,,the    ,,history ,,of ,,painting      
,,in    ,,italy4     ,,vol4 ,,ii4       
,,the    ,,history ,,of ,,painting      
,,in    ,,italy1    ,,from ,,the        
,,period ,,of ,,the ,,revival ,,of      
,,the ,,fine ,,arts1    ,,to ,,the ,,end
 ,,of ,,the ,,eighteenth ,,century3     
,,translated    ,from the ,original     
,italian    ,,of ,,the    ,,abate       
,,luigi ,,lanzi4    ,,by ,,thomas       
,,roscoe4    ,,in ,,six ,,volumes4      
,,vol4 ,,ii4    ,,containing ,,the      
,,schools ,,of ,,rome ,,and ,,naples4   
,,london3    ,,printed ,,for    ,w4     
,,simpkin ,,and ,r4 ,,marshall1         
,,stationers'-,,hall ,,court1 ,,ludgate 
,,street4    #ahbh4    ,j4 ,m',creery1  
,tooks ,court1   ,chancery-lane1        
,london4           ,,contents           
,,of   ,,the ,,second ,,volume4         
,,history ,,of ,,painting ,,in ,,lower  
,,italy4      ,,book ,,the ,,third4     
,,roman ,,school4                       
,page    ,,epoch ,i4    ,the old masters
                                        

#a    ,,epoch ,,ii4   ,raffaello and his
 school                             #dh 
,,epoch ,,iii4  ,the art declines1 in   
consequence of the               public 
calamities of ,rome1 and gradually      
falls into mannerism                    
#abd    ,,epoch ,,iv4   ,restoration of 
the ,roman school by ,barocci           
and other artists1 subjects of the      
,roman               state and          
foreigners                              
#agg    ,,epoch ,v4    ,the scholars of 
,pietro da ,cortona1 from               
an injudicious imitation of their       
master1 deteriorate               the   
art--,maratta and others support        
it                                      
#bfb       ,,book ,,the ,,fourth4       
,,neapolitan ,,school4    ,,epoch ,i4   
,the old masters                        
#cde    ,,epoch ,,ii4   ,modern         
,neapolitan style1 founded on the       
schools of ,raffaello and ,michelangiolo
               #cfh    ,,epoch ,,iii4   
,corenzio1 ,ribera1 ,caracciolo1        

flourish in                             
,naples--,strangers who compete with    
them            #chi    ,,epoch ,,iv4   
,luca ,giordano1 ,solimene1 and their   
scholars                                
#dbf       ,,history ,,of ,,painting    
,,in    ,,lower ,,italy4    ,,book      
,,iii4       ,,roman ,,school4   ,i have
 frequently heard the lovers of art     
express a doubt whether the ,roman      
,school possesses the same inherent     
right to that distinctive appellation as
 the schools of ,florence1 ,bologna1 and
 ,venice4 ,those of the latter cities   
were1 indeed1 founded by their          
respective citizens1 and supported      
through a long course of ages2 while the
 ,roman ,school1 it may be said1 could  
boast only of ,giulio ,romano and       
,sacchi1 and a few others1 natives of   
,rome1 who taught1 and left scholars    
there4 ,the other artists who flourished
 there were either natives of the cities
 of the ,roman state1 or from other     
parts of ,italy1 some of whom           

established themselves in ,rome1 and    
others1 after the close of their labours
 there1 returned and died in their      
native places4 ,but this question is1 if
 ,i mistake not1 rather a dispute of    
words than of things1 and similar to    
those objections advanced by the        
peripatetic sophists against the modern 
philosophy2 insisting that they abuse   
the meaning of their words1 and quoting1
 as an example1 the vis inertiae2 as if 
that1 which is in itself inert1 could   
possess the quality of force4 ,the      
moderns laugh at this difficulty1 and   
coolly reply that1 if the vis displeased
 them1 they might substitute natura1 or 
any other equivalent word2 and that it  
was lost time to dispute about words1   
and neglect things4 ,so it may be said  
in this case2 they who disapprove of the
 designation of school1 may substitute  
that of academy1 or any other term      
denoting a place where the art of       
painting is professed and taught4 ,and1 
as the learned universities always      

derive their names from the city where  
they are established1 as the university 
of ,padua or ,pisa1 although the        
professors may be all1 or in great part1
 from other states1 so it is with the   
schools of painting1 to which the name  
of the country is always attached1 in   
preference to that of the master4 ,in   
,vasari we do not find this             
classification of schools1 and          
,monsignor ,agucchi was the first to    
divide ,italian art into the schools of 
,lombardy1 ,venice1 ,tuscany1 and       
,rome4#a ,he has employed the term of   
schools after the manner of the         
ancients1 and has thus characterised one
 of them as the ,roman ,school4 ,he has1
 perhaps1 erred in placing ,michel      
,angiolo1 as well as ,raphael1 at the   
head of this school1 as posterity have  
assigned him his station as chief of the
 school of ,florence2 but he has judged 
right in classing it under a separate   
head1 possessing1 as it does1 its own   
peculiar style2 and in this he has been 

followed by all the modern writers of   
art4 ,the characteristic feature in the 
,roman ,school has been said to consist 
in a strict imitation of the works of   
the ancients1 not only in sublimity1 but
 also in elegance and selection2 and to 
this we shall add other peculiarities1  
which will be noticed in their proper   
place4 ,thus1 from its propriety1 or    
from tacit convention1 the appellation  
of the ,roman ,school has been generally
 adopted2 and1 as it certainly serves to
 distinguish one of the leading styles  
of ,italian art1 it becomes necessary to
 employ it1 in order to make ourselves  
clearly understood4 ,we cannot1 indeed1 
allow to the ,roman ,school so extensive
 a range as we have assigned to that of 
,florence1 in the first book2           
nevertheless1 every one that chooses may
 apply this appellation to it in a very 
enlarged sense4 ,nor is the fact of     
other artists having taught1 or having  
given a tone to painting in the capital1
 any valid objection to this term2      

since1 in a similar manner1 we find     
,titiano1 ,paolo ,veronese1 and         
,bassano1 in ,venice1 though all of them
 were strangers2 but1 as they were      
subjects of her government1 they were   
all termed ,venetians1 as that name     
alike embraces those born in the city or
 within the dominions of the ,republic4 
,the same may be said of the subjects of
 the ,pope4 ,besides the natives of     
,rome1 there appeared masters from many 
of her subject cities1 who1 teaching in 
,rome1 followed in the steps of their   
predecessors1 and maintained the same   
principles of art4 ,passing over ,pier  
della ,francesca and ,pietro ,vannucci1 
we may refer to ,raffaello himself as an
 example4 ,raffaello was born in        
,urbino1 and was the subject of a duke1 
who held his fief under the ,roman see1 
and who1 in ,rome1 held the office of   
prefect of the city2 and whose          
dominions1 in failure of male issue1    
reverted to the ,pope1 as the heritage  
of the church4 ,thus ,raffaello cannot  

be considered other than a ,roman       
subject4 ,to him succeeded ,giulio      
,romano and his scholars2 who were      
followed by ,zuccari1 and the mannerists
 of that time1 until the art found a    
better style under the direction of     
,baroccio1 ,baglione1 and others4 ,after
 them flourished ,sacchi and ,maratta1  
whose successors have extended to our   
own times4 ,restricted within these     
bounds1 the ,roman may certainly be     
considered as a national school2 and1 if
 not rich in numbers1 it is at least so 
in point of excellence1 as ,raffaello in
 himself outweighs a world of inferior  
artists4  ,the other painters who       
resided in ,rome1 and followed the      
principles of that school1 ,i shall     
neither attempt to add to1 nor to       
subtract from the number of its         
followers2 adopting it as a maxim not to
 interfere in the decision of disputes1 
alike idle and irrelevant to my subject4
 ,still less shall ,i ascribe to it     
those who there adopted a totally       

different style1 as ,michelangiolo da   
,caravaggio1 an artist whom ,lombardy   
may lay claim to1 on account of his     
birth1 or ,venice1 from his receiving   
his education in that city1 though he   
lived and wrote in ,rome1 and influenced
 the taste of the national school there 
by his own example and that of his      
scholars4 ,in the same manner many other
 names will occasionally occur in the   
history of this school3 it is the duty  
of the historian to mention these1 and  
it is1 at the same time1 an incomparable
 triumph to the ,roman ,school1 that she
 stands1 in this manner1 as the centre  
of all the others2 and that so many     
artists could not have obtained         
celebrity1 if they had not seen ,rome1  
or could not have claimed that title    
from the world unless they had first    
obtained her suffrage4  ,i shall not    
identify the limits of this school with 
those of the dominions of the church1 as
 in that case we should comprise in it  
the painters of ,bologna1 ,ferrara1 and 

,romagna1 whom ,i have reserved for     
another volume4 ,in my limits ,i shall  
include only the capital1 and the       
provinces in its immediate vicinity1 as 
,latium1 the ,sabine territories1 the   
patrimony of the ,church1 ,umbria1      
,picenum1 and the state of ,urbino1 the 
artists of which district were1 for the 
most part1 educated in ,rome1 or under  
the eyes of ,roman masters4 ,my         
historical notices of them will be      
principally derived from ,vasari1       
,baglione1 ,passeri1 and ,leone         
,pascoli4 ,from these writers we have   
the lives of many artists who painted in
 ,rome1 and the last named author has   
included in his account his fellow      
countrymen of ,perugia4 ,pascoli has    
not1 indeed1 the merits of the three    
first writers2 but he does not deserve  
the discredit thrown on him by ,ratti   
and ,bottari1 the latter of whom1 in his
 notes to ,vasari1 does not hesitate to 
call him a wretched writer1 and unworthy
 of credit4 ,his work1 indeed1 on the   

artists of ,perugia1 shows that he      
indiscriminately copied what he found in
 others1 whether good or bad2 and to the
 vulgar traditions of the early artists 
he paid more than due attention4 ,but   
his other work1 on the history of the   
modern painters1 sculptors1 and         
architects1 is a book of authority4 ,in 
every branch of history much credit is  
attached to the accounts of contemporary
 writers1 particularly if they were     
acquaintances or friends of the persons 
of whom they wrote2 and ,pascoli has    
this advantage2 for1 in addition to     
information from their own mouths1 he   
derived materials from their surviving  
friends1 nor spared any pains to arrive 
at the truth1 7see ,vita del ,cozza74   
,the judgment1 therefore1 which he      
passes on each artist1 is not wholly to 
be despised1 since he formed it on those
 of the various professors then living  
in ,rome1 as ,winckelmann has observed  
7tom4 i4 p4 #dej72 and1 if these        
persons1 as it is pretended1 have erred 

in their judgment on the ,greek         
sculptors1 they have certainly not erred
 in their estimate of modern painters1  
particularly ,luti1 to whom ,i imagine  
,pascoli1 from esteem and intimacy1     
deferred more than to any other artist4 
,we have from ,bellori other lives1     
written with more learning and          
criticism1 some of which are supposed to
 be lost4 ,he had originally applied    
himself to painting1 but deserted that  
art1 as we may conjecture from ,pascoli 
7vita del ,canini71 and attached himself
 to poetry1 and the study of            
antiquities3 and his skill in both arts 
manifests itself in the lives he has    
left1 which are few1 but interspersed   
with interesting and minute particulars 
of the characters of the painters and   
their works4 ,in his plan1 he informs us
 he has followed the advice of ,niccolo 
,poussin4 ,he composed also a           
,description of the figures painted by  
,raffaello1 in the churches of the      
,vatican2 a tract which contains some   

severe reflections on ,vasari1#b but is 
nevertheless highly useful4 ,we also    
find a profusion of entertaining        
anecdotes in ,taja1 in his ,description 
of the ,vatican2 and in ,titi1 in his   
account of the pictures1 sculpture1 and 
architecture of ,rome4 ,this work has   
recently been republished1 with         
additions2 and we shall occasionally    
quote it under the name of the ,guide4  
,pesaro is indebted for a similar ,guide
 to ,signor ,becci1 and ,ascoli and     
,perugia to ,signor ,baldassare ,orsini1
 a celebrated architect4 ,we have also  
the ,lettere ,perugine of ,sig4 ,dottore
 ,annibale ,mariotti1 which treat of the
 early painters of ,perugia1 with a     
store of information and critical acumen
 that render them highly valuable4 ,to  
these may also be added1 the ,risposta  
of the above named ,sig4 ,orsini1 whom  
,i regret to see entering on ,etruscan  
ground1 as he there repeats many ancient
 errors1 which have been long exploded  
by common consent3 in other points it is

 a treatise worth perusal4 ,if we turn  
to ,descriptions1 we have them of       
several periods1 as that of the         
,basilica ,loretana1 and that of        
,assisi1 composed by ,p4 ,angeli2 and   
the account of the ,duomo of ,orvieto1  
written by ,p4 della ,valle2 and the    
works on the churches of ,s4 ,francesco 
di ,perugia1 and ,s4 ,pietro di ,fano1  
by anonymous writers4 ,the ,abbate      
,colucci has favoured us with recent    
notices on various artists of ,piceno   
and ,umbria1 and ,urbino1 in his        
,antichita ,picene1 extended1 as far as 
my observation goes1 to tom4 ,,xxxi4#c  
,the learned authors whom ,i have named1
 and others to whom ,i shall            
occasionally refer1 have furnished the  
chief materials of my present treatise1 
although ,i have myself collected a     
considerable part from artists and      
lovers of art1 either in conversation1  
or in my correspondence4 ,thus far in   
the way of introduction4  ,footnote #a3 
,bellori1 ,vite de' ,pittori1 p4 #aia4  

,the ,roman ,school1 of which ,raffaello
 and ,michel ,angiolo were the great    
masters1 derived its principles from the
 study of the statues and works of the  
ancients4  ,footnote #b3 ,lett4 ,pittor4
 tom4 ii4 p4 #cbc2 and ,dialoghi sopra  
le tre ,arti del ,disegno4 ,in ,lucca1  
#aged4  ,footnote #c3 ,this work        
contains contributions from various     
quarters4 ,i have not1 however1 made an 
equal use of all2 as ,i believe some    
pictures to be copies1 which are there  
referred to as originals2 and as several
 names there mentioned1 may with        
propriety be omitted4 ,in my references1
 ,i shall often cite the collections2   
sometimes also the authors of some more 
considerable treatises1 as ,p4 ,civalli1
 ,terzi1 ,sig4 ,agostino ,rossi1 ,sig4  
,arciprete ,lazzari1 respecting whom ,i 
must refer to the second index1 where   
will be found the titles of their       
respective works4       ,,roman ,,school
    ,,epoch ,i4    ,early ,artists4     
,if we turn our eyes for a moment to    

that tract of country which we have     
designated as falling within the limits 
of the ,roman ,school1 amidst the claims
 of modern art1 we shall occasionally   
meet with both ,greek and ,latin        
pictures of the rude ages2 from the     
first of which we may conclude1 that    
,greek artists formerly painted in this 
part of ,italy2 and from the latter1    
that our own countrymen were emulous to 
follow their example4 ,one of these     
artists is said to have had the name of 
,luca1 and to him is ascribed the       
picture of the ,virgin1 at ,s4 ,maria   
,maggiore1 and many others in ,italy1   
which are believed to be painted by ,s4 
,luke the ,evangelist4 ,who this ,luca  
was1 or whether one painter or more of  
that name ever existed1 we shall        
presently inquire4 ,the tradition was   
impugned by ,manni1#d and after him by  
,piacenza1 7tom4 ii4 p4 #abj17 and is   
now only preserved among the vulgar1 a  
numerous class indeed1 who shut their   
ears to every rational criticism as an  

innovation on their faith4 ,this vulgar 
opinion is alike oppugned by the silence
 of the early artists1 and the well     
attested fact1 that in the first ages of
 the church the ,virgin was not         
represented with the holy ,infant in her
 arms2#e but had her hands extended in  
the act of prayer4 ,this is exemplified 
in the funeral vase of glass in the     
,museo ,trombelli at ,bologna1 with the 
inscription ,,maria1 and in many        
bassirilievi of christian sarcophagi1   
where she is represented in a similar   
attitude4 ,rome possesses several of    
these specimens1 and several are to be  
found in ,velletri4#f ,it is however a  
common opinion1 that these pictures are 
by a painter of the name of ,luca4 ,lami
 refers to a legend of the #adth century
 of the ,madonna dell',impruneta1 where 
they are said to be the works of a      
,florentine of the name of ,luca1 who   
for his many christian virtues obtained 
the title of saint4#g ,they are not     
however all in the same style1 and some 

of them bear ,greek inscriptions1 whence
 we may conclude that they are by       
various hands2 although they all appear 
to be painted in or about the #abth     
century4 ,this tradition was not        
confined to ,italy alone1 but found its 
way also into many of the eastern       
churches4 ,the author of the ,anecdotes 
des ,beaux ,arts1 relates that the      
memory of a ,luca1 a hermit1 who had    
painted many rude portraits of the      
,virgin1 was held in great veneration in
 ,greece2 and that through a popular    
superstition he had succeeded to the    
title of ,s4 ,luke the ,evangelist4     
,tournefort 7,voyage1 c47 mentions an   
image of the ,virgin at ,mount ,lebanon1
 attributed by the vulgar to ,s4 ,luke2 
but which was doubtless also the work of
 some ,luke1 a monk in one of the early 
ages4  ,more considerable remains both  
of the ,greek and ,italian artists of   
the #acth century are to be found in    
,assisi1 as related in my first book2   
and to those already mentioned as       

painted on the walls1 may be added      
others on panel1 and all by unknown     
artists2 particularly a crucifixion in  
,s4 ,chiara1 of which there is a        
tradition1 that it was painted before   
,giunta appeared4 ,another picture      
anterior to this period1 and bearing the
 date of #abai1 is to be seen at        
,subiaco2 it is a consecration of a     
church1 and the painter informs us that 
,conciolus pinxit4 ,if in addition to   
these artists we inquire after the      
miniature painters1 we may find         
specimens of them in abundance1 in the  
library of the ,vatican1 and other      
collections in ,rome4 ,i shall name ,s4 
,agostino1 in the public library of     
,perugia1 where the ,redeemer is seen in
 the midst of saints1 and the opening of
 ,genesis is painted in miniature2 a    
design which1 from the angular folds of 
the drapery1 partakes of the ,greek     
style1 but still serves to prove this   
art to have been known at that time in  
,umbria4 ,in addition to what ,i have   

remarked1 ,i may also observe1 that in  
,perugia1 in the course of the same     
century1 the artists were sufficiently  
numerous to form an academy1 as we may  
collect from the ,lettere ,perugine1 and
 these1 when we consider the time1 must 
have been in great part miniature       
painters4  ,it is now time to notice    
,oderigi of ,gubbio1 a town very near to
 ,perugia4 ,vasari tells us that he was 
a man of celebrity1 and a friend of     
,giotto1 in ,rome2 and ,dante1 in his   
second ,cantica1 calls him an honour to 
,agobbio1 and excelling in the art of   
miniature4 ,these are the only          
authorities that ,baldinucci could have 
for transferring this ancient artist to 
the school of ,cimabue1 and ingrafting  
him in his usual manner on that stock4  
,upon these he founded his conjecture2  
and1 according to his custom1 gave them 
more weight than they deserved4 ,his    
opinion1 however amplified1 reduces     
itself to the assumption that ,giotto1  
,oderigi1 and ,dante1 were lovers of    

art1 and common friends1 and became     
therefore acquainted in the school of   
,cimabue2 a very uncertain conclusion4  
,we shall consider this subject more    
maturely in the school of ,bologna1     
since ,oderigi lived there1 and         
instructed ,franco1 from whom ,bologna  
dates the series of her painters4 ,it is
 thought1 too1 that he left some        
scholars in his native place1 and not   
long after him1 in #acba1 we find       
,cecco1 and ,puccio da ,gubbio1 engaged 
as painters of the ,cathedral of        
,orvieto2 and about the year #acdb1     
,guido ,palmerucci of the same place1   
employed in the palace of his native    
city4 ,there remains a work of his in   
fresco in the hall1 much injured by     
time2 but some figures of saints are    
still preserved1 which do not yield to  
the best style of ,giotto4 ,some other  
vestiges of very ancient paintings are  
to be seen in the ,confraternita de'    
,bianchi2 in whose archives it is       
mentioned that the picture of ,s4       

