Pisa, the subject of which is the Vestment of S. Ranieri; and it is the most admired among the larger paintings of the cathedral. Luti sent it to Gabbiani for his correction before it was exposed to the public; a circumstance highly honourable to the modesty of the scholar and the abilities of the master.[234] His portrait is in the ducal gallery; and the more rigid critics, on looking at it, have been known to say, "Behold the last painter of his school."

Tommaso Redi was a pupil of the same master; and is noticed in the Lettere Pittoriche, as a good composer of historical pictures, and is also praised for design, colouring, and spirit. From the school of Gabbiani he went under the tuition of Maratta and Balestra, both artists respectable for their style, and declared enemies to the innovations which have occupied and debased our schools for so long a period. Redi also visited the most celebrated schools, but for the sole purpose of studying the old masters, and of making copies of their works, some of which, with a few pieces of his own invention, remain in his family. In the eulogy of Anton Domenico we find honourable mention made of his nephew, Gaetano Gabbiani; of Francesco Salvetti, his intimate friend; of Gio. Antonio Pucci, a painter and a poet; of Giuseppe Baldini, whose promising career was cut short by death, and of Ranieri del Pace, a native of Pisa, who afterwards yielding to the torrent of fashion, became a complete mannerist. Ignatius Hugford, born in Florence, but whose father was a native of England,[235] was admirably skilled in recognizing the hands of different masters, and likewise painted in a good manner a picture of S. Raphael at S. Felicità, and some other pieces, which were mostly small, and have been admitted into the royal museum. The feeble paintings in possession of the Vallombrosani at Forli, and some of the same stamp at Florence, are likewise by this artist.

Alessandro Gherardini, a rival of Gabbiani, and in the opinion of many, his superior in genius as a painter, had wonderful facility in counterfeiting different styles. He would have equalled any of his contemporaries, had he always painted in the style of his Crucifixion of our Lord in Candeli, in which he calls to mind a happy imitation of different schools. It is a work studied in every part, especially in the general tone, which artfully expresses the darkness of that hour. A history piece of Alexander the Great, in Casa Orlandini, with figures of half-length, and executed with great industry, is also held in high esteem; but he aimed at painting pictures of every degree of merit. One of his pupils, no less fertile in talent, and named Sebastiano Galeotti, is rather remembered than known at Florence. He left his native place when young, travelled about a long time without any fixed residence, and has left specimens behind him in many parts of Upper Italy. He at length settled at Genoa, where we shall again notice him. The ducal gallery contains portraits both of the master and of the scholar, by the side of those of Gabbiani and Redi. Other considerable painters of this epoch have obtained a similar honour; among whom we may mention Agostino Veracini, a scholar of Sebastian Ricci, Francesco Conti, a disciple of Maratta, and Lapi, a follower of Giordano; each of these has successfully imitated his guide.[236] The S. Apollonia of the first, painted for the church of that name; various Madonnas of the second, in the hands of private gentlemen; and the Transfiguration of the last, in the ducal gallery, are calculated to do them honour, and even to shed a lustre on some of their less refined productions. Some others now dead have been equally honoured by a portrait, of whom I have not discovered any other work. Of this number are Vincenzio Bacherelli, Gio. Francesco Bagnoli, Anton Sebastiano Bettini, Gio. Casini, Niccolo Nannetti, and others, who are mentioned in the Museo Fiorentino.

      Giovanni Camillo Sagrestani, a scholar of Giusti, was esteemed at Florence, even during the lifetime of Gabbiani and Gherardini. To study different masters, he visited the best schools of Italy, and for some time attended the school of Cav. Cignani, whose manner he copied rather than emulated. One of his Holy Families is in the Madonna de' Ricci, the beauty of which has more of an ideal cast, and the colouring is more florid, than is usual with his contemporaries of this school. One of the first judges in Florence assured me that this painting was the work of Sagrestani, although others ascribe it to his scholar, Matteo Bonechi. Bonechi had excellent parts, but not an equal knowledge of the art, in which he is reported to have been instructed