,biagio was repaired by ,donato1 in     
#acgd2 whence it must necessarily be of 
a very early period4 ,this and other    
interesting information ,i obtained from
 ,sig4 ,sebastiano ,rangliasci1 a noble 
inhabitant of ,gubbio1 who has formed a 
catalogue of the artists of his native  
city1 inserted in the fourth volume of  
the last edition of ,vasari4  ,we are   
now arrived at the age of ,giotto1 and  
the first who presents himself to us is 
,pietro ,cavallini1 who was instructed  
by ,giotto1 in ,rome1#h in the arts of  
painting and mosaic1 both of which he   
followed with skill and intelligence4   
,the ,roman ,guide makes mention of him1
 and that of ,florence refers to a      
,nunziata at ,s4 ,mark2 and there are   
others mentioned by ,vasari as being in 
the chapels of that city2 one of which  
is in the ,loggia del ,grano4 ,the most 
remarkable of his works is to be seen in
 ,assisi4 ,it is a fresco1 and occupies 
a large facade in one division of the   
church4 ,it represents the crucifixion  

of our ,saviour1 surrounded by bands of 
soldiers1 foot and horse1 and a numerous
 crowd of spectators1 all varying in    
their dress and the expression of their 
passions4 ,in the sky is a band of      
angels1 whose sympathizing sorrow is    
vividly depicted4 ,in extent and spirit 
of design it partakes of the style of   
,memmi1 and in one of the sufferers on  
the cross he has shewn that he justly   
appreciated and successfully followed   
his guide4 ,the colours are well        
preserved1 particularly the blue1 which 
there1 and in other parts of the church1
 presents to our admiring gaze1 to use  
the language of our poets1 a heaven of  
oriental sapphire4  ,vasari does not    
appear to have been acquainted with any 
scholar of ,pietro ,cavallini1 except it
 be ,giovanni da ,pistoja2 but ,pietro1 
who lived in ,rome the greater part of  
his life1 which was extended to a period
 of eighty-five years1 must have        
contributed his aid in no small degree  
to the advancement of art1 in the       

capital1 as well as in other places4    
,however this may be1 in that part of   
,italy1 pictures of his school are still
 found2 or at least memorials of art of 
the age in which he flourished4 ,we have
 an ,andrea of ,velletri1 of whom a     
specimen is preserved in the select     
collection of the ,museo ,borgia1 with  
the ,virgin surrounded by saints1 a     
common subject at that period in the    
churches1 as ,i have before observed4   
,it has the name of the painter1 with   
the year #accd1 and in execution        
approaches nearer to the school of      
,siena than any other4 ,in the year     
#acba we find ,ugolino ,orvietano1 ,gio4
 ,bonini di ,assisi1 ,lello ,perugino1  
and ,f4 ,giacomo da ,camerino1 noticed  
by us in another place1 all employed in 
painting in the ,cathedral of ,orvieto4 
,mariotti1 in his letters1 mentions     
other artists of ,perugia1 and the      
memory of a very early painter of       
,fabriano is preserved by ,ascevolini1  
the historian of that city1 who informs 

us1 that in the country church of ,s4   
,maria ,maddalena1 in his time1 there   
was a picture in fresco1 by ,bocco1     
executed in #acjf4 ,a ,francesco ,tio da
 ,fabriano1 who in #acah painted the    
tribune of the ,conventuals at          
,mondaino1 is mentioned by ,colucci1    
7tom4 xxv4 p4 #ahc74 ,this work has     
perished2 but the productions of a      
successor of his at ,fabriano are to be 
seen in the oratory of ,s4 ,antonio     
,abate1 the walls of which remain4 ,many
 histories of the saint are there to be 
found1 divided into pictures1 in the    
early style1 and inscribed1 ,allegrettus
 ,nutii de ,fabriano hoc opus fecit     
#acf4444 ,the art in these parts was not
 a little advanced by their proximity to
 ,assisi1 where ,giotto's scholars were 
employed after his death1 particularly  
,puccio ,capanna of ,florence4 ,this    
artist1 who is esteemed one of the most 
successful followers of ,giotto1 after  
painting in ,florence1 in ,pistoia1     
,rimino1 and ,bologna1 is conjectured by

 ,vasari to have settled in ,assisi1    
where he left many works behind him4    
,we shall find the succeeding century   
more fruitful in art1 as the ,popes at  
that time forsook ,avignon1 and1        
re-establishing themselves in ,rome1    
began to decorate the palace of the     
,vatican1 and to employ painters of     
celebrity both there and in the         
churches4 ,there does not appear any    
person of distinction amongst them as a 
native of ,rome4 ,from the ,roman ,state
 we find ,gentile da ,fabriano1 ,piero  
della ,francesca1 ,bonfigli1 ,vannucci1 
and ,melozzo1 who first practised the   
art of sotto in su2 and amongst the     
strangers are ,pisanello1 ,masaccio1    
,beato ,angelico1 ,botticelli and his   
colleagues4 ,amongst these too1 it is   
said1 was to be found ,mantegna1 and    
there still remains the chapel painted  
by him for ,innocent ,,viii4 although   
since converted to another purpose4     
,each of these artists ,i shall notice  
in their respective schools1 and shall  

here only mention such as were found in 
the country from the ,ufente to the     
,tronto1 and from thence to the         
,metauro1 which are the confines of our 
present class4 ,the names of many others
 may be collected from books2 as an     
,andrea1 and a ,bartolommeo1 both of    
,orvieto1 and a ,mariotto da ,viterbo1  
and others who worked at ,orvieto from  
#adje to #adeg2 and some who painted in 
,rome itself1 a ,giovenale and a ,salli 
di ,celano1 and others now forgotten4   
,but without pausing on these1 we will  
advert to the artists of ,piceno1 of the
 ,state of ,urbino1 and the remaining   
parts of ,umbria3 where we shall meet   
with the traces of schools which        
remained for many years4  ,the school of
 ,fabriano1 which seems very ancient in 
,picenum1 produced at that time         
,gentile1 one of the first painters of  
his age1 of whom ,bonarruoti is reported
 to have said1 that his style was in    
unison with his name4 ,the first notice 
we have of him is among the painters of 

the church of ,orvieto1 in #adag2 and   
then1 or soon afterwards1 he received   
from the historians of that period the  
appellation of magister magistrorum1 and
 they mention the ,madonna which he     
there painted1 and which still remains4 
,he afterwards resided in ,venice1      
where1 after ornamenting the ,palazzo   
,publico1 he was rewarded by the        
republic with a salary1 and with the    
privilege of wearing the patrician dress
 of that city4 ,he there1 says ,vasari1 
became the master1 and1 in a manner1 the
 father of ,jacopo ,bellini1 the father 
and preceptor of two of the ornaments of
 the ,venetian school4 ,these were      
,gentile1 who assumed that name in      
memory of ,gentile da ,fabriano1 born in
 #adba2 and ,giovanni1 who surpassed his
 brother in reputation1 and from whose  
school arose ,giorgione and ,titian4 ,he
 7,gentile da ,fabriano7 was employed in
 the ,lateran1 at ,rome1 where he       
rivalled ,pisanello1 in the time of     
,martin ,v42 and it is to be regretted  

that his works1 both there and in       
,venice1 have perished4 ,facio1 who     
eulogizes him1 and who had seen his most
 finished performances1 extols him as a 
man of universal art1 who represented1  
not only the human form and edifices in 
the most correct manner1 but painted    
also the stormy appearances of nature in
 a style that struck terror into the    
spectator4 ,in painting the history of  
,st4 ,john1 in the ,lateran1 and the    
,five ,prophets over it1 of the colour  
of marble1 he is said to have used more 
than common care1 as if he at that time 
prognosticated his own approaching      
death1 which soon afterwards occurred1  
and the work remained unfinished4       
,notwithstanding this1 ,ruggier da      
,bruggia1 as ,facio relates1 when he    
went to ,rome1 in the holy year1 and saw
 it1 considered it a stupendous work1   
which placed ,gentile at the head of all
 the painters of ,italy4 ,according to  
,vasari and ,borghini1 he executed a    
countless number of works in the ,marca1

 and in the state of ,urbino1 and       
particularly in ,gubbio1 and in ,citta  
di ,castello1 which are in the          
neighbourhood of his native place2 and  
there still remain in those districts1  
and in ,perugia1 some paintings in his  
style4 ,a remarkable one is mentioned in
 a country church called la ,romita1    
near ,fabriano4#i ,florence possesses   
two beautiful specimens3 the one in ,s4 
,niccolo1 with the effigy and history of
 the sainted bishop1 the other in the   
sacristy of ,s4 ,trinita1 with an       
,epiphany1 having the date of #adbc4    
,they bear a near resemblance to the    
style of ,b4 ,angelico1 except that the 
proportions of the figures are not so   
correct1 the conception is less just1   
and the fringe of gold and brocades more
 frequent4 ,vasari pronounces him a     
pupil of ,beato1 and ,baldinucci        
confirms this opinion1 although he says 
that ,beato took religious orders at an 
early age in #adjg1 a period which would
 exclude ,gentile from his tuition4 ,i  

conjecture both the one and the other to
 have been scholars of miniature        
painters1 from the fineness of their    
execution1 and from the size of their   
works1 which are generally on a small   
scale4 ,the name of an ,antonio da      
,fabriano appears in a ,crucifixion1 in 
#aded1 painted on wood1 which ,i saw in 
,matelica1 in the possession of the     
,signori ,piersanti2 but it is inferior 
to ,gentile in style4#aj  ,on an ancient
 picture1 which is preserved in         
,perugia1 in the convent of ,s4         
,domenico1 is the name of a painter of  
,camerino1 a place in the same          
neighbourhood1 who flourished in #addg4 
,the inscription is ,opus ,johannis     
,bochatis de ,chamereno4 ,in the same   
district is ,s4 ,severino1 where we find
 a ,lorenzo1 who1 in conjunction with   
his brother1 painted in the oratory of  
,s4 ,john the ,baptist in ,urbino1 the  
life of that saint4 ,these two artists  
were much behind their age4 ,i have seen
 some other works by them1 from which it

 appears that they were living in #adgj1
 and painted in the ,florentine style of
 #adjj4 ,other artists of the same      
province are named in the ,storia del   
,piceno1 particularly at ,s4 ,ginesio1 a
 ,fabio di ,gentile di ,andrea1 a       
,domenico ,balestrieri1 and a ,stefano  
,folchetti1 whose works are cited1 with 
the date of their execution attached to 
them4#aa ,in this district also resided 
several strangers1 scarcely known to    
their native places1 as ,francesco      
d',imola1 a scholar of ,francia1 who1 in
 the convent of ,cingoli1 painted a     
,descent from the ,cross2 and ,carlo    
,crivelli1 a ,venetian1 who passed from 
one state to another1 and finally       
settled in ,ascoli4 ,his works are to be
 met with there more frequently than in 
any other city of ,picenum4 ,i shall    
speak of his merits in the ,venetian    
school1 and shall here only add1 that he
 had for a pupil ,pietro ,alamanni1 the 
chief of the painters of ,ascoli1 a     
respectable quattrocentista1 who painted

 an altarpiece at ,s4 ,maria della      
,carita1 in #adhi4 ,about this time also
 we find amongst their names a ,vittorio
 ,crivelli1 a ,venetian1 of the family1 
as ,i conjecture1 and perhaps of the    
school of ,carlo4 ,there is frequent    
mention of him in the ,antichita        
,picene4  ,urbino1 too1 had her artists1
 as her princes were not behind the     
other rulers of ,italy in good taste4   
,at the restoration of the art1 we find 
,giotto1 and several of his scholars1   
there2 and afterwards ,gentile da       
,fabriano1#ab a ,galeazzo1 and1         
possibly1 a ,gentile di ,urbino4 ,at    
,pesaro1 in the convent of ,s4          
,agostino1 ,i have seen a ,madonna1     
accompanied with beautiful architecture1
 and an inscription--,bartholomaeus     
,magistri ,gentilis de ,urbino1 #adig2  
and at ,monte ,cicardo1 ,i saw the same 
name on an ancient picture of #aejh1 but
 without his birthplace4 7,ant4 ,pic4   
tom4 xvii4 #ade47 ,i am in doubt whether
 this ,m4 ,gentilis refers to the father

 of ,bartolommeo or his master1 as the  
scholars at that time often took their  
designation from their masters4 ,at all 
events1 this artist is not to be        
confounded with ,bartolommeo from       
,ferrara1 whose son1 ,benedetto1        
subscribes himself ,benedictus quondam  
,bartholomaei de ,fer4 ,pictor4 #adib4  
,this is to be seen in the church of ,s4
 ,domenico di ,urbino1 on the altarpiece
 in the ,chapel of the ,muccioli1 their 
descendants4  ,in the city of ,urbino   
there remain some works of the father of
 ,raffaello1 who1 in a letter of the    
,duchess ,giovanna della ,rovere1 which 
is the first of the ,lettere            
,pittoriche1 is designated as molto     
virtuoso4 ,there is by him in the church
 of ,s4 ,francis1 a good picture of ,s4 
,sebastian1 with figures in an attitude 
of supplication4 ,there is one          
attributed also to him in a small church
 dedicated to the same saint1           
representing his martyrdom1 with a      
figure foreshortened1 which ,raffaello1 

when young1 imitated in a picture of the
 ,virgin1 at ,citta di ,castello4 ,he   
subscribed himself ,io4 ,sanctis ,urbi4 
7,urbinas74 ,so ,i read it in the       
sacristy of the ,conventuals of         
,sinigaglia in an ,annunciation in which
 there is a beautiful angel1 and an     
infant ,christ descending from the      
father2 and which seems to be copied    
from those of ,pietro ,perugino1 with   
whom ,raffaello worked some time1 though
 it has a still more ancient style4 ,the
 other figures are less beautiful1 but  
yet graceful1 and the extremities are   
carefully executed4 ,but the most       
distinguished painter in ,urbino was ,f4
 ,bartolommeo ,corradini d',urbino1 a   
,domenican1 called ,fra4 ,carnevale4 ,to
 an accurate eye his pictures are       
defective in perspective1 and retain in 
the drapery the dryness of his age1 but 
the portraits are so strongly expressed 
that they seem to live and speak2 the   
architecture is beautiful1 and the      
colours bright1 and the air of the heads

 at the same time noble and unaffected4 
,it is known that ,bramante and         
,raffaello studied him1 as there were   
not1 at that time1 any better works in  
,urbino4 ,in ,gubbio1 which formed a    
part of this dukedom1 were to be seen in
 that age the remains of the early      
school4 ,there exists a fresco by       
,ottaviano ,martis in ,s4 ,maria ,nuova1
 painted in #adjc4 ,the ,virgin is      
surrounded by a choir of angels1        
certainly too much resembling each      
other1 but in their forms and attitudes 
as graceful and pleasing as any         
contemporary productions4  ,borgo ,s4   
,sepolcro1 ,foligno1 and ,perugia1      
present us with artists of greater      
celebrity4 ,borgo was a part of ,umbria 
subject to the ,holy ,see1 and was1 in  
#addj1 pledged to the ,florentines1#ac  
by ,eugenius ,,iv4 at the time ,piero   
della ,francesca1 or ,piero ,borghese1  
one of the most memorable painters of   
this age1 was at the summit of his      
reputation4 ,he must have been born     

about #acih1 since ,vasari states that  
he painted about the year #adeh1ad and  
that he became blind at sixty years of  
age1 and remained so until his death1 in
 his eighty-sixth year4 ,from his       
fifteenth year he applied himself to    
painting1 at which age he had made      
himself master of the principles of     
mathematics1 and he rose to great       
eminence both in art and science4#ae ,i 
have not been able to ascertain who was 
his master1 but it is probable that as  
he was the son of a poor widow1 who had 
barely the means of bringing him up1 he 
did not leave his native place2 and that
 under the guidance of obscure masters  
he raised himself1 by his own genius1 to
 the high degree of fame which he       
enjoyed4 ,he first appeared1 says       
,vasari1 in the court of the elder      
,guidubaldo ,feltro1 ,duke of ,urbino1  
where he left only some pictures of     
figures on a small scale1 which was the 
case with such as were not the pupils of
 the great masters4 ,he was celebrated  

for a remarkable drawing of a ,vase1 so 
ingeniously designed that the front1 the
 back1 the sides1 the bottom1 and the   
mouth1 were all shewn2 the whole drawn  
with the greatest correctness1 and the  
circles gracefully foreshortened4 ,the  
art of perspective1 the principles of   
which he was1 as some affirm1 the first 
among the ,italians to develope and to  
cultivate1 was much indebted to him2#af 
and painting1 too1 owed much to his     
example in imitating the effects of     
light1 in marking correctly the muscles 
of the naked figure1 in preparing models
 of clay for his figures1 and in the    
study of his drapery1 the folds of which
 he fixed on the model itself1 and drew 
very accurately and minutely4 ,on       
examining the style of ,bramante and his
 ,milanese contemporaries1 ,i have often
 thought that they derived some light   
from ,piero1 for1 as ,i have before     
said1 he painted in ,urbino where       
,bramante studied1 and afterwards       
executed many works in ,rome1 where     

,bramantino came and was employed by    
,nicholas ,v4  ,in the ,floreria of the 
,vatican is still to be seen a large    
fresco painting1 in which the above     
named pontiff is represented with       
cardinals and prelates1 and there is a  
degree of truth in the countenances     
highly interesting4 ,taja does not      
assert that it is by ,pietro1 but says  
that it is attributed to him4#ag ,those 
which are pointed out in ,arezzo        
doubtless belong to him1 and the most   
remarkable are the histories of the holy
 cross in the choir of the church of the
 ,conventuals1 which shew that the art  
was already advanced beyond its infancy2
 there is so much new in the ,giotto    
manner of foreshortening1 in the relief1
 and in many difficulties of the art    
overcome in his works4 ,if he had       
possessed the grace of ,masaccio he     
might with justice have been placed at  
his side4 ,at ,citta ,s4 ,sepolcro there
 still remain some works attributed to  
him2 a ,s4 ,lodovico ,vescovo1 in the   

public palace1 at ,s4 ,chiara a picture 
of the ,assumption1 with the apostles in
 the distance1 and a choir of angels at 
the top1 but in the foreground are ,s4  
,francis1 ,s4 ,jerome1 and other        
figures1 which injure the unity of the  
composition4 ,there are1 however1 still 
traces in them of the old style2 a      
poverty of design1 a hardness in the    
foldings of the drapery1 feet which are 
well foreshortened1 but too far apart4  
,as to the rest1 in design1 in the air1 
and in the colouring of the figures1 it 
seems to be a rude sketch of that style 
which was ameliorated by ,p4 ,perugino1 
and perfected by ,raffaello4  ,in the   
latter part of this century there       
flourished several good painters at     
,foligno1 but it is not known from whom 
they derived their instructions4 ,in the
 twenty-fifth volume of the ,antichita  
,picene we read1 that in the church of  
,s4 ,francesco di ,cagli there exists   
7,i know not whether it be now there7 a 
most beautiful composition1 painted in  

#adfa1 at the price of #aae ducats of   
gold1 by ,m4 ,pietro di ,mazzaforte and 
,m4 ,niccolo ,deliberatore of ,foligno4 
,at ,s4 ,venanzio di ,camerino is a     
large altarpiece on a ground of gold1   
with ,christ on the ,cross1 surrounded  
by many ,saints1 with three small       
evangelical histories added to it4 ,the 
inscription is ,opus ,nicolai           
,fulginatis1 #adhj2 it is in the style  
of the last imitators of ,giotto1 and   
there is scarcely a doubt that the      
artist studied at ,florence4 ,i believe 
him to be the same artist as ,niccolo   
,deliberatore1 or di ,liberatore2 and   
different from ,niccolo ,alunno1 also of
 ,foligno1 whom ,vasari mentions as an  
excellent painter in the time of        
,pinturicchio4 ,he painted in distemper1
 as was common before ,pietro ,perugino1
 but in tints that have survived        
uninjured to our own times4 ,in the     
distribution of his colours he was      
original2 his heads possess expression1 
though they are common1 and sometimes   

heavy1 when they represent the vulgar4  
,there is at ,s4 ,niccolo di ,foligno a 
picture by him1 composed in the style of
 the fourteenth century1 the ,virgin    
surrounded by saints1 and underneath    
small histories of the ,passion1 where  
the perspicuity is more to be praised   
than the disposition4 ,in the same style
 some of his pieces in ,foligno are     
painted after #aejj4 ,vasari thinks they
 are all surpassed by his ,pieta in a   
chapel of the ,duomo1 in which are      
represented two angels1 whose grief is  
so vividly expressed1 that any other    
artist1 however ambitious he might be1  
would find it difficult to surpass it4  
,perugia1 from whence the art derived no
 common lustre1 abounded in painters    
beyond any other city4 ,the celebrated  
,mariotti formed a long catalogue of the
 painters of the fourteenth century1 and
 among the most conspicuous are         
,fiorenzo di ,lorenzo1 and ,bartolommeo 
,caporali1 of whom we have pictures of  
the date of #adhg4 ,some strangers were 

also to be found amongst them1 as that  
,lello da ,velletri1 the author of an   
altarpiece1 and its lower compartments1 
noticed by ,signor ,orsini4 ,benedetto  
,bonfigli was distinguished above all   
others1 and was the most eminent artist 
of ,perugia in his day4 ,i have seen by 
him1 besides the picture in fresco in   
the ,palazzo ,publico1 mentioned by     
,vasari1 a picture of the ,magi1 in ,s4 
,domenico1 in a style similar to        
,gentile1 and with a large proportion of
 gold2 and another in a more modern     
style1 an ,annunciation1 in the church  
of the ,orfanelli4 ,the angel in it is  
most beautiful1 and the whole picture   
would bear comparison with the works of 
the best artists of this period1 if the 
drawing were more correct4#ah  ,what ,i 
have already adduced sufficiently proves
 that the art was not neglected in the  
,papal ,states1 even in the ruder ages2 
and that men of genius from time to time
 appeared there1 who1 without leaving   
their native places1 still gave an      

impulse to art4 ,florence1 however1 has 
ever been the great capital of design1  
the leading academy1 and the ,athens of 
,italy4 ,it would be idle to question   
her indisputable claim to this high     
honour2 and ,sixtus ,,iv41 who1 as we   
have before mentioned1 sought through   
all ,italy for artists to ornament the  
,sistine chapel1 procured the greatest  
number from ,tuscany2 nor were there to 
be found amongst them any who were his  
own subjects1 except ,pietro ,perugino1 
and he too had risen to notice and      
celebrity in ,florence4 ,these then are 
the first mature fruits of the ,roman   
school1 for until this period they had  
been crude and tasteless4 ,pietro is her
 ,masaccio1 her ,ghirlandajo1 her all4  
,we will here take a short view of him  
and his scholars1 reserving1 however1   
the divine ,raffaello to the next epoch1
 which indeed is designated by his      
illustrious name4  ,pietro ,vannucci    
della ,pieve1#ai as he calls himself in 
some pictures1 or of ,perugia in others1

 from the citizenship which he there    
enjoyed1 had studied under a master of  
no great celebrity1 if we are to believe
 ,vasari2 and this was a ,pietro da     
,perugia1 as ,bottari conjectured1 or   
,niccolo ,alunno1 as it was reported in 
,foligno4 ,mariotti pretends that       
,pietro advanced himself greatly in     
,perugia in the schools of ,bonfigli1   
and ,pietro della ,francesca1 from which
 he not only derived that excellence in 
perspective1 which1 from the testimony  
of ,vasari was so much admired in       
,florence1 but also much of his design  
and colouring4#bj ,mariotti then raises 
a doubt whether1 when he went as an     
artist to ,florence1 he became the      
scholar of ,verrocchio1 as writers      
report1 or whether he did not rather    
perfect himself from the great examples 
of ,masaccio1 and the excellent painters
 who at that time flourished there2 and 
he finally determines in favour of the  
opinion held by ,pascoli1 ,bottari1 and 
,taja1 and adopted by ,padre ,resta1 in 

his ,galleria ,portatile1 p4 #aj1 that  
,verrocchio was never his master4 ,it is
 well worth while to read the           
disquisitions of this able writer in his
 fifth letter1 where we may admire the  
dexterity with which he settles a point 
so perplexed and so interesting to the  
history of art4 ,i will only add that it
 appears to me not improbable1 that     
,pietro1 when he arrived at ,florence1  
attached himself to this most celebrated
 artist1 and was instructed by him in   
design1 and in the plastic art          
particularly1 and in that fine style of 
painting with which ,verrocchio1 without
 much practising it himself1 imbued both
 ,vinci and ,credi4 ,traditions are     
seldom wholly groundless2 they have     
generally some foundation in truth4     
,the manner of ,pietro is somewhat hard 
and dry1 like that of other painters of 
his time2 and he occasionally exhibits a
 poverty in the drapery of his figures2 
his garments and mantles being curtailed
 and confined4 ,but he atones for these 

faults by the grace of his heads1       
particularly in his boys and in his     
women2 which have an air of elegance and
 a charm of colour unknown to his       
contemporaries4 ,it is delightful to    
behold in his pictures1 and in his      
frescos which remain in ,perugia and    
,rome1 the bright azure ground which    
affords such high relief to his figures2
 the green1 purple1 and violet tints so 
chastely harmonized1 the beautiful and  
well drawn landscape and edifices1      
which1 as ,vasari says1 was a thing     
until that time never seen in ,florence4
 ,in his altarpieces he is not          
sufficiently varied4 ,there is a        
remarkable painting executed for the    
church of ,s4 ,simone1 at ,perugia1 of a
 ,holy ,family1 one of the first        
specimens of a well designed and well   
composed altarpiece4 ,in other respects 
,pietro did not make any great advances 
in invention2 his ,crucifixions and his 
,descents from the ,cross are numerous1 
and of an uniform character4 ,he has    

thus represented1 with little variation1
 the ,ascensions of our ,lord and of the
 ,virgin1 in ,bologna1 in ,florence1    
,perugia1 and ,citta di ,s4 ,sepolcro4  
,he was reproached with this            
circumstance in his lifetime1 and       
defended himself by saying that no one  
had a right to complain1 as the designs 
were all his own4 ,there is also another
 defence1 which is1 that compositions1  
really beautiful1 are still seen with   
delight when repeated in different      
places2 whoever sees in the ,sistine his
 ,s4 ,peter invested with the keys1 will
 not be displeased at finding at        
,perugia the same landscape1 in a       
picture of the ,marriage of the ,virgin4
 ,on the contrary1 this picture is one  
of the finest objects that noble city   
affords2 and may be considered as       
containing an epitome of the various    
styles of ,pietro4 ,in the opinion of   
some persons1 his frescos exhibit a more
 fertile invention1 and greater delicacy
 and harmony of colour4 ,of these1 his  

masterpiece is in his native city1 in   
the ,sala del ,cambio4 ,it is an        
evangelical subject1 with saints from   
the ,old ,testament1 and with his own   
portrait1 to which his grateful fellow  
citizens attached an elegant eulogy4 ,he
 is most eminent1 and adopts a sort of  
,raffaellesque style1 in some of his    
latter pictures4 ,i have observed it in 
a ,holy ,family1 in the ,carmine in     
,perugia4 ,the same may be said too of  
certain small pictures1 almost of a     
miniature class2 as in the grado of ,s4 
,peter1 in ,perugia1 than which nothing 
can be more finished and beautiful2 and 
in many other pieces in which he has    
spared no pains1#ba but which are few in
 comparison to the multitude by his     
scholars1 attributed to him4  ,in       
treating of the school of ,pietro       
,perugino1 it is necessary to advert to 
what ,taja1#bb and after him the author 
of the ,lettere ,perugine1 notices      
respecting his scholars1 that they were 
most scrupulous in adhering to the      

manner of their master1 and as they were
 very numerous1 they have filled the    
world with pictures1 which both by      
painters and connoisseurs are very      
commonly considered as his4 ,when his   
works in ,perugia are inspected1 he     
generally rises in the esteem of        
travellers1 of whom many have only seen 
paintings incorrectly ascribed to him4  
,in ,florence there are some of his     
pictures in the ,grand ,duke's          
collection3 and in the church of ,s4    
,chiara1 his beautiful ,descent from the
 ,cross1 and some other works2 but in   
private collections both here and in    
other cities of ,tuscany1 many ,holy    
,families are assigned to him1 which are
 most probably by ,gerino da ,pistoja1  
or some of his ,tuscan scholars1 of whom
 there is a catalogue in our first book4
 ,the ,papal states also possessed many 
of his scholars1 who were of higher     
reputation1 nor so wholly attached to   
his manner as the strangers4 ,bernardino
 ,pinturicchio1 his scholar and         

assistant in ,perugia and in ,rome1 was 
a painter little valued by ,vasari1 who 
has not allowed him his full share of   
merit4 ,he has not the style of design  
of his master1 and retains more than    
consistent with his age1 the ornaments  
of gold in his drapery2 but he is       
magnificent in his edifices1 spirited in
 his countenances1 and extremely natural
 in every thing he introduces into his  
composition4 ,as he was on the most     
familiar footing with ,raffaello1 with  
whom he painted at ,siena1 he has       
emulated his grace in some of his       
figures1 as in his picture of ,s4       
,lorenzo in the church of the           
,francescani di ,spello1 in which there 
is a small ,s4 ,john the ,baptist1      
thought by some to be by ,raphael       
himself4 ,he was very successful in     
arabesques and perspective2 in which way
 he was the first to represent cities in
 the ornaments of his fresco paintings1 
as in an apartment of the ,vatican1     
where in his landscapes he introduced   

views of the principal cities of ,italy4
 ,in many of his paintings he retained  
the ancient custom of making part of his
 decorations of stucco1 as the arches1 a
 custom which was observed in the       
,milanese school to the time of         
,gaudenzio4 ,rome possesses some of his 
works1 particularly in the ,vatican1 and
 in ,araceli4 ,there is a good picture  
by him in the duomo of ,spello4#bc ,his 
best is at ,siena1 in the magnificent   
sacristy of which we have already made  
mention4 ,they consist of ten historical
 subjects1 containing the most memorable
 passages in the life of ,pius ,,ii41   
and on the outside is an eleventh1 which
 represents the ,coronation of ,pius    
,,iii41 by whom this work was ordered4  
,vasari has added to the life of        
,pinturicchio that of ,girolamo ,genga1 
of ,urbino1 at first a scholar of       
,signorelli1 afterwards of ,perugino1   
and who remained some time pursuing his 
studies in ,florence4 ,he was1 for a    
long period1 in the service of the ,duke

 of ,urbino1 and attached himself more  
to architecture than to painting1       
though1 in the latter1 he was           
sufficiently distinguished to deserve a 
place in the history of art4 ,we cannot 
form a correct judgment of him1 as a    
great part of his own works have        
perished2 and as he assisted ,signorelli
 in ,orvieto and other places2 and was  
assisted by ,timoteo della ,vite in     
,urbino1 and in the imperial palace of  
,pesaro by ,raffaelle del ,colle1 and   
various others4 ,in the ,petrucci palace
 at ,siena1 which now belongs to the    
noble family of ,savini1 some historical
 pieces are ascribed to him near those  
of ,signorelli4 ,they are described in  
the ,lettere ,senesi1 and in the notes  
published at ,siena to the fourth volume
 of ,vasari4 ,these pieces are praised  
as superior to those of ,signorelli1 and
 as in many parts approaching the early 
style of ,raffaello4 ,nor do ,i see how1
 in the above mentioned letters1 they   
could be supposed to be by ,razzi1 or   

,peruzzi1 or ,pacchiarotto1 in their    
hard dry manner when history assures us 
that ,girolamo was with ,pandolfo a     
considerable time1 which cannot be      
asserted of the other three2 and as it  
appears that ,petrucci1 to finish the   
work of ,signorelli1 selected ,genga    
from among his scholars4 ,if we deprive 
him of this work1 which is the only one 
which can be called his own1 what can he
 have executed in all this time8 ,in    
this house there is no other picture    
that can be assigned to him1 although   
,vasari asserts that he there painted   
other rooms4 ,a most beautiful picture  
by ,genga1 and of the greatest rarity1  
is to be seen in ,s4 ,caterina da ,siena
 in ,rome2 the subject is the           
,resurrection of our ,saviour4  ,of the 
other scholars of ,perugino we have no  
distinct account2 but we find some      
notice of them in the life of their     
master4 ,giovanni ,spagnuolo1 named ,lo 
,spagna1 was one of the many            
oltramontani whom ,perugino instructed4 

,the greater part of these introduced   
his manner into their own countries1 but
 ,giovanni established himself at       
,spoleti1 at which place1 and in        
,assisi1 he left his best works4 ,in the
 opinion of ,vasari the colouring of    
,perugino survived in him more than in  
any of his fellow scholars4 ,in a chapel
 of the ,angioli1 below ,assisi1 there  
remains the picture described by        
,vasari1 in which are the portraits of  
the brotherhood of ,s4 ,francis1 who    
closed his days on this spot1 and1      
perhaps1 no other pupil of this school  
has painted portraits with more truth1  
if we except ,raffaello himself1 with   
whom no other painter is to be compared4
  ,a more memorable person is ,andrea   
,luigi di ,assisi1 a competitor of      
,raffaello1 although of more mature     
years1 who1 from his happy genius was   
named ,l',ingegno4 ,he assisted         
,perugino in the ,sala del ,cambio1 and 
in other works of more consequence2 and 
he may be said to be the first of that  

school who began to enlarge the style1  
and soften the colouring4 ,this is      
observable in several of his works1 and 
singularly so in the sybils and prophets
 in fresco in the church of ,assisi2 if 
they are by his hand1 as is generally   
believed4 ,it is impossible to behold   
his pictures without a feeling of       
compassion1 when we recollect that he   
was visited with blindness at the most  
valuable period of his life4 ,domenico  
di ,paris ,alfani also enlarged the     
manner of his master1 and even more than
 him ,orazio his son1 and not his       
brother1 as has been imagined4 ,this    
artist bears a great resemblance to     
,raffaello4 ,there are some of his      
pictures in ,perugia1 which1 if it were 
not for a more delicate colouring1 and  
something of the suavity of ,baroccio1  
might be assigned to the school of      
,raffaello2 and there are pictures on   
which a question arises whether they    
belong to that school or to ,orazio2    
particularly some ,madonnas1 which are  

preserved in various collections4 ,i    
have seen one in the possession of the  
accomplished ,sig4 ,auditor ,frigeri in 
,perugia2 and there is another in the   
ducal gallery in ,florence4 ,the        
reputation of the younger ,alfani has   
injured that of the other2 and even in  
,perugia some fine pieces were long     
considered to be by ,orazio1 which have 
since been restored to ,domenico4 ,an   
account of these1 and other works of    
eminent artists1 may be found in modern 
writers2 and particularly in ,mariotti1 
who mentions the altarpiece of the      
,crucifixion1 between ,s4 ,apollonia and
 ,s4 ,jerome1 at the church of the      
,conventuals1 a work by the two         
,alfanis1 father and son4 ,in           
commendation of the latter he adds1 that
 he was the chief of the academy for    
design1 which was founded in #aegc1 and 
which1 after many honourable struggles1 
has been revived in our own time4       
,there are other artists of less        
celebrity in ,perugia1 though not       

omitted by ,vasari4 ,eusebio da ,s4     
,giorgio painted in the church of ,s4   
,francesco di ,matelica1 a picture with 
several saints1 and on the grado1 part  
of the history of ,s4 ,anthony1 with his
 name1 and the year #aeab4 ,we may      
recognize in it the drawing of          
,perugino1 but the colouring is feeble4 
,his picture of the ,magi at ,s4        
,agostino is better coloured1 and in    
this he followed ,paris4 ,the works of  
,giannicola da ,perugia1 a good         
colourist1 and therefore willingly      
received by ,pietro to assist him in his
 labours1 however inferior to that      
artist in design and perspective1 are   
recognized in the ,cappella del ,cambio1
 which is near the celebrated sala of   
,perugino1 and was painted by him with  
the life of ,john the ,baptist4 ,in the 
church of ,s4 ,thomas1 is his picture of
 that ,apostle about to touch the wounds
 of our ,saviour1 and excepting a degree
 of sameness in the heads1 it possesses 
much of the character of ,perugino4     

,giambatista ,caporali1 erroneously     
called ,benedetto by ,vasari1           
,baldinucci1 and others1 holds likewise 
a moderate rank in this school1 and is  
more celebrated among the architects4   
,giulio1 his natural son1 afterwards    
legitimatized1 also cultivated the same 
profession4  ,the succeeding names      
belonging to this school are not        
mentioned by ,vasari2 a circumstance    
which does not prove the impropriety of 
their admission1 as there are many      
deserving of notice4 ,mariotti1 our     
guide in the chronology of this age1 and
 a correct judge of the conformity of   
style1 notices ,mariano di ,ser         
,eusterio1 whom ,vasari calls ,mariano  
da ,perugia 7tom4 iv4 p4 #afb71         
referring to a picture in the church of 
,s4 ,agostino in ,ancona1 which is not  
of much interest4 ,in opposition to this
 opinion of ,vasari1 however1 ,mariotti 
adduces another picture1 of a           
respectable class1 by ,mariano1 to be   
found in ,s4 ,domenico di ,perugia2     

whence we may conclude that this        
painting is deserving of a place in the 
history of art4 ,he also mentions ,berto
 di ,giovanni1 whom ,raffaello engaged  
as his assistant to paint a picture for 
the monks of ,monteluci 7of which we    
shall speak in our notice of ,penni7 and
 who was appointed in this contract by  
,raphael himself to paint the grado4    
,this grado is in the sacristy1 and is  
so entirely in the manner of ,raffaello1
 in the history of the virgin which it  
represents1 that we may conclude either 
that ,raffaello made the design1 or that
 it was painted by one of his school4   
,if it was by ,berto1 it proves him to  
have been one of those who exchanged the
 school of ,perugino for that of        
,raffaello2 and if he did not paint it1 
he must always be held in consideration 
for the regard he received from the     
master of the art4 ,of this artist more 
information may be obtained from        
,bianconi1 in the ,antologia ,romana1   
vol4 iii4 p4 #aba4 ,mariotti enumerates 

also ,sinibaldo da ,perugia1 who must be
 esteemed an excellent painter from his 
works in his native place1 and more so  
from those in the cathedral at ,gubbio1 
where he painted a fine picture in      
#aeje1 and a gonfalon still more        
beautiful1 which would rank him among   
the first artists of the ancient school4
 ,to the above painters ,pascoli adds a 
female artist of the name of ,teodora   
,danti1 who painted cabinet pictures in 
the style of ,perugino and his scholars4
  ,from tradition1 as well as           
conjecture1 we may notice in ,citta di  
,castello a ,francesco of that city1 a  
scholar of ,perugino1 who1 in an        
altarpiece in the church of the         
,conventuals1 left an ,annunciation with
 a fine landscape4 ,he is named in the  
,guida di ,roma1 in the account of the  
chapel of ,s4 ,bernardino in ,ara       
,caeli1 where he is supposed to have    
worked with ,pinturicchio and           
,signorelli4 ,there is a conjecture1    
though no decided proof1 that a ,giacomo

 di ,guglielmo was a pupil of ,pietro1  
who1 at ,castel della ,pieve1 his native
 place1 painted a gonfalon1 estimated by
 good judges in ,perugia at sixty-five  
florins2 and also a ,tiberio di ,assisi1
 who1 in many of the coloured lunettes  
in the convent degli ,angeli1 containing
 the history of the ,life of ,s4        
,francis1 shews clearly that ,perugino  
was his prototype1 though he had not    
talent enough to imitate him4 ,besides  
,tiberio1 some have assigned to the     
instructions of ,perugino1 the most     
eminent painter of ,assisi1 ,adone 7or  
,dono7 ,doni1 not unknown to ,vasari1   
who often mentions him1 and particularly
 in his life of ,gherardi 7vol4 v4 p4   
#adb74 ,he is there called of ,ascoli1  
an opinion which ,bottari maintains     
against ,orlandi1 who1 on the best      
grounds1 changed it to ,assisi4 ,in     
,ascoli he is not at all known1 but he  
is well known in ,perugia by a large    
picture of the ,last ,judgment in the   
church of ,s4 ,francis1 and still better

 in ,assisi1 where he painted in fresco1
 in the church of the ,angeli1 the life 
of the founder1 and of ,s4 ,stephen1 and
 many other pieces1 which1 for a long   
period1 served as a school for youth4   
,he had very little of the ancient      
manner2 the truth of his portraits is   
occasionally wonderful2 his colouring is
 that of the latest of the scholars of  
,perugino2 and he appears to be an      
artist of more correctness than spirit4 
,i find also a ,lattanzio della ,marca1 
of the school of ,perugino1 commemorated
 by ,vasari in the above mentioned life4
 ,he is thought to be the same as       
,lattanzio da ,rimino1 of whom ,ridolfi 
makes mention1 among the scholars of    
,giovanni ,bellino1 as painting a       
picture in ,venice in rivalship with    
,conegliano4#bd ,we are enabled more    
correctly to ascertain this from a      
document in the possession of ,mariotti1
 of which we shall shortly speak1 from  
which we not only learn to a certainty  
his native place1 but further1 that he  

was the son of ,vincenzo ,pagani1 a     
celebrated painter1 as will hereafter be
 seen1 and that both were living in the 
year #aeec4 ,it appears1 therefore1 very
 probable that ,lattanzio was instructed
 by his father1 and that we may doubt of
 his being under ,bellini1 who died     
about #aeaf1 or under ,perugino1 among  
whose disciples he is not enumerated by 
the very accurate ,mariotti4 ,it seems  
certain1 that on the death of ,vannucci 
he succeeded to his fame1 and obtained  
for himself some of the most important  
orders in ,perugia1 as1 for instance1   
the great work of painting the chambers 
in the castle4 ,he accomplished this    
task by the assistance of ,raffaellino  
del ,colle1 ,gherardi1 ,doni1 and       
,paperello4 ,he there commenced the     
picture of ,s4 ,maria del ,popolo1 and  
executed the lower part1 where there is 
a great number of persons in the        
attitude of prayer2 a fine expression is
 observable in the countenances1 the    
figures are well disposed1 the landscape

 beautiful1 and there is a strength and 
clearness in the colouring1 and a taste 
which1 on the whole1 is different from  
that of ,perugino4 ,the upper part of   
the picture1 which is by ,gherardi1 has 
not an equal degree of force4 ,lattanzio
 finished his career by being sheriff of
 his native city2 and of this office1 a 
more honourable distinction than at the 
present day1 it appears he took         
possession in the year #aeec1 and at    
that time renounced the art4 ,it is     
certain1 that1 in the before mentioned  
paper1 the ,capitano ,lattanzio di      
,vincenzo ,pagani da ,monte ,rubbiano   
acknowledges to have received six scudi 
of gold from ,sforza degli ,oddi1 as    
earnest money for a picture representing
 the ,trinity1 with four saints2 and    
engages that in the ensuing ,august it  
should be executed by his father        
,vincenzo and ,tommaso da ,cortona1 and 
this must be the picture still existing 
in the chapel of the ,oddi in ,s4       
,francesco1 since the figures           

particularized in the agreement are     
found there2 we shall have an           
opportunity of noticing it again4  ,in  
the ,antichita ,picene1 tom4 xxi4 p4    
#adh1 ,ercole ,ramazzani di             
,roccacontrada is recorded as a scholar 
of ,pietro ,perugino1 and for some time 
of ,raffaello4 ,a picture of the        
circumcision1 by him1 is there mentioned
 to be at ,castel ,planio1 with his name
 and the date of #aehh2 and in speaking 
of the artist it is added1 that he      
possessed a beautiful style of colour1 a
 charming invention1 and a manner       
approaching to ,barocci4 ,i have never  
seen the above mentioned picture1 nor   
the others which he left in his native  
city1 mentioned in the ,memorie of      
,abbondanziere3 but only one by a       
,ramazzani di ,roccacontrada1 painted in
 the church of ,s4 ,francesco1 in       
,matelica1 in #aegc4 ,although ,i cannot
 affirm to a certainty that this painter
 called himself ,ercole1 ,i still       
suspect him to be the same4 ,it         

represents the conception of the        
,virgin1 in which the idea of the       
subject is taken from ,vasari1 where    
,adam1 and others of the ,old           
,testament1 are seen bound to the tree  
of knowledge of good and evil1 as the   
heirs of sin1 while the ,virgin triumphs
 over them in her exemption from the    
penalty of the first parents4 ,ramazzani
 has adopted this design1 which he had  
probably seen1 but he has executed his  
picture on a much larger scale1 with    
better colouring1 and much more         
expression in the countenances4 ,to     
conclude1 we do not see a trace of the  
manner of ,perugino1 and the period at  
which he lived seems too late for him to
 have received instructions from that   
artist2 and it is most probable that he 
was taught by some of his latter        
scholars1 in whom1 if ,i mistake not1   
that more fascinating than correct style
 of colouring had its origin1 before it 
was adopted by ,barocci4  ,i may further
 observe1 that as ,perugino was the most

 celebrated name at the beginning of the
 sixteenth century1 many other artists  
of the ,roman ,states1 who studied the  
art about his time1 are given to his    
school without any sufficient authority2
 and particularly those who retained a  
share of the old style4 ,such was a     
,palmerini of ,urbino1 a contemporary of
 ,raphael1 and probably his fellow      
scholar in early life1 of whom there    
remains at ,s4 ,antonio1 a picture of   
various saints1 truly beautiful1 and    
approaching to a more modern style4 ,in 
the same style ,i found1 in the         
,borghese ,gallery at ,rome1 the ,woman 
of ,samaria at the ,well1 painted by a  
,pietro ,giulianello1 or perhaps da     
,giulianello1 a little district not far 
from ,rome2 an artist deserving to be   
placed in the first rank of             
quattrocentisti1 although not mentioned 
by any writer4 ,there are besides1 some 
pictures by ,pietro ,paolo ,agabiti1 who
 in tom4 xx4 of the ,ant4 ,pic4 is said 
to be of ,masaccio1 where he painted in 

#aeca1 and some time afterwards4 ,but ,i
 have seen a work by him in the church  
of ,s4 ,agostino in ,sassoferrato1 a    
series of small histories1 with an      
inscription in which he names           
,sassoferrato as his native place1 with 
the date of #aead2 a date that will     
carry him from the moderns to the better
 class of the old school4 ,lorenzo      
,pittori da ,macerata painted in the    
church of the ,virgin1 highly esteemed  
for its architecture1 a picture of      
,christ in #aecc1 in a manner which has 
been called antico moderno4 ,two        
artists1 ,bartolommeo1 and ,pompeo his  
son1 flourished in ,fano1 and painted in
 #aecd in conjunction1 in the church of 
,s4 ,michele1 the resurrection of       
,lazarus4 ,it is wonderful to observe   
how little they regarded the reform     
which the art had undergone4 ,these     
artists strictly followed the dry style 
of the quattrocentisti1 with a thorough 
contempt of the modern style4 ,nor was  
the son at all modernized on leaving his

 father's studio4 ,i found at ,s4       
,andrea di ,pesaro a picture by him of  
various saints1 which might have done   
him honour in the preceding age4        
,civalli mentions other works by him in 
a better style3 and he certainly in his 
lifetime enjoyed a degree of reputation1
 and was one of the masters of ,taddeo  
,zuccaro4 ,there are a number of        
painters of this class1 of whom a long  
list might be compiled2 they are        
generally represented to be pupils of   
some well known master1 and in such     
cases ,pietro ,perugino is selected2    
though it would be more candid to       
confess our ignorance on the subject4   
,it would be improper to pass on to     
another epoch of art1 without adverting 
to the grotesque4 ,this branch of the   
art is censured by ,vitruvius#be as a   
creation of portentous monsters beyond  
the reign of nature1 transferring to    
canvas the dreams and ravings of a      
disordered fancy1 as wild as the waves  
of a convulsed sea1 lashed into a       

thousand varying forms by the fury of   
the tempest4 ,this style took its name  
from the grotte1 for so those beautiful 
antique edifices may be called1 where   
paintings of this kind are found1       
covered with earth1 and with buildings  
of a later period4 ,this style was      
revived in ,rome1 where a greater       
proportion of these ancient specimens is
 found1 and was restored at this epoch4 
,vasari ascribes the revival of them to 
,morto da ,feltro1 and the perfecting of
 the style to ,giovanni da ,udine4 ,but 
he himself1 notwithstanding the little  
esteem he had for ,pinturicchio1 calls  
him the friend of ,morto da ,feltro1 and
 allows that he executed many works in  
the same manner in ,castel ,s4 ,angelo4 
,before him too ,pietro his master had  
painted some of the same kind in the    
,sala del ,cambio1 which ,orsini says   
are well conceived1 and to him likewise 
a precedent had been afforded by        
,benedetto ,bonfigli1 of whom ,taja1 in 
his description of the ,vatican palace1 

says1 that he painted for ,innocent     
,,viii4 in ,rome some singularly        
beautiful grotesques4 ,this branch of   
art was afterwards cultivated in many of
 the schools of ,italy1 particularly in 
that of ,siena4 ,peruzzi approved of it 
in architecture1 and adopted it in his  
painting1 and gave occasion to ,lomazzo 
to offer a defence of it1 and precepts1 
as ,i before noticed1 and as may be seen
 in the sixth book of his ,trattato     
della ,pittura1 chapter forty-eight4    
,footnote #d3 ,dell'errore1 che         
persiste1 c4 see the second index4 ,it  
was opposed by ,crespi1 in his          
,dissertazione ,anticritica1 referred to
 in the same index4 ,it was also opposed
 by ,p4 dell',aquila1 in the ,dizionario
 portatile della ,bibbia1 tradotto dal  
francese1 in a note of some length1 on  
the article ,s4 ,luca4  ,footnote #e3   
,see the ,opuscoli ,calogeriani1 tom4   
xliii4 where a learned dissertation is  
inserted1 which shews that this custom  
was introduced about the middle of the  

fifth century1 on occasion of the       
,council of ,ephesus4  ,footnote #f3    
,engraved by command of the learned     
,cardinal ,borgia4 ,the artists began   
about the middle of the fifth century1  
to represent her with the ,infant in her
 arms4 ,see ,opuscoli ,calogeriani1 as  
above4  ,footnote #g3 ,the painter was a
 man of holy life1 and a ,florentine1   
whose name was ,luca1 and who was       
honoured by the common people with the  
title of saint4 ,lami1 ,deliciae        
,eruditorum1 tom4 xv4  ,footnote #h3 ,so
 says ,vasari1 who writes his life1 but 
,padre della ,valle thinks it highly    
probable that he was the scholar of     
,cosimati1 and not of ,giotto2 as       
,cavallini was contemporary with        
,giotto4 ,i agree that he was only a    
very few years younger1 and might have  
received some instructions in the school
 of ,cosimati3 but who1 except ,giotto  
himself1 could have taught him that     
,giottesque and improved style scarcely 
inferior to ,gaddi8  ,footnote #i3 ,in  

the archives of the ,collegiate ,church 
of ,s4 ,niccolo1 in ,fabriano1 is       
preserved a catalogue of the pictures of
 the city1 which has been communicated  
to me by ,sig4 ,can4 ,claudio ,serafini4
 ,this picture1 which is divided into   
five compartments1 is there mentioned2  
and it is added1 that many celebrated   
painters visited the place to view this 
excellent work1 and in particular1 the  
illustrious ,raffaello4  ,footnote #aj3 
,in the archives before alluded to1 are 
also mentioned two ancient pictures of a
 ,giuliano da ,fabriano1 the one in the 
church of the ,domenicans1 the other in 
the ,church of the ,capuchins4          
,footnote #aa3 ,tom4 xxiii4 page #hc1 c4
 ,by the first1 is the ancient picture  
of ,s4 ,maria della ,consolazione in    
that church1 erected in #addb4 ,by the  
second1 are the pictures in the church  
of ,s4 ,rocco1 painted about the year   
#adfc4 ,the third artist painted a      
picture in the church of ,s4 ,liberato1 
in #adid4  ,footnote #ab3 ,galeazzo     

,sanzio and his sons will be noticed in 
the second epoch4  ,footnote #ac3 ,see  
,vasari1 ,bologna edition1 p4 #bfj4     
,footnote #ad3 ,the commentators of     
,vasari remark1 that when he uses this  
phrase1 he refers to the year of the    
death of the artist1 or to the period   
when he relinquished his art4 ,pietro   
must therefore have become blind about  
the year #adeh1 in the sixtieth year of 
his age1 and must have died about #adhd1
 aged eighty-six4 ,this painter was     
intimately connected with the family of 
,vasari4 ,lazaro the great-grandfather  
of ,vasari1 who died in #adeb1 was the  
friend and imitator of ,pietro1 and some
 time before his death assigned him his 
nephew ,signorelli as a scholar4 ,we    
must1 therefore1 give credit to         
,vasari's account of ,borghese2 for if  
we discredit him on this occasion1 as   
some have done1 when are we to believe  
him8 ,it is true1 indeed1 that he is    
guilty of a strange anachronism in      
mentioning ,guidubaldo1 the old ,duke of

 ,urbino1 as his first patron2 but this 
kind of error is frequent in him1 and   
not to be regarded4  ,footnote #ae3 ,fu 
eccellentissimo prospettivo1 e il       
maggior geometra de' suoi tempi4 ,romano
 ,alberti1 ,trattato della nobilta della
 pittura1 p4 #cb4 ,see also ,pascoli1   
,vite1 tom4 i4 p4 #ij4  ,footnote #af3  
,it appears that in this art he was     
preceded by ,van ,eych of ,flanders4    
,see tom4 i4 p4 #ha1 c42 and also the   
eulogium on him by ,bartolommeo ,facio1 
p4 #df1 where he praises his skill in   
geometry1 and refers to several of his  
pictures1 which prove him to have been  
highly accomplished1 and almost         
unrivalled in perspective4  ,footnote   
#ag3 ,if there be any truth in ,pietro  
having been blind for twenty-four years1
 ,i do not know how he could have       
painted ,sixtus ,,iv4 ,on the other hand
 this tradition of his blindness comes  
from ,vasari1 whose family was so       
intimately connected with that of       
,pietro della ,francesca1 that there was

 less room for error in the life of that
 artist than in any other4 ,this        
excellent picture1 of which ,i have seen
 a beautiful copy in the possession of  
the ,duke di ,ceri1 ,i should myself    
rather attribute to ,melozzo4  ,footnote
 #ah3 ,he is favorably mentioned by     
,crispolti1 in the ,perugia ,augusta2 by
 ,ciatti1 in the ,istorie di ,perugia2  
,alessi1 in the ,elogi de' ,perugini    
illustri2 and by ,pascoli1 in the ,vite 
de' ,pittori ,sc4 ,arch4 ,perugini2 with
 whom ,i can in no manner concur in     
opinion1 that ,benedetto was equal to   
the best artists of his time1 and       
probably the first among the early      
masters who contributed to the          
introduction of an improved style1 7p4  
#ba74 ,an assertion singularly unjust to
 ,masaccio4  ,footnote #ai3 ,he         
subscribed himself de ,castro ,plebis1  
now ,citta della ,pieve4 ,there1        
according to ,pascoli1 the father was   
born1 who afterwards removed to         
,perugia1 where ,pietro was born2 but   

the greater probability is1 that ,pietro
 also was born in ,citta della ,pieve4  
,mariotti4  ,footnote #bj3 ,this        
resemblance might have arisen from his  
imitation of the works of ,borghese1    
7,pietro della ,francesca7 which he saw 
in ,perugia1 as it most assuredly cannot
 be proved that ,perugino was ever in   
his school4 ,p4 ,valle and others       
express great doubts of it1 and when ,i 
reflect that ,vannucci was only twelve  
years old when ,borghese lost his sight1
 ,i regard it as an absurd tradition4   
,footnote #ba3 ,vasari1 at the close of 
his ,life observes1 none of his scholars
 ever equalled ,pietro in application or
 in amenity of colour4 ,padre della     
,valle asserts on the contrary1 that he 
was indebted for a great portion of his 
celebrity to the talents displayed by   
his scholars2 and says that he detected 
the touch of ,raffaello in his picture  
in the ,grand ,duke's collection2 but we
 must have a stronger testimony before  
we submit ourselves to this decision4   

,footnote #bb3 ,descrizione del ,palazzo
 ,vaticano1 p4 #cf4  ,footnote #bc3     
,consisting of three subjects from the  
,life of ,christ1 in the ,chapel of the 
,holy ,sacraments4 ,the ,annunciation1  
the ,birth of ,christ1 and the ,dispute 
with the ,doctors1 the best of the      
three4 ,in one of these he introduced   
his own portrait4 ,vasari does not      
mention this fine production4  ,footnote
 #bd3 ,he probably came to ,venice from 
,rimino1 or resided there for some time4
 ,we find other early painters assigned 
first to one country and then to        
another1 as ,jacopo ,davanzo1 ,pietro   
,vannucci1 ,lorenzo ,lotto1 c4          
,footnote #be3 ,it is said that ,mengs1 
who was desirous of being considered a  
philosophical painter1 coincided with   
,vitruvius in opinion4 ,but this opinion
 should be restricted to some           
indifferent specimens2 for when he      
afterwards saw them painted in the true 
style of the ancients1 he regarded them 
with extraordinary pleasure2 as in      

,genoa1 which possesses some beautiful  
arabesques by ,vaga4 ,so the defender of
 ,ratti assures us4       ,,roman       
,,school4    ,,epoch ,,ii4    ,raffaello
 and his ,school4   ,we are now arrived 
at the most brilliant period1 not only  
of the ,roman ,school1 but of modern    
painting itself4 ,we have seen the art  
carried to a high degree of perfection  
by ,da ,vinci and ,bonarruoti1 at the   
beginning of the sixteenth century1 and 
it is a remarkable fact that the same   
period embraces not only ,raphael1 but  
also ,coreggio1 ,giorgione1 and ,titian1
 and the most celebrated ,venetian      
painters3 so that a man enjoying the    
common term of life might have seen the 
works of all these illustrious masters4 
,the art in but a few years thus reached
 a height to which it had never before  
attained1 and which has never been      
rivalled1 except in the attempt to      
imitate these early masters1 or to unite
 in one style their varied and divided  
excellences4 ,it seems indeed an        

ordinary law of providence1 that        
individuals of consummate genius should 
be born and flourish at the same period1
 or at least at short intervals from    
each other1 a circumstance of which     
,velleius ,paterculus1 after a diligent 
investigation1 protested he could never 
discover the real cause4 ,i observe1 he 
says1 men of the same commanding genius 
making their appearance together1 in the
 smallest possible space of time2 as it 
happens in the case of animals of       
different kinds1 which1 confined in a   
close place1 nevertheless each selects  
its own class1 and those of a kindred   
race separate themselves from the rest1 
and unite in the closest manner4 ,a     
single age was sufficient to illustrate 
,tragedy1 in the persons of ,a,eschylus1
 ,sophocles1 and ,euripides3 ancient    
comedy under ,cratinus1 ,aristophanes1  
and ,eumolpides2 and in like manner the 
new comedy under ,menander1 ,diphilus1  
and ,philemon4 ,there appeared few      
philosophers of note after the days of  

,plato and ,aristotle1 and whoever has  
made himself acquainted with ,isocrates 
and his school1 is acquainted with the  
summit of ,grecian eloquence4 ,the same 
remark applies also to other countries4 
,the great ,roman writers are included  
under the single age of ,octavius3 ,leo 
,x4 was the ,augustus of modern ,italy2 
the reign of ,louis ,,xiv4 was the      
brilliant era of ,french letters1 that  
of ,charles ,,ii4 of the ,english4      
,this rule applies equally to the fine  
arts4 ,hoc idem1 proceeds ,velleius1    
evenisse plastis1 pictoribus1           
sculptoribus1 quisquis temporum         
institerit notis reperiet1 et eminentiam
 cujusque operis arctissimis temporum   
claustris circumdatam4#bf ,of this union
 of men of genius in the same age1      
,causas1 he says1 quum semper requiro1  
numquam invenio quas veras confidam4 ,it
 seems to him probable that when a man  
finds the first station in art occupied 
by another1 he considers it as a post   
that has been rightfully seized on1 and 

no longer aspires to the possession of  
it1 but is humiliated1 and contented to 
follow at a distance4 ,but this solution
 ,i confess does not satisfy my mind4   
,it may indeed account to us why no     
other ,michelangiolo1 or ,raffaello1 has
 ever appeared2 but it does not satisfy 
me why these two1 and the others before 
mentioned1 should all have appeared     
together in the same age4 ,for myself1  
,i am of opinion that the age is always 
influenced by certain principles1       
universally adopted both by professors  
of the art1 and by amateurs3 which      
principles happening at a particular    
period to be the most just and accurate 
of their kind1 produce in that age some 
supereminent professors1 and a number of
 good ones4 ,these principles change    
through the instability of all human    
affairs1 and the age partakes in the    
change4 ,i may add1 nevertheless1 that  
these happy periods never occur without 
the circumstance of a number of princes 
and influential individuals rivalling   

each other in the encouragement of works
 of taste2 and amidst these there always
 arise some persons of commanding       
genius1 who give a bias and tone to art4
 ,the history of sculpture in ,athens1 a
 city where munificence and taste went  
hand in hand1 favours my opinion1 and it
 is further confirmed by this golden    
period of ,italian art4 ,nevertheless ,i
 do not pretend to give a verdict on    
this important question1 but leave the  
decision of it to a more competent      
tribunal4  ,but although it be a matter 
of difficulty to account for this       
developement and union of rare talent at
 one particular period1 we may however  
hope to trace the steps of a single     
individual to excellence2 and ,i would  
wish to do so of ,raffaello4 ,nature and
 fortune seemed to unite in lavishing   
their favours on this artist2 the first 
in investing him with the rarest gifts  
of genius1 the other in adding to these 
a singular combination of propitious    
circumstances4 ,in order to illustrate  

our inquiry it will be necessary to     
observe him from his earliest years1#bg 
and to note the progress of his mind4   
,he was born in ,urbino in #adhc2 and if
 climate1 as seems not improbable1 have 
any influence on the genius of an       
artist1 ,i know not a happier spot that 
could have been chosen for his birth1   
than that part of ,italy which gave to  
architecture a ,bramante1 supplied the  
art of painting with a successor to     
,raffaello in ,baroccio1 and bestowed on
 sculpture the plastic hand of a        
,brandani1 without referring to many    
less celebrated1 but still deserving    
artists1 who are the boast of ,urbino   
and her state4 ,the father of this      
illustrious artist was ,giovanni di     
,santi1#bh or as he has been commonly   
called ,giovanni ,sanzio1 an artist of  
moderate talents1 and who could         
contribute but little to the instruction
 of his son2 although it was no small   
advantage to have been initiated in a   
simple style1 divested of mannerism4 ,he

 made some further progress from        
studying the works of ,f4 ,carnevale1 an
 artist of great merit1 for the times in
 which he flourished2 and being placed  
at ,perugia1 under ,pietro1 he soon     
became master of his style1 as ,vasari  
observes1 and had then probably already 
formed the design of excelling him4 ,i  
was informed in ,citta di ,castello1    
that at the age of seventeen he painted 
the picture of ,s4 ,nicholas of         
,tolentino in the church of the         
,eremitani4 ,the style was that of      
,perugino1 but the composition differed 
from that of the age1 being the throne  
of our ,saviour surrounded by saints4   
,the ,beato 7beatified saint7 is there  
represented1 while the ,virgin and ,st4 
,augustine1 concealed in part by a      
cloud1 bind his temples with a crown2   
there are two angels at the right hand1 
and two at the left1 graceful1 and in   
different attitudes2 with inscriptions  
variously folded1 on which are inscribed
 some words in praise of ,s4 ,eremitano4

 ,above is the ,eternal ,father         
surrounded by a majestic choir of       
angels4 ,the actors of the scene appear 
to be in a temple1 the pillars of which 
are ornamented in the minute and        
laboured style of ,mantegna1 and the    
ancient manner is still perceptible in  
the folds of the drapery1 though there  
is an evident improvement in the design1
 as in the figure of ,satan1 who lies   
under the feet of the saint4 ,this      
figure is free from the singular        
deformity with which the ancient        
painters represented him2 and has the   
genuine features of an ,ethiopian4 ,to  
this picture another of this period may 
be added in the church of ,s4 ,domenico2
 a ,crucifixion1 with two attendant     
angels2 the one receives in a cup the   
sacred blood which flows from the right 
hand1 the other1 in two cups1 collects  
that of the left hand and the side2 the 
weeping mother and disciples contribute 
their aid1 while the ,magdalen and an   
aged saint kneeling in silence          

contemplate the solemn mystery2 above is
 the ,deity4 ,these figures might all   
pass for those of ,pietro1 except the   
,virgin1 the beauty of which he never   
equalled1 unless perhaps in the latter  
part of his life4 ,another specimen of  
this period is noticed by the ,abate    
,morcelli1 7de ,stylo ,inscript4 ,latin1
 p4 #dgf74 ,he states1 that in the      
possession of ,sig4 ,annibale ,maggiori1
 a nobleman of ,fermo1 he saw the       
picture of a ,madonna1 raising with both
 hands a veil of delicate texture from  
the holy ,infant1 as he lies in a cradle
 asleep4 ,nigh at hand is ,s4 ,joseph1  
whose eyes rest in contemplation on the 
happy scene1 and on his staff the same  
writer detected an inscription in       
extremely minute characters1 ,r4 ,s4 ,v4
 ,a4 ,a4 ,,xvii4 ,p4 ,raphael ,sanctius 
,urbinas an4 aetatis #ag pinxit4 ,this  
must have been the first attempt of the 
design which he perfected at a more     
mature age1 and which is in the         
,treasury of ,loreto1 where the holy    

,infant is represented1 not in the act  
of sleeping1 but gracefully stretching  
out his hand to the ,virgin3 of the same
 epoch ,i judge the tondini to be1 which
 ,i shall describe in the course of a   
few pages1 when ,i refer to the ,madonna
 della ,seggiola4  ,vasari informs us1  
that before executing these two         
pictures1 he had already painted in     
,perugia an ,assumption in the church of
 the ,conventuals1 with three subjects  
from the life of ,christ in the grado2  
which may however be doubted1 as it is a
 more perfect work4 ,this picture       
possesses all the best parts of the     
style of ,vannucci2 but the varied      
expressions which the apostles discover 
on finding the sepulchre void1 are      
beyond the reach of that artist's       
powers4 ,raffaello still further        
excelled his master1 as ,vasari         
observes1 in the third picture painted  
for ,citta di ,castello4 ,this is the   
marriage of the ,virgin1 in the church  
of ,s4 ,francesco4 ,the composition very

 much resembles that which he adopted in
 a picture of the same subject in       
,perugia2 but there is sufficient of    
modern art in it to indicate the        
commencement of a new style4 ,the two   
espoused have a degree of beauty which  
,raffaello scarcely surpassed in his    
mature age1 in any other countenances4  
,the ,virgin particularly is a model of 
celestial beauty4 ,a youthful band      
festively adorned accompany her to her  
espousals2 splendour vies with elegance2
 the attitudes are engaging1 the veils  
variously arranged1 and there is a      
mixture of ancient and modern drapery1  
which at so early a period cannot be    
considered as a fault4 ,in the midst of 
these accompaniments the principal      
figure triumphantly appears1 not        
ornamented by the hand of art1 but      
distinguished by her native nobility1   
beauty1 modesty1 and grace4 ,the first  
sight of this performance strikes us    
with astonishment1 and we involuntarily 
exclaim1 how divine and noble the spirit

 that animates her heavenly form6 ,the  
group of the men of the party of ,s4    
,joseph are equally well conceived4 ,in 
these figures we see nothing of the     
stiffness of the drapery1 the dryness of
 execution1 and the peculiar style of   
,pietro1 which sometimes approaches to  
harshness3 all is action1 and an        
animating spirit breathes in every      
gesture and in every countenance4 ,the  
landscapes are not represented with     
sterile and impoverished trees1 as in   
the backgrounds of ,pietro2 but are     
drawn from nature1 and finished with    
care4 ,the round temple in the summit is
 ornamented with columns1 and executed1 
,vasari observes1 with such admirable   
art1 that it is wonderful to observe the
 difficulties he has willingly incurred4
 ,in the distance are beautiful groups1 
and there is a figure of a poor man     
imploring charity depicted to the life1 
and1 more near1 a youth1 a figure which 
proves the artist to have been master of
 the then novel art of foreshortening4  

,i have purposely described these       
specimens of the early years of         
,raphael1 more particularly than any    
other writer1 in order to acquaint the  
reader with the rise of his divine      
talents4 ,in the labours of his more    
mature years1 the various masters whose 
works he studied may each claim his own2
 but in his first flight he was         
exclusively supported by the vigour of  
his own talents4 ,the bent of his       
genius1 which was not less voluptuous   
and graceful than it was noble and      
elevated1 led him to that ideal beauty1 
grace1 and expression1 which is the most
 refined and difficult province of      
painting4 ,to insure success in this    
department neither study nor art is     
sufficient4 ,a natural taste for the    
beautiful1 an intellectual faculty of   
combining the several excellences of    
many individuals in one perfect whole1 a
 vivid apprehension1 and a sort of      
fervour in seizing the sudden and       
momentary expressions of passion1 a     

facility of touch1 obedient to the      
conceptions of the imagination2 these   
were the means which nature alone could 
furnish1 and these1 as we have seen1 he 
possessed from his earliest years4      
,whoever ascribes the success of        
,raffaello to the effects of study1 and 
not to the felicity of his genius1 does 
not justly appreciate the gifts which   
were lavished on him by nature4#bi  ,he 
now became the admiration of his master 
and his fellow scholars2 and about the  
same time ,pinturicchio1 after having   
painted with so much applause at ,rome  
before ,raffaello was born1 aspired to  
become1 as it were1 his scholar in the  
great work at ,siena4 ,he did not       
himself possess a genius sufficiently   
elevated for the sublime composition    
which the place required2 nor had       
,pietro himself sufficient fertility1 or
 a conception of mind equal to so novel 
an undertaking4 ,it was intended to     
represent the life and actions of       
,a,eneas ,silvius ,piccolomini1         

afterwards ,pope ,pius ,,ii42 the       
embassies entrusted to him by the       
council of ,constance to various        
princes2 and by ,felix1 the antipope1 to
 ,frederick ,,iii41 who conferred on him
 the laurel crown2 and also the various 
embassies which he undertook for        
,frederick himself to ,eugenius ,,iv41  
and afterwards to ,callistus ,,iv41 who 
created him a ,cardinal4 ,his subsequent
 exaltation to the ,papacy1 and the most
 remarkable events of his reign1 were   
also to be represented2 the canonization
 of ,s4 ,catherine2 his attendance on   
the ,council of ,mantua1 where he was   
received in a princely manner by the    
,duke2 and finally his death1 and the   
removal of his body from ,ancona to     
,rome4 ,never perhaps was an undertaking
 of such magnitude entrusted to a single
 master4 ,the art itself had not as yet 
attempted any great flight4 ,the        
principal figures in composition        
generally stood isolated1 as ,pietro    
exhibited them in ,perugia1 without     

aiming at composition4 ,in consequence  
of this the proportions were seldom     
true1 nor did the artists depart much   
from sacred subjects1 the frequent      
repetition of which had already opened  
the way to plagiarism4 ,historical      
subjects of this nature were new to     
,raffaello1 and to him1 unaccustomed to 
reside in a metropolis1 it must have    
been most difficult1 in painting so many
 as eleven pictures1 to imitate the     
splendour of different courts1 and as we
 may say1 the manners of all ,europe1   
varying the composition agreeably to the
 occasion4 ,nevertheless1 being         
conducted by his friend to ,siena1 he   
made the sketches and cartoons of all   
these subjects1 says ,vasari in his life
 of ,pinturicchio1 and that he made the 
sketches of the whole is the common     
report at ,siena4 ,in the life of       
,raffaello he states that he made some  
of the designs and cartoons for this    
work1 and that the reason of his not    
continuing them1 was his haste to       

proceed to ,florence1 to see the        
cartoons of ,da ,vinci and ,bonarruoti4 
,but ,i am more inclined to the first   
statement of ,vasari1 than the          
subsequent one4 ,in ,april1 #aejc1      
,raffaello was employed in the ,library1
 as is proved by the will of ,cardinal  
,francesco ,piccolomini4#cj ,while the  
,library was yet unfinished1            
,piccolomini was elected ,pope on the   
twenty-first day of ,september2 and his 
coronation following on the eighth of   
,october1 ,pinturicchio commemorated the
 event on the outside of the ,library1  
in the part opposite to the duomo4      
,bottari remarks1 that in this facade we
 may detect not only the design1 but in 
many of the heads the colouring also of 
,raffaello4 ,it appears probable        
therefore that he remained to complete  
the work1 the last subject of which     
might perhaps be finished in the        
following year1 #aejd1 in which he      
departed to ,florence4 ,we may here     
observe1 that this work1 which has      

maintained its colours so well that it  
almost appears of recent execution1     
confers great honour on a young artist  
of twenty years of age2 as we do not    
find a composition of such magnitude1 in
 the passage from ancient to modern art1
 conceived by any single painter4 ,so   
that if ,raffaello stood not entirely   
alone in this work1 the best part of it 
must still be assigned to him1 since    
,pinturicchio himself was improving at  
this time1 and the works which he       
afterwards executed at ,spello and      
,siena itself1 incline more to the      
modern than any he had before done4     
,this will justify us in concluding that
 ,raffaello had already1 at that early  
age1 far outstripped his master2 his    
contour being more full1 his composition
 more rich and free1 accompanied by an  
ornamental and grander style1 and an    
ability unlimited1 and capable of       
embracing every subject that was        
presented to him4  ,the works which he  
saw in ,florence did not lead him out of

 his own path1 as1 to mention one       
instance1 afterwards happened to        
,franco1 who1 coming from ,venice1      
applied himself to a style of design and
 a career entirely new4 ,raffaello had  
formed his own system1 and only sought  
examples1 to enlarge his ideas and      
facilitate his execution4 ,he therefore 
studied the works of ,masaccio1 an      
elegant and expressive painter1 whose   
,adam and ,eve he afterwards adopted in 
the ,vatican4 ,he also became acquainted
 with ,fra ,bartolommeo1 who1 about this
 time1 had returned to the exercise of  
his profession4 ,to this artist he      
taught the principles of perspective1   
and acquired from him1 in return1 a     
better style of colouring4 ,we have not 
any record to prove that he made himself
 known to ,da ,vinci2 and the portrait  
of ,raffaello1 in the ducal gallery in  
,florence1 which is said to be by       
,lionardo1 is an unknown head4 ,i would 
willingly1 however1 flatter myself1 that
 a congeniality of mind and an affinity 

of genius1 emulous in the pursuit of    
perfection1 must have produced a        
knowledge of each other1 if it did not  
conciliate a mutual attachment4 ,no one 
certainly was more capable than ,da     
,vinci1 of communicating to ,raffaello a
 degree of refinement and knowledge1    
which he could not have received from   
,pietro2 and to introduce him into the  
more subtle views of art4 ,as to        
,michelangiolo1 his pictures were rare1 
and less analogous to the genius of     
,raffaello4 ,his celebrated ,cartoon was
 not yet finished1 in #aejd1 and that   
great master was jealous of its being   
seen1 before its entire completion4 ,he 
finished it some few years afterwards1  
when he returned to ,florence on his    
flight from ,rome1 occasioned by the    
anger of ,julius ,,ii4 ,raffaello       
therefore could not have had the        
opportunity of studying it at that time1
 nor did he then long remain in         
,florence1 for1 as ,vasari states1 he   
was soon obliged to return to his native

 place1 in consequence of the death of  
his parents4#ca ,in #aeje we find him in
 ,perugia3 and to this year belongs the 
chapel of ,s4 ,severo1 and the          
,crucifixion1 which was severed from the
 wall1 and preserved by the ,padri      
,camaldolensi4 ,from these works1 which 
are all in fresco1 we may ascertain the 
style which he acquired in ,florence2   
and ,i think we may assert1 that it was 
not anatomical1 no traces of it being   
visible in the body of the ,redeemer1   
which was an opportunity well adapted   
for the exhibition of it4 ,nor was it   
the study of the beautiful1 of which he 
had previously exhibited such delightful
 specimens2 nor that of expression1 as  
there were not to be found in ,florence1
 heads more expressive and lovely than  
those he had painted4 ,but after his    
visit to ,florence1 we find his         
colouring more delicate1 and his        
grouping and the foreshortening of his  
figures improved2 whether or not he owed
 it to the example of ,da ,vinci or     

,bonarruoti1 or both together1 or to    
some of the older masters4 ,he          
afterwards repaired to ,florence1 but   
soon quitted it again1 in order to paint
 in the church of ,s4 ,francis1 in      
,perugia1 a dead ,christ entombed1 the  
cartoon of which he had designed at     
,florence2 and which picture was first  
placed in the church of ,s4 ,francis1   
was afterwards1 in the pontificate of   
,paul ,v41 transferred to ,rome1 and is 
now in the ,borghese palace4 ,after this
 he returned again to ,florence1 and    
remained there until his departure for  
,rome1 at the end of the year #aejh4 ,in
 this interval1 more particularly1 he   
executed the works which are said to be 
in his second style1 though it is a very
 delicate matter to attempt to point    
them out4 ,vasari assigns to this period
 the ,holy ,family in the ,rinuccini    
gallery1 and yet it bears the date of   
#aejf4 ,of this second style is         
undoubtedly the picture of the ,madonna 
and the infant ,christ and ,s4 ,john1 in

 a beautiful landscape1 with ruins in   
the distance1 which is in the gallery of
 the ,grand ,duke1 and others1 some of  
which are to be found in foreign        
countries4 ,his pictures of this period 
are composed in the more usual style of 
a ,madonna1 accompanied by saints1 like 
the picture of the ,pitti palace1       
formerly at ,pescia1 and that of ,s4    
,fiorenzo in ,perugia1 which passed into
 ,england4 ,the attitudes1 however1 the 
air of the heads1 and smaller features  
of composition1 are beyond a common     
style4 ,the dead ,christ above          
mentioned1 is in a more novel and       
superior style4 ,vasari calls it a most 
divine picture2 the figures are not     
numerous2 but each fulfils perfectly the
 part assigned to it2 the subject is    
most affecting2 the heads are remarkably
 beautiful1 and the earliest of the kind
 in the restoration of art1 while the   
expression of profound sorrow and       
extreme anguish does not divest them of 
their beauty4 ,after finishing this     

work1 ,raphael was ambitious of painting
 an apartment in ,florence1 one1 ,i     
believe1 of the ,palazzo ,pubblico4     
,there remains a letter of his1 in which
 he requests the ,duke of ,urbino to    
write to the ,gonfaloniere ,soderini1 in
 ,april1 #aejh4cb ,but his relative1    
,bramante1 procured him a nobler employ 
in ,rome1 recommending him to ,julius   
,,ii4 to ornament the ,vatican4 ,he     
removed thither1 and was already        
established there in the ,september of  
the same year4#cc  ,we at length1 then1 
behold him fixed in ,rome1 and placed in
 the ,vatican at a period1 and under    
circumstances calculated to render him  
the first painter in the world4 ,his    
biographers do not mention his literary 
attainments2 and1 if we were to judge   
from his letter just cited1 and now in  
the ,museo ,borgia1 we might consider   
him grossly illiterate4 ,but he was then
 writing to his uncle2 and therefore    
made use of his native dialect1 as is   
still done even in the public acts in   

,venice2 though he might be master of1  
and might use on proper occasions1 a    
more correct language4 ,raffaello1 too1 
was of a family fully competent to      
afford him the necessary instructions in
 his early years4 ,other letters of his 
are found in the ,lettere ,pittoriche1  
in a very different style2 and of his   
knowledge in matters of importance1 it  
is sufficient to refer to what ,celio   
,calcagnini1 an eminent literary        
character of the age of ,leo1 states of 
him to ,giacomo ,zieglero3 ,i need not1 
he says1 mention ,vitruvius1 whose      
precepts he not only explains1 but      
defends or impugns with evident justice1
 and with so much temper1 that in his   
objections there does not appear the    
slightest asperity4 ,he has excited the 
admiration of the ,pontiff ,leo1 and of 
all the ,romans1 in such a way1 that    
they regard him as a man sent down from 
heaven purposely to restore the eternal 
city to its ancient splendour4#cd ,this 
acknowledged skill in architecture must 

suppose an adequate acquaintance with   
the ,latin language and geometry2 and we
 know from other quarters1 that he      
assiduously cultivated anatomy1 history1
 and poetry4#ce ,but his principal      
pursuit in ,rome was the study of the   
remains of ,grecian genius1 and by which
 he perfected his knowledge of art4 ,he 
studied1 too1 the ancient buildings1 and
 was instructed in the principles of    
architecture for six years by ,bramante1
 in order that on his death he might    
succeed him in the management of the    
building of ,s4 ,peter4#cf ,he lived    
among the ancient sculptors1 and derived
 from them not only their contours and  
drapery1 and attitudes1 but the spirit  
and principles of the art itself4 ,nor  
yet content with what he saw in ,rome1  
he employed artists to copy the remains 
of antiquity at ,pozzuolo and throughout
 all ,italy1 and even in ,greece4 ,nor  
did he derive less assistance from      
living artists whom he consulted on his 
compositions4 ,the universal esteem     

which he enjoyed1#cg and his attractive 
person and engaging manners1 which all  
accounts unite in describing as         
incomparable1 conciliated him the favour
 of the most eminent men of letters of  
his age2 and ,bembo1 ,castiglione1      
,giovio1 ,navagero1 ,ariosto1 ,aretino1 
,fulvio1 and ,calcagnini1 set a high    
value on his friendship1 and supplied   
him1 we may be allowed to suppose1 with 
hints and ideas for his works4  ,his    
rival ,michelangiolo1 too1 and his      
party1 contributed not a little to the  
success of ,raffaello4 ,as the contest  
between ,zeuxis and ,parrhasius was     
beneficial to them both1 so the         
rivalship of ,bonarruoti and ,sanzio    
aided the fame of ,michelangiolo1 and   
produced the paintings of the ,sistine  
chapel2 and at the same time contributed
 to the celebrity of ,raffaello1 by     
producing the pictures of the ,vatican1 
and not a few others4 ,michelangiolo    
disdaining any secondary honours1 came  
to the combat1 as it were1 attended by  

his shield bearer2 for he made drawings 
in his grand style1 and then gave them  
to ,f4 ,sebastiano1 the scholar of      
,giorgione1 to execute2 and by these    
means he hoped that ,raffaello would    
never be able to rival his productions  
either in design or colour4 ,raffaello  
stood alone2 but aimed at producing     
works with a degree of perfection beyond
 the united efforts of ,michelangiolo   
and ,sebastian del ,piombo1 combining in
 himself a fertile invention1 ideal     
beauty founded on a correct imitation of
 the ,greek style1 grace1 ease1 amenity1
 and an universality of genius in every 
department of the art4 ,the noble       
determination of triumphing in such a   
powerful contest animated him night and 
day1 and did not allow him any respite4 
,it also excited him to surpass both his
 rivals and himself in every new work   
which he produced4 ,the subjects1 too1  
chosen for these chambers1 aided him1 as
 they were in a great measure new1 or   
required to be treated in a novel       

manner4 ,they did not profess to        
represent bacchanalian or vulgar scenes1
 but the exalted symbols of science2 the
 sacred functions of religion2 military 
actions1 which contributed to establish 
the peace of the world2 important events
 of former days1 under which were       
typified the reigns of the ,pontiffs    
,julius and ,leo ,x43 the latter the    
most powerful protector1 and one of the 
most accomplished judges of art4 ,more  
favourable circumstances could not have 
conspired to stimulate a noble mind4    
,the eulogizing of ,augustus was a theme
 for the poets of his age1 which        
produced the richest fruits of genius4  
,propertius1 accustomed to sing only of 
the charms or the disdain of his        
,cinthia1 felt himself another poet when
 called on to celebrate the triumphs of 
,augustus2 and with newborn fervour     
invoked ,jove himself to suspend the    
functions of his divinity whilst he sang
 the praises of the emperor4#ch ,it is  
certain that such elevated subjects1 in 

minds richly stored1 must excite        
corresponding ideas1 and thus both in   
poets and painters1 give birth to the   
sublime4  ,raffaello1 on his arrival in 
,rome1 says ,vasari1 was commissioned to
 paint a chamber1 which was at that time
 called ,la ,segnatura1 and which1 from 
the subject of the pictures1 was also   
called the chamber of the ,sciences4 ,on
 the ceiling are represented ,theology1 
,philosophy1 ,poetry1 and               
,jurisprudence4 ,each of them has on the
 neighbouring facade a grand historical 
piece illustrative of the subject4 ,on  
the basement are also historical pieces 
which belong to the same sciences2 and  
these smaller performances1 and the     
caryatides and telamoni distributed     
around1 are monocromati or chiaroscuri1 
an idea entirely of ,raffaello1 and     
afterwards1 it is said1 continued by    
,polidoro da ,caravaggio4 ,raffaello    
commenced with ,theology1 and imitated  
,petrarch1 who in one of his visions has
 assembled together men of the same     

condition1 though living in different   
ages4 ,he there placed the evangelists1 
whose volumes are the foundation of     
theology2 the sacred writers1 who have  
preserved its traditions2 the           
theologists1 ,s4 ,thomas1 ,s4           
,bonaventura1 ,scotus1 and the rest who 
have illustrated it by their arguments2 
above all1 the ,trinity in the midst of 
the beatified1 and beneath on an altar  
the eucharist1 as if to express the     
mystery of that doctrine4 ,there are    
traces of the ancient style in this     
piece4 ,gold is made use of in the      
glories of the saints1 and in other     
ornamental parts2 the upper glory is    
formed on the plan of that of ,s4       
,severo1 which ,i have already noticed3 
the composition is more symmetrical and 
less free than in other pieces2 and the 
whole1 compared with the other          
compositions1 seems too minute4         
,nevertheless1 whosoever regards each   
part in itself1 will find it of such    
careful and admirable execution1 that he

 will be disposed to prefer it to all   
other works4 ,it has been observed1 that
 ,raffaello began this piece at the     
right side1 and that by the time he had 
arrived at the left side portion1 he had
 made rapid strides in the art4 ,this   
work must have been finished about the  
year #aejh3 and such was the surprise   
and admiration of the ,pope1 that he    
ordered all the works of ,bramantino1   
,pier della ,francesca1 ,signorelli1    
l',abate di ,arezzo1 and ,sodoma 7though
 some of the ornamental parts by this   
last are preserved7 to be effaced1 in   
order that the whole chamber might be   
decorated by ,raffaello4  ,in the       
subsequent works of ,raffaello1 and     
after the year #aeji1 we do not find any
 traces of his first style4 ,he had     
adopted a nobler manner1 and henceforth 
applied all his powers to the perfecting
 of it4 ,he had now to represent1 on the
 opposite side1 ,philosophy4 ,in this he
 designed a gymnasium in the form of a  
temple1 and placed the learned ancients1

 some in the precincts of the building1 
some on the ascent of the steps1 and    
others in the plain below4 ,in this1    
more than on any other occasion1 he was 
aided by his favourite ,petrarch in the 
third capitolo of his ,fame4 ,plato1 che
 in quella schiera ando piu presso al   
segno1 is there represented with        
,aristotle1 piu d'ingegno1 in the act of
 disputation2 and they possess also in  
the composition1 the highest place of   
honour2 ,socrates is represented        
instructing ,alcibiades2 ,pythagoras is 
seen1 and before him a youth holds a    
tablet with the harmonious concords2 and
 ,zoroaster1 ,king of ,bactriana1       
appears with an elementary globe in his 
hand4 ,diogenes is stretched near on the
 ground1 with his wooden bowl in his    
hand1 assai piu che non vuol vergogna   
aperto3 ,archimedes is seen star col    
capo basso1 and turning the compasses on
 the table1 instructs the youth in      
geometry2 and others are represented    
meditating1 or in disputation1 whose    

names and characters it would be        
possible1 with careful observation1 to  
distinguish more truly than ,vasari has 
done4 ,this picture is commonly called  
the ,school of ,athens1 which in my     
judgment is just as appropriate1 as the 
name of the ,sacrament bestowed on the  
first subject4 ,the third picture1      
representing ,jurisprudence1 is divided 
into two parts4 ,on the left side of the
 window stands ,justinian1 with the book
 of the ,civil ,law2 ,trebonian receives
 it from his hand with an expression of 
submission and acquiescence1 which no   
other pencil can ever hope to equal4 ,on
 the right side is seen ,gregory ,,ix4  
who delivers the book of the ,decretals 
to an advocate of the ,consistory1 and  
bears the features of ,julius ,,ii41 who
 is thus honoured in the character of   
his predecessor4 ,in the concluding     
picture1 which is a personification of  
,poetry1 is seen ,mount ,parnassus1     
where1 in company of ,apollo and the    
muses1 the ,greek1 ,roman1 and ,tuscan  

poets are represented in their own      
portraitures1 as far as records will    
allow4 ,homer1 seated between ,virgil   
and ,dante1 is1 perhaps1 the most       
striking figure2 he is evidently gifted 
with a divine spirit1 and unites in his 
person the characters of the prophet and
 the poet4 ,the historical pieces in    
chiaroscuro contribute1 by their        
ornaments1 to charm the sight1 and      
preserve the unity of design4 ,beneath  
the ,theology1 for instance1 is         
represented ,s4 ,augustine on the       
borders of the sea1 instructed by the   
angels not to explore the mystery of the
 ,trinity1 incomprehensible to the human
 mind4 ,under the ,philosophy1          
,archimedes is seen surprised and slain 
by a soldier1 whilst immersed in his    
studies4 ,this first chamber was        
finished in #aeaa1 as that year appears 
inscribed near the ,parnassus4  ,vasari1
 until the finishing of the first       
chamber1 does not speak of the          
improvement of his manner2 on the       

contrary1 in his life of ,raffaello1 he 
says1 although he had seen so many      
monuments of antiquity in that city1 and
 studied so unremittingly1 still his    
figures1 up to this period1 did not     
possess that breadth and majesty which  
they afterwards exhibited4 ,for it      
happened1 that the breach between       
,michelangiolo and the ,pope1 which we  
have before mentioned in his life1      
occurred about this time1 and compelled 
,bonarruoti to flee to ,florence2 from  
which circumstance1 ,bramante obtaining 
possession of the keys of the chapel1   
exhibited it to his friend ,raffaello1  
in order that he might make himself     
acquainted with the style of            
,michelangiolo2 and he then proceeds to 
mention the ,isaiah of ,s4 ,agostino1   
and the ,sibyls della ,pace1 painted    
after this period1 and the ,heliodorus4 
,in the life of ,michelangiolo1 he again
 informs us of the quarrel which obliged
 him to depart from ,rome1 and proceeds 
to say1 that when1 on his return1 he had

 finished one half of the work1 the     
,pope suddenly commanded it to be       
exposed2 whereupon ,raffaello d',urbino1
 who possessed great facility of        
imitation1 immediately changed his      
style1 and at one effort designed the   
,prophets and ,sibyls della ,pace4 ,this
 brings us to a dispute prosecuted with 
the greatest warmth both in ,italy and  
other countries4 ,bellori attacked      
,vasari in a violent manner1 in a work  
entitled3 ,se ,raffaello ingrandi e     
miglioro la maniera per aver vedute le  
opere di ,michelangiolo1 7,whether      
,raffaello enlarged and improved his    
style on seeing the works of            
,michelangiolo74 ,crespi replied to him 
in three letters1 inserted in the       
,lettere ,pittoriche1#ci and many other 
disputants have arisen and stated fresh 
arguments4  ,it is not1 however1 our    
province to engage the reader in these  
disputations4 ,it was greatly to the    
advantage of ,michelangiolo's fame to   
have had two scholars1 who1 while he was

 yet living1 and after the death of     
,raffaello1 employed themselves in      
writing his life2 and a great misfortune
 to ,raffaello not to have been         
commemorated in the same manner4 ,if he 
had survived to the time when ,vasari   
and ,condivi wrote1 he would not have   
passed over their charges in silence4   
,raffaello would then have easily       
proved1 that when ,bonarruoti fled to   
,florence1 in #aejf1 he himself was not 
in ,rome1 nor was called thither until  
two years afterwards2 and that he could 
not1 therefore1 have obtained a furtive 
glance of the ,sistine chapel4 ,it would
 have been proved too1 that from the    
year #aejh1 when ,michelangiolo had1    
perhaps1 not commenced his work1 until  
#aeaa1 in which year he exhibited the   
first half of it1#dj ,raffaello had been
 endeavouring to enlarge his style2 and 
as ,michelangiolo had before studied the
 ,torso of the ,belvidere1 so ,raffaello
 also formed himself on this and other  
marbles1#da a circumstance easily       

discoverable in his style4 ,he might too
 have asked ,vasari1 in what he         
considered grandeur and majesty of style
 to consist2 and from the example of the
 ,greeks1 and from reason herself1 he   
might have informed him1 that the grand 
does not consist in the enlargement of  
the muscles1 or in an extravagance of   
attitude1 but in adopting1 as ,mengs has
 observed1 the noblest1 and neglecting  
the inferior and meaner parts2#db and   
exercising the higher powers of         
invention4 ,hence he would have         
proceeded to point out the grandeur of  
style in the ,school of ,athens1 in the 
majestic edifice1 in the contour of the 
figures1 in the folds of the drapery1 in
 the expression of the countenances1 and
 in the attitudes2 and he would have    
easily traced the source of that        
sublimity in the relics of antiquity4   
,and if he appeared still greater in his
 ,isaiah1 he might have refuted ,vasari 
from his own account1 who assigns this  
work to a period anterior to #aeaa1 and 

therefore contemporary as it were with  
the ,school of ,athens3 adding1 that he 
elevated his style by propriety of      
character1 and by the study of ,grecian 
art4 ,the ,greeks observed an essential 
difference between common men and       
heroes1 and again between their heroes  
and their gods2 and ,raffaello1 after   
having represented philosophers immersed
 in human doubts1 might well elevate his
 style when he came to figure a prophet 
meditating the revelations of ,god4#dc  
,all this might have been advanced by   
,raffaello1 in order to relieve         
,bramante and himself from so ill       
supported an imputation4 ,as to the     
rest1 ,i believe he never would have    
denied1 that the works of ,michelangiolo
 had inspired him with a more daring    
spirit of design1 and that in the       
exhibition of strong character1 he had  
sometimes even imitated him4 ,but how   
imitated him8 ,in rendering1 as ,crespi 
himself observes1 that very style more  
beautiful and more majestic1 7p4 #cdd74 

,it is indeed a great triumph to the    
admirers of ,raffaello to be able to    
say1 whoever wishes to see what is      
wanting in the ,sibyls of               
,michelangiolo1 let him inspect those of
 ,raffaello2 and let him view the       
,isaiah of ,raffaello1 who would know   
what is wanting in the prophets of      
,michelangiolo4  ,after public curiosity
 was gratified1 and ,raffaello had      
obtained a glimpse of this new style1   
,bonarruoti closed the doors1 and       
hastened to finish the other half of his
 work1 which was completed at the close 
of #aeab1 so that the ,pope1 on the     
solemnization of the ,feast of          
,christmas1 was enabled to perform mass 
in the ,sistine chapel4 ,in the course  
of this year1 ,raffaello was employed in
 the second chamber on the subject of   
,heliodorus driven from the ,temple by  
the prayers of ,onias the high priest1  
one of the most celebrated pictures of  
the place4 ,in this painting1 the armed 
vision that appears to ,heliodorus1     

scatters lightnings from his hand1 while
 the neighing of the steed is heard     
amidst the attendant thunder4 ,in the   
numerous bands1 some of which are       
plundering the riches of the ,temple1   
and others are ignorant of the cause of 
the surprise and terror exhibited in    
,heliodorus1 consternation1 amazement1  
joy1 and abasement1 and a host of       
passions1 are expressed4 ,in this work1 
and in others of these chambers1        
,raffaello1 says ,mengs1 gave to        
painting all the augmentation it could  
receive after ,michelangiolo4 ,in this  
picture he introduced the portrait of   
,julius ,,ii41 whose zeal and authority 
is represented in ,onias4 ,he appears in
 a litter borne by his grooms1 in the   
manner in which he was accustomed to    
repair to the ,vatican1 to view this    
work4 ,the ,miracle of ,bolsena was also
 painted in the lifetime of ,julius4    
,the remaining decorations of these     
chambers were all illustrative of the   
history of ,leo ,x41 whose imprisonment 

in ,ravenna1 and subsequent liberation1 
is typified by ,st4 ,peter released from
 prison by the angel4 ,it was in this   
piece that the painter exhibited an     
astonishing proof of his knowledge of   
light4 ,the figures of the soldiers1 who
 stand without the prison1 are          
illuminated by the beams of the moon3   
there is a torch which produces a second
 light2 and from the angel emanates a   
celestial splendour1 that rivals the    
beams of the sun4 ,he has here1 too1    
afforded another proof how art may      
convert the impediments thrown in her   
way to her own advantage2 for the place 
where he was painting being broken by a 
window1 he has imagined on each side of 
it a staircase1 which affords an ascent 
to the prison1 and on the steps he has  
placed the guards overpowered with      
sleep2 so that the painter does not seem
 to have accommodated himself to the    
place1 but the place to have become     
subservient to the painter4 ,the        
composition of ,s4 ,leo the ,great1 who 

checks ,attila at the head of his army1 
and that of the other chamber1 the      
battle with the ,saracens in the port of
 ,ostium1 and the victory obtained by   
,s4 ,leo ,,iv41 justify ,raffaello's    
claim to the epic crown3 so powerfully  
has he depicted the military array of   
men and horse1 the arms peculiar to each
 nation1 the fury of the combat1 and the
 despair and humiliation of the         
prisoners4 ,near this performance1 too1 
is the wonderful piece of the ,incendio 
di ,borgo 7a city enveloped in fire71   
which is miraculously extinguished by   
the same ,s4 ,leo4 ,this wonderful piece
 alternately chills the heart with      
terror1 or warms it with compassion4    
,the calamity of fire is carried to its 
extreme point1 as it is the hour of     
midnight1 and the fire1 which already   
occupies a considerable space1 is       
increased by a violent wind1 which      
agitates the flames that leap with      
rapidity from house to house4 ,the      
affright and misery of the inhabitants  

is also carried to the utmost extremity4
 ,some rush forward with water1 but are 
driven back by the scorching flames2    
others seek safety in flight1 with naked
 feet1 robeless1 and with dishevelled   
hair2 women are seen turning an         
imploring look to the ,pontiff2 mothers1
 whose own terrors are absorbed in fear 
for their offspring2 and here a youth1  
who bearing on his shoulders his aged   
and infirm sire1 and sinking beneath the
 weight1 collects his almost exhausted  
strength to place him out of danger4    
,the concluding subjects refer to ,leo  
,,iii42 the ,coronation of ,charlemagne1
 by the hand of that ,pontiff1 and the  
,oath taken by the ,pope on the ,holy   
,evangelists1 to exculpate himself from 
the calumnies laid to his charge4 ,in   
,leo1 is meant to be represented ,leo   
,x41 who is thus honoured in the persons
 of his predecessors2 and in            
,charlemagne is represented ,francis    
,i41 ,king of ,france4 ,many persons of 
the age are also figured in the         

surrounding group1 so that there is not 
an historical subject in these chambers 
that does not contain the most accurate 
likenesses4 ,in this latter department  
of art1 also1 ,raffaello may be said to 
have been transcendant4 ,his portraits  
have deceived even persons the most     
intimately acquainted with the subjects 
of them4 ,he painted a remarkable       
picture of ,leo ,x41 and on one occasion
 the ,cardinal ,datary of that time1    
found himself approaching it with a     
bull1 and pen and ink1 for the ,pope's  
signature4#dd  ,the six subjects which  
relate to ,leo1 elected in #aeac1 were  
finished in #aeag4 ,in the nine years   
which ,raphael employed on these three  
chambers1 and also in the three         
following years1 he made additional     
decorations to the ,pontifical ,palace2 
he observed the style of ornament       
suitable to each part of it1 and thus   
made the ,pope's residence a model of   
magnificence and taste for all ,europe4 
,few have adverted to this instance of  

his merit4 ,he superintended the new    
gallery of the palace1 availing himself 
in part of the design of ,bramante1 and 
in part improving on him4 ,he then made 
designs for the stuccos1 and the various
 subjects there painted1 and also for   
the divisions1 and he then appointed    
,giovanni da ,udine to finish the       
stuccos and arabesques1 and ,giulio     
,romano the figures4 ,the exposure of   
this gallery to the inclemencies of the 
air1 has left little remaining besides  
the squalid grotesques2 but those who   
saw it at an early period1 when the     
unsullied splendor of the gold1 the pure
 white of the stuccos1 the brilliancy of
 the colours1 and the newness of the    
marble1 rendered every part of it       
beautiful and resplendent1 must have    
thought it a vision of paradise4        
,vasari1 in eulogizing it1 says1 ,it is 
impossible to execute1 or to conceive1 a
 more exquisite work4 ,the best which   
now remain are the thirteen ceilings1 in
 each of which are distributed four     

subjects from holy writ1 the first of   
which1 the ,creation of the ,world1     
,raffaello executed with his own hand as
 a model for the others1 which were     
painted by his scholars1 and afterwards 
retouched and rendered uniform by       
himself1 as was his custom4 ,i have seen
 copies of these in ,rome1 executed at  
great cost1 and with great fidelity1 for
 ,catherine1 ,empress of ,russia1 under 
the direction of ,mr4 ,hunterberger1 and
 from the effect which was produced by  
the freshness of the colours1 ,i could  
easily conceive how highly enchanting   
the originals must have been4 ,but their
 great value consisted in ,raffaello    
having enriched them by his invention1  
expression1 and design1 and every one is
 agreed that each subject is a school in
 itself4 ,it appears certain too1 that  
he was desirous of competing with       
,michelangiolo1 who had treated the same
 subject in the ,sistine chapel2 and of 
appealing to the public to judge whether
 or not he had equalled him4 ,to        

describe in a suitable manner the other 
pictures in chiaroscuro1 and the        
numerous landscapes and architectural   
subjects1 the trophies1 imitations of   
cameos1 masks1 and other things which   
this divine artist either designed      
himself or formed into new combinations 
from the antique1 is a task1 says ,taja1
 far above the reach of human powers4   
,taja has however himself given us a    
delightful description of these         
works4#de ,it confers the highest honour
 on ,raffaello1 to whom we owe the      
fifty-two subjects1 and all the         
ornamental parts4  ,nor were the        
pavements1 or the doors1 or other       
interior works in the palace of the     
,vatican1 completed without his         
superintendence4 ,he directed the       
pavements to be formed of terra         
invetriata1 an ancient invention of     
,luca della ,robbia1 which having       
continued for many generations as a     
family secret1 was then in the hands of 
another ,luca4 ,raffaello invited him to

 ,florence to execute this vast work1   
employed him in the gallery1 and in many
 of the chambers1 which he adorned with 
the arms of the ,pope4 ,for the couches 
and other ornaments of the ,camera di   
,segnatura he brought to ,rome ,f4      
,giovanni da ,verona1 who formed them of
 mosaic with the most beautiful views4  
,for the entablatures of the chambers1  
and for several of the windows and      
doors1 he engaged ,giovanni ,barile1 a  
celebrated ,florentine engraver of gems4
 ,this work was executed in so masterly 
a manner1 that ,louis ,,xiii41 wishing  
to ornament the palace of the ,louvre1  
had all these intaglios separately      
copied4 ,the drawings of them were made 
by ,poussin1 and ,mariette boasted of   
having them in his collection4 ,nor was 
there any other work either of stone or 
marble for which a design was required1 
which did not come under the inspection 
of ,raffaello1 and on which he did not  
impress his taste1 which was consummate 
also in the sister art of sculpture4 ,a 

proof of this is to be seen in the      
,jonah1 in the church of the ,madonna   
del ,popolo1 in the ,chigi chapel1 which
 was executed by ,lorenzetto under his  
direction1 and which1 ,bottari says1 may
 assume its place by the side of the    
,greek statues4 ,among his most         
remarkable works may be mentioned his   
designs for the tapestry in the papal   
chapel1 the subjects of which were from 
the lives of the ,evangelists1 and the  
,acts of the ,apostles4 ,the cartoons   
for them were both designed and coloured
 by ,raffaello2 and after the tapestries
 were finished in the ,low ,countries1  
the cartoons passed into ,england1 where
 they still remain4 ,in these tapestries
 the art attained its highest pitch1 nor
 has the world since beheld anything to 
equal them in beauty4 ,they are exposed 
annually in the great portico of ,s4    
,peter1 in the procession of the ,corpus
 ,domini1 and it is wonderful to behold 
the crowds that flock to see them1 and  
who ever regard them with fresh avidity 

and delight4 ,but all these works of    
,raffaello would not have contributed to
 the extension of art at that period1   
beyond the meridian of ,rome1 if he had 
not succeeded in extending the fruits of
 his genius1 by the means of prints4 ,we
 have already noticed ,m4 ,a4 ,raimondi1
 in the first book1 and we have shewn   
that this great engraver was courteously
 received1 and was afterwards assisted  
by ,sanzio1 whence an abundance of      
copies of the designs and the works of  
this master have been given to the      
world4 ,a fine taste was thus rapidly   
propagated throughout ,europe1 and the  
beautiful style of ,raffaello began to  
be justly appreciated4 ,in a short time 
it became the prevailing taste1 and if  
his maxims had remained unaltered1      
,italian painting would probably have   
flourished for as long a period as      
,greek sculpture4  ,in the midst of such
 a variety of occupations1 ,raffaello   
did not fail to gratify the wishes of   
many private individuals1 who were      

desirous of having his designs for      
buildings1 in which branch of art he was
 highly celebrated1 and also of         
possessing his pictures4 ,i need only to
 refer to the gallery of ,agostini      
,chigi1 which he ornamented with his own
 hand1 with the well known fable of     
,galatea4 ,he afterwards1 with the      
assistance of his pupils1 painted the   
,marriage of ,psyche1 at the banquet of 
which he assembled all the heathen      
deities1 with such propriety of form1   
with their attendant symbols and genii1 
that in these fabulous subjects he      
almost rivalled the ,greeks4 ,these     
pictures1 and those also of the chambers
 of the ,vatican1 were retouched by     
,maratta1 with incredible care2 and the 
method he adopted1 as described by      
,bellori1 may serve as a guide in       
similar cases4 ,raffaello also painted  
many altarpieces1 with saints generally 
introduced2 as that ,delle ,contesse at 
,foligno1 where he introduced the       
,chamberlain of the ,pope1 alive1 rather

 than drawn from the life3 that for ,s4 
,giovanni in ,monte1 at ,bologna1 of ,s4
 ,cecilia1 who1 charmed to rapture by a 
celestial melody1 forgets her musical   
instrument1 which falls neglected from  
her hands2 that for ,palermo1 of ,christ
 ascending ,mount ,calvary1 called dello
 ,spasimo1 which1 however much          
disparaged by ,cumberland1 for having   
been retouched1 is a noble ornament of  
the royal collection at ,madrid2 and the
 others at ,naples and at ,piacenza1    
which are mentioned by his biographers4 
,he also painted ,s4 ,michael for the   
,king of ,france1 and many other holy   
families#df and devotional subjects1    
which neither ,vasari nor his other     
biographers have fully enumerated4  ,but
 although the creation of these         
wonderful works was become a habit in   
this great artist1 still every part of  
his productions cannot be considered as 
equally successful4 ,it is known1 that  
in the frescos of the palace1 and in the
 ,chigi gallery1 he was censured in some

 naked figures for errors committed1 as 
,vasari says1 by some of his school4    
,mengs1 who varied his opinions at      
different periods of his life1          
insinuates1 that ,raffaello for some    
time seemed to slumber1 and did not make
 those rapid strides in the art1 which  
might have been expected from his       
genius4 ,this was1 probably1 when       
,michelangiolo was for some years absent
 from ,rome4 ,but when he returned1 and 
heard it reported that many persons     
considered the paintings of ,raffaello  
superior to his in colour1 of more      
beauty and grace in composition1 and of 
a correspondent excellence in design1   
whilst his works were said to possess   
none of these qualities except the last2
 he was stimulated to avail himself of  
the pencil of ,fra ,sebastiano1 and at  
the same time supplied him with his own 
designs4 ,the most celebrated work which
 they produced in conjunction1 was a    
,transfiguration1 in fresco1 with a     
,flagellation1 and other figures1 in a  

chapel of ,s4 ,peter in ,montorio4      
,raffaello being subsequently employed  
to paint a picture for the ,cardinal    
,giulio de' ,medici1 afterwards ,clement
 ,,vii41 ,sebastiano1 in a sort of      
competition1 painted another picture of 
the same size4 ,in the latter was       
represented the raising of ,lazarus2 in 
the former1 with the master's accustomed
 spirit of emulation1 the               
,transfiguration4 ,this is a picture    
which combines1 says ,mengs1 more       
excellences than any of the previous    
works of ,raffaello4 ,the expression in 
it is more exalted and more refined1 the
 chiaroscuro more correct1 the          
perspective better understood1 the      
penciling finer1 and there is a greater 
variety in the drapery1 more grace in   
the heads1 and more grandeur in the     
style4#dg ,it represents the mystery of 
the ,transfiguration of ,christ on the  
summit of ,mount ,tabor4 ,on the side of
 the hill he has placed a band of his   
disciples1 and with the happiest        

invention has engaged them in an action 
conformable to their powers1 and has    
thus formed an episode not beyond the   
bounds of probability4 ,a youth         
possessed is presented to them1 that    
they may expel the evil spirit that     
torments him2 and in the possessed1     
struggling with the presence of the     
demon1 the confiding faith of the       
father1 the affliction of a beautiful   
and interesting female1 and the         
compassion visible in the countenances  
of the surrounding apostles1 we are     
presented with perhaps the most pathetic
 incident ever conceived4 ,yet this part
 of the composition does not fix our    
regard so much as the principal subject 
on the summit of the mountain4 ,there   
the two prophets1 and the three         
disciples1 are most admirably           
delineated1 and the ,saviour appears    
enveloped in a glory emanating from the 
fountain of eternal light1 and          
surrounded by that chaste and celestial 
radiance1 that is reserved exclusively  

for the eyes of the elect4 ,the         
countenance of ,christ1 in which he has 
developed all his combined ideas of     
majesty and beauty1 may be considered   
the masterpiece of ,raffaello1 and seems
 to us the most sublime height to which 
the genius of the artist1 or even the   
art itself1 was capable of aspiring4    
,after this effort he never resumed his 
pencil1 as he was soon afterwards       
suddenly seized with a mortal distemper1
 of which he died1 in the bosom of the  
church1 on ,good ,friday1 7also the     
anniversary of his birthday17 #aebj1    
aged thirty-seven years4 ,his body      
reposed for some days in the chamber    
where he was accustomed to paint1 and   
over it was placed this noble picture of
 the ,transfiguration1 previous to his  
mortal remains being transferred to the 
church of the ,rotonda for interment4   
,there was not an artist that was not   
moved to tears at this affecting sight4 
,raffaello had always possessed the     
power of engaging the affections of all 

with whom he was acquainted4 ,respectful
 to his master1 he obtained from the    
,pope an assurance that his works1 in   
one of the ceilings of the ,vatican1    
should remain unmolested2 just towards  
his rivals1 he expressed his gratitude  
to ,god that he had been born in the    
days of ,bonarruoti2 gracious towards   
his pupils1 he loved them1 and intrusted
 them as his own sons2 courteous even to
 strangers1 he cheerfully lent his aid  
to all who asked his advice2 and in     
order to make designs for others1 or to 
direct them in their studies1 he        
sometimes even neglected his own work1  
being alike incapable of refusing or    
delaying his inestimable aid4 ,all these
 reflections forced themselves on the   
minds of the spectators1 whose eyes were
 at one moment directed to the view of  
his youthful remains1 and of those      
divine hands that had1 in the imitation 
of her works1 almost excelled nature    
herself2 and at another moment1 to the  
contemplation of this his latest        

production1 which appeared to exhibit   
the dawn of a new and wonderful style2  
and the painful reflection presented    
itself1 that1 with the life of          
,raffaello1 the brightest prospects of  
art were thus suddenly obscured4 ,the   
,pope himself was deeply affected at his
 death1 and requested ,bembo to compose 
the epitaph which is now read on his    
tomb2 and his loss was considered as a  
national calamity throughout all ,italy4
 ,true indeed it is1 that soon after his
 decease1 ,rome herself1 and her        
territory1 experienced such unheard of  
calamities1 that many had just cause to 
envy him1 not only the celebrity of his 
life1 but the opportune period of his   
death4 ,he was not doomed to see the    
illustrious ,leo ,x41 at a time when he 
extended the most exalted patronage to  
the arts1 poisoned by a sacrilegious    
hand2 nor ,clement ,,vii41 pressed by an
 enraged enemy1 seeking shelter in the  
,castle of ,s4 ,angelo1 afterwards      
compelled to fly for his life1 and      

obliged to purchase1 at enormous sums1  
the liberty of his servants4 ,nor did he
 witness the horrors attending the      
sacking of ,rome1 the nobility robbed   
and plundered in their own palaces1 the 
violation of hapless females in the     
convents2 prelates unrelentingly dragged
 to the scaffold1 and priests torn from 
the altars1 and from the images of their
 saints1 to whom they looked in vain for
 refuge1 slaughtered by the sword1 and  
their bodies thrown out of the churches 
a prey to the dogs4 ,nor did he survive 
to see that city1 which he had so       
illustrated by his genius1 and where he 
had for so many years shared the public 
admiration and esteem1 wasted with fire 
and sword4 ,but of this we shall speak  
in another place1 and shall here adduce 
some observations on his style1 selected
 from various authors1 and more         
particularly from ,mengs1 who has ably  
criticised it in his works already      
enumerated by me1 as well as in some    
others4  ,raffaello is by common consent

 placed at the head of his art2 not     
because he excelled all others in every 
department of painting1 but because no  
other artist has ever possessed the     
various parts of the art united in so   
high a degree4 ,lazzarini even asserts1 
that he was guilty of errors1 and that  
he is only the first1 because he did not
 commit so many as others4 ,he ought1   
however1 to have allowed1 that his      
defects would be excellences in any     
other artist1 being nothing more in him 
than the neglect of that higher degree  
of perfection to which he was capable of
 attaining4 ,the art1 indeed1           
comprehends so many and such difficult  
parts1 that no individual artist has    
been alike distinguished in all2 even   
,apelles was said to yield to ,amphion  
in disposition and harmony1 to          
,asclepiadorus in proportion1 and to    
,protogenes in application4  ,the style 
of design of ,raffaello1 as seen in     
those drawings1 divested of colours1    
which now form the chief ornaments of   

cabinets1 presents us1 if we may use the
 term1 with the pure transcript of his  
imagination1 and we stand in amaze at   
the contours1 grace1 precision1         
diligence1 and genius1 which they       
exhibit4 ,one of the most admired of his
 drawings ,i once saw in the gallery of 
the ,duke of ,modena1 a most finished   
and superior specimen1 uniting in style 
all the invention of the best painters  
of ,greece1 and the execution of the    
first artists of ,italy4 ,it has been   
made a question whether ,raffaello did  
not yield to ,michelangiolo in drawing2 
and ,mengs himself confesses1 that he   
did1 as far as regards the anatomy of   
the muscles1 and in strong expression1  
in which he considers ,raffaello to have
 imitated ,michelangiolo4 ,but we need  
not say with ,vasari1 that in order to  
prove that he understood the naked      
figure as well as ,michelangiolo1 he    
appropriated to himself the designs of  
that great master4 ,on the contrary1 in 
the figures of the two youths in the    

,incendio di ,borgo1 criticised by      
,vasari1 one of whom is in the act of   
leaping from a wall to escape the       
flames1 and the other is fleeing with   
his father on his shoulders1 he not only
 proved that he had a perfect knowledge 
of the action of the muscles and the    
anatomy requisite for a painter1 but    
prescribed the occasion when this style 
might be used without impropriety1 as in
 figures of a robust form engaged in    
violent action4 ,he moreover commonly   
marked the principal parts in the naked 
figure1 and indicated the others after  
the example of the better ancient       
masters1 and where he wrought from his  
own ideas1 his execution was most       
correct4 ,on this subject ,bellori may  
be consulted at page #bbc of the work   
already quoted1 and the annotations to  
vol4 ii4 of ,mengs1 7page #aig17 made by
 the ,cavaliere d',azzara1 minister of  
the king of ,spain at ,rome1 an         
individual1 who1 in conferring honour on
 the artist1 has by his own writing     

conferred honour on art itself4  ,in    
chasteness of design1 ,raffaello was by 
some placed on a level with the ,greeks1
 though this praise we must consider as 
extravagant4 ,agostino ,caracci commends
 him as a model of symmetry2 and in that
 respect1 more than in any other1 he    
approached the ancients2 except1        
observes ,mengs1 in the hands1 which    
being rarely found perfect in the       
ancient statues1 he had not an equal    
opportunity of studying1 and did not    
therefore design them so elegantly as   
the other parts4 ,he selected the       
beautiful from nature1 and as ,mariette 
observes1 whose collection was rich in  
his designs1 he copied it with all its  
imperfections1 which he afterwards      
gradually corrected1 as he proceeded    
with his work4 ,above all things1 he    
aimed at perfecting the heads1 and from 
a letter addressed to ,castiglione on   
the ,galatea of the ,palazzo ,chigi1 or 
of the ,farnesina1 he discovers how     
intent he was to select the best models 

of nature1 and to perfect them in his   
own mind4#dh ,his own ,fornarina        
assisted him in this object4 ,her       
portrait1 by ,raffaello's own hand1 was 
formerly in the ,barberini palace1 and  
it is repeated in many of his ,madonnas1
 in the picture of ,s4 ,cecilia1 in     
,bologna1 and in many female heads4     
,critics have often expressed a wish    
that these heads had possessed a more   
dignified character1 and in this respect
 he was1 perhaps1 excelled by ,guido    
,reni1 and however engaging his children
 may be1 those of ,titian are still more
 beautiful4 ,his true empire was in the 
heads of his men1 which are portraits   
selected with judgment1 and depicted    
with a dignity proportioned to his      
subject4 ,vasari calls the air of these 
heads superhuman1 and calls on us to    
admire the expression of age in the     
patriarchs1 simplicity of life in the   
apostles1 and constancy of faith in the 
martyrs2 and in ,christ in the          
,transfiguration1 he says1 there is a   

portion of the divine essence itself    
transferred to his countenance1 and made
 visible to mortal eyes4  ,this effect  
is the result of that quality that is   
called expression1 and which1 in the    
drawing of ,raffaello has attracted more
 admiration of late years than formerly4
 ,it is remarkable1 that not only       
,zuccaro1 who was indeed a superficial  
writer1 but that ,vasari1 and ,lomazzo  
himself1 so much more profound than     
either of them1 should not have         
conferred on him that praise which he   
afterwards received from ,algarotti1    
,lazzarini1 and ,mengs4 ,lionardo was   
the first1 as we shall see in the       
,milanese ,school1 to lead the way to   
delicacy of expression2 but that master1
 who painted so little1 and with such   
labour1 is not to be compared to        
,raffaello1 who possessed the whole     
quality in its fullest extent4 ,there is
 not a movement of the soul1 there is   
not a character of passion known to the 
ancients1 and capable of being expressed

 by art1 that he has not caught1        
expressed1 and varied1 in a thousand    
different ways1 and always within the   
bounds of propriety4 ,we have no        
tradition of his having1 like ,da       
,vinci1 frequented the public streets to
 seek for subjects for his pencil2 and  
his numerous pictures prove that he     
could not have devoted so much time to  
this study1 while his drawings clearly  
evince1 that he had not equal occasion  
for such assistance4 ,nature1 as ,i have
 before remarked1 had endowed him with  
an imagination which transported his    
mind to the scene of the event1 either  
fabulous or remote1 in which he was     
engaged1 and awoke in him the very same 
emotions which the subjects of such     
story must themselves have experienced2 
and this vivid conception assisted him  
until he had designed his subject with  
that distinctness which he had either   
observed in other countenances1 or found
 in his own mind4 ,this faculty1 seldom 
found in poets1 and still more rarely in

 painters1 no one possessed in a more   
eminent degree than ,raffaello4 ,his    
figures are passions personified2 and   
love1 fear1 hope1 and desire1 anger1    
placability1 humility1 or pride1 assume 
their places by turns1 as the subject   
changes2 and while the spectator regards
 the countenances1 the air1 and the     
gestures of his figures1 he forgets that
 they are the work of art1 and is       
surprised to find his own feelings      
excited1 and himself an actor in the    
scene before him4 ,there is another     
delicacy of expression1 and this is the 
gradation of the passions1 by which     
every one perceives whether they are in 
their commencement or at their height1  
or in their decline4 ,he had observed   
their shades of difference in the       
intercourse of life1 and on every       
occasion he knew how to transfer the    
result of his observations to his       
canvas4 ,even his silence is eloquent1  
and every actor    ,il cor negli occhi1 
e nella fronte ha scritto3  the smallest

 perceptible motion of the eyes1 of the 
nostrils1 of the mouth1 and of the      
fingers1 corresponds to the chief       
movements of every passion2 the most    
animated and vivid actions discover the 
violence of the passion that excites    
them2 and what is more1 they vary in    
innumerable degrees1 without ever       
departing from nature1 and conform      
themselves to a diversity of character  
without ever risking propriety4 ,his    
heroes possess the mien of valour2 his  
vulgar1 an air of debasement2 and that1 
which neither the pen nor the tongue    
could describe1 the genius and art of   
,raffaello would delineate with a few   
strokes of the pencil4 ,numbers have in 
vain sought to imitate him2 his figures 
are governed by a sentiment of the mind1
 while those of others1 if we except    
,poussin and a very few more1 seem the  
imitation of tragic actors from the     
scenes4 ,this is ,raffaello's chief     
excellence2 and he may justly be        
denominated the painter of mind4 ,if in 

this faculty be included all that is    
difficult1 philosophical1 and sublime1  
who shall compete with him in the       
sovereignty of art8  ,another quality   
which ,raffaello possessed in an eminent
 degree was grace1 a quality which may  
be said to confer an additional charm on
 beauty itself4 ,apelles1 who was       
supremely endowed with it among the     
ancients1 was so vain of the possession 
that he preferred it to every other     
attribute of art4#di ,raffaello rivalled
 him among the moderns1 and thence      
obtained the name of the new ,apelles4  
,something might1 perhaps1 be           
advantageously added to the forms of his
 children1 and other delicate figures   
which he represented1 but nothing can   
add to their gracefulness1 for if it    
were attempted to be carried further it 
would degenerate into affectation1 as we
 find in ,parmegiano4 ,his ,madonnas    
enchant us1 as ,mengs observes1 not     
because they possess the perfect        
lineaments of the ,medicean ,venus1 or  

of the celebrated daughter of ,niobe2   
but because the painter in their        
portraits and in their expressive       
smiles1 has personified modesty1        
maternal love1 purity of mind1 and1 in a
 word1 grace itself4 ,nor did he impress
 this quality on the countenance alone1 
but distributed it throughout the figure
 in its attitude1 gesture1 and action1  
and in the folds of the drapery1 with a 
dexterity which may be admired1 but can 
never be rivalled4 ,his freedom of      
execution was a component part of this  
grace1 which indeed vanishes as soon as 
labour and study appear2 for it is with 
the painter as with the orator1 in whom 
a natural and spontaneous eloquence     
delights us1 while we turn away with    
indifference from an artificial and     
studied harangue4  ,in regard to the    
province of colour1 ,raffaello must     
yield the palm to ,titian and           
,correggio1 although he himself excelled
 ,michelangiolo and many others4 ,his   
frescos may rank with the first works of

 other schools in that line3 not so his 
pictures in oil4 ,in the latter he      
availed himself of the sketches of      
,giulio1 which were composed with a     
degree of hardness and timidity2 and    
though finished by ,raffaello1 they have
 frequently lost the lustre of his last 
touch4 ,this defect was not immediately 
apparent1 and if ,raffaello's life had  
been prolonged1 he would have been aware
 of the injuries his pictures received  
from the lapse of time1 and would not   
have finished them in so light a manner4
 ,he is on this account more admired in 
his first subject in the ,vatican1      
painted under ,julius ,,ii41 than in    
those he executed under ,leo ,x41 for   
being there pressed by a multiplicity of
 business1 and an idea of the importance
 of a grander style1 he became less rich
 and firm in his colouring4 ,that1      
however1 he excelled in these respects  
is evinced by his portraits1 when not   
having an opportunity of displaying his 
invention1 composition1 and beautiful   

style of design1 he appears ambitious to
 distinguish himself by his colouring4  
,in this respect his two portraits of   
,julius ,,ii4 are truly admirable1 the  
,medicean and the ,corsinian3 that of   
,leo ,x4 between the two cardinals2 and 
above all1 in the opinion of an eminent 
judge1 ,renfesthein1 that of ,bindo     
,altoviti1 in the possession of his     
noble descendants at ,florence1 by many 
regarded as a portrait of ,raphael      
himself4#ej ,the heads in his           
,transfiguration are esteemed the most  
perfect he ever painted1 and ,mengs     
extols the colouring of them as         
eminently beautiful4 ,if there be any   
exception1 it is in the complexion of   
the principal female1 of a greyish tint1
 as is often the case in his delicate   
figures2 in which he is therefore       
considered to excel less than in the    
heads of his men4 ,mengs has made many  
exceptions to the chiaroscuro of        
,raffaello1 as compared with that of    
,correggio1 on which connoisseurs will  

form their own decision4 ,we are told   
that he disposed it with the aid of     
models of wax2 and the relief of his    
pictures1 and the beautiful effect in   
his ,heliodorus1 and in the             
,transfiguration1 are ascribed to this  
mode of practice4 ,to his perspective1  
too1 he was most attentive4 ,de ,piles  
found1 in some of his sketches1 the     
scale of proportion4#ea ,it is affirmed 
by ,algarotti1 that he did not attempt  
to paint di sotto in su4 ,but to this   
opinion we may oppose the example we    
find in the third arch of the gallery of
 the ,vatican1 where there is a         
perspective of small columns1 says      
,taja1 imitated di sotto in su4 ,it is  
true1 that in his larger works he       
avoided it2 and in order to preserve the
 appearance of nature1 he represented   
his pictures as painted on a tapestry1  
attached by means of a running knot to  
the entablature of the room4  ,but all  
the great qualities which we have       
enumerated1 would not have procured for 

,raffaello such an extraordinary        
celebrity1 if he had not possessed a    
wonderful felicity in the invention and 
disposition of his subjects1 and this   
circumstance is1 indeed1 his highest    
merit4 ,it may with truth be said1 that 
in aid of this object he availed himself
 of every example1 ancient and modern2  
and that these two requisites have not  
since been so united in any other       
artist4 ,he accomplishes in his pictures
 that which every orator ought to aim at
 in his speech--he instructs1 moves1 and
 delights us4 ,this is an easy task to a
 narrator1 since he can regularly unfold
 to us the whole progress of an event4  
,the painter1 on the contrary1 has but  
the space of a moment to make himself   
understood1 and his talent consists in  
describing not only what is passing1 and
 what is likely to ensue1 but that which
 has already occurred4 ,it is here that 
the genius of ,raffaello triumphs4 ,he  
embraces the whole subject4 ,from a     
thousand circumstances he selects those 

alone which can interest us2 he arranges
 the actors in the most expressive      
manner2 he invents the most novel modes 
of conveying much meaning by a few      
touches2 and numberless minute          
circumstances1 all uniting in one       
purpose1 render the story not only      
intelligible1 but palpable4 ,various    
writers have adduced in example the ,s4 
,paul at ,lystra1 which is to be seen in
 one of the tapestries of the ,vatican4 
,the artist has there represented the   
sacrifice prepared for him and ,s4      
,barnabas his companion1 as to two gods1
 for having restored a lame man to the  
use of his limbs4 ,the altar1 the       
attendants1 the victims1 the musicians1 
and the axe1 sufficiently indicate the  
intentions of the ,lystrians4 ,s4 ,paul1
 who is in the act of tearing his robe1 
shews that he rejects and abhors the    
sacrilegious honours1 and is            
endeavouring to dissuade the populace   
from persisting in them4 ,but all this  
were vain1 if it had not indicated the  

miracle which had just happened1 and    
which had given rise to the event4      
,raffaello added to the group the lame  
man restored to the use of his limbs1   
now easily recognized again by all the  
spectators4 ,he stands before the       
apostles rejoicing in his restoration2  
and raises his hands in transport       
towards his benefactors1 while at his   
feet lie the crutches which had recently
 supported him1 now cast away as        
useless4 ,this had been sufficient for  
any other artist2 but ,raffaello1 who   
wished to carry reality to the utmost   
point1 has added a throng of people1    
who1 in their eager curiosity1 remove   
the garment of the man1 to behold his   
limbs restored to their former state4   
,raffaello abounds with examples like   
these1 and he may be compared to some of
 the classical writers1 who afford the  
more matter for reflection the more they
 are studied4 ,it is sufficient to have 
noticed in the inventive powers of      
,raffaello1 those circumstances which   

have been less frequently remarked2 the 
movement of the passions1 which is      
entirely the work of expression1 the    
delight which proceeds from poetical    
conceptions1 or from graceful episodes1 
may be said to speak for themselves1 nor
 have any occasion to be pointed out by 
us4  ,other things might contribute to  
the beauty of his works1 as unity1      
sublimity1 costume1 and erudition2 for  
which it is sufficient to refer to those
 delightful poetical pieces1 with which 
he adorned the gallery of ,leo ,x41 and 
which were engraved by ,lanfranco and   
,badalocchi1 and are called the ,bible  
of ,raffaello4 ,in the ,return of       
,jacob1 who does not immediately        
discover1 in the number and variety of  
domestic animals1 the multitude of      
servants1 and the women carrying with   
them their children1 a patriarchal      
family migrating from a long possessed  
abode into a new territory8 ,in the     
,creation of the ,world1 where the      
,deity stretches out his arms1 and with 

one hand calls forth the sun and with   
the other the moon1 do we not see a     
grandeur1 which1 with the simplest      
expression1 awakes in us the most       
sublime ideas8 ,and in the ,adoration of
 the ,golden ,calf1 how could he better 
have represented the idolatrous         
ceremony1 and its departure from true   
religion1 than by depicting the people  
as carried away by an insane joy1 and   
mad with fanaticism8 ,in point of       
erudition it is sufficient to notice the
 ,triumph of ,david1 which ,taja        
describes and compares with the ancient 
bassirelievi1 and is inclined to believe
 that there is not any thing in marble  
that excels the art and skill of this   
picture4 ,i am aware that on another    
occasion he has not been exempted from  
blame1 as when he repeated the figure of
 ,s4 ,peter out of prison1 which hurts  
the unity of the subject2 and in        
assigning to ,apollo and to the muses   
instruments not proper to antiquity4    
,yet it is the glory of ,raffaello to   

have introduced into his pictures       
numberless circumstances unknown to his 
predecessors1 and to have left little to
 be added by his successors4  ,in       
composition also he is at the head of   
his art4 ,in every picture the principal
 figure is obvious to the spectator2 we 
have no occasion to inquire for it2 the 
groups1 divided by situation1 are united
 in the principal action2 the contrast  
is not dictated by affectation1 but by  
truth and propriety2 a figure absorbed  
in thought1 often serves as a relief to 
another that acts and speaks2 the masses
 of light and shade are not arbitrarily 
poised1 but are in the most select      
imitation of nature2 all is art1 but all
 is consummate skill and concealment of 
art4 ,the ,school of ,athens1 as it is  
called1 in the ,vatican1 is in this     
respect amongst the most wonderful      
compositions in the world4 ,they who    
succeeded ,raffaello1 and followed other
 principles1 have afforded more pleasure
 to the eye1 but have not given such    

satisfaction to the mind4 ,the          
compositions of ,paul ,veronese contain 
a greater number of figures1 and more   
decoration2 ,lanfranco and the          
machinists introduced a powerful effect1
 and a vigorous contrast of light and   
shade3 but who would exchange for such a
 manner the chaste and dignified style  
of ,raffaello8 ,poussin alone1 in the   
opinion of ,mengs1 obtained a superior  
mode of composition in the groundwork1  
or economy of his subject2 that is to   
say1 in the judicious selection of the  
scene of the event4  ,we have thus      
concisely stated the perfection to which
 ,raffaello carried his art1 in the     
short space allotted him4 ,there is not 
a work in nature or art where he has not
 practically illustrated his own axiom1 
as handed down to us by ,federigo       
,zuccaro1 that things must be           
represented1 not as they are1 but as    
they ought to be2 the country1 the      
elements1 animals1 buildings1 every age 
of man1 every condition of life1 every  

affection1 all was embraced and rendered
 more beautiful by the divine genius of 
,raffaello4 ,and if his life had been   
prolonged to a more advanced period1    
without even approaching the term       
allowed to ,titian or ,michelangiolo1   
who shall say to what height of         
perfection he might not have carried his
 favourite art8 ,who can divine his     
success in architecture and sculpture1  
if he had applied himself to the study  
of them2 having so wonderfully succeeded
 in his few attempts in those branches  
of art8  ,of his pictures a considerable
 number are to be found in private      
collections1 particularly on sacred     
subjects1 such as the ,madonna and      
,child1 and other compositions of the   
,holy ,family4 ,they are in the three   
styles which we have before described3  
the ,grand ,duke has some specimens of  
each4 ,the most admired is that which is
 named the ,madonna della ,seggiola4#eb 
,of this class of pictures it is often  
doubted whether they ought to be        

considered as originals1 or copies1 as  
some of them have been three1 five1 or  
ten times repeated4 ,the same may be    
said of other cabinet pictures by him1  
particularly the ,s4 ,john in the       
desart1 which is in the ,grand ,ducal   
gallery at ,florence1 and is found      
repeated in many collections both in    
,italy and in other countries4 ,this was
 likely to happen in a school where the 
most common mode was the                
following3--,the subject was designed by
 ,raffaello1 the picture prepared by    
,giulio1 and finished by the master so  
exquisitely1 that one might almost count
 the hairs of the head4 ,when the       
pictures were thus finished1 they were  
copied by the scholars of ,raffaello1   
who were very numerous1 and of the      
second and third order2 and these were  
also sometimes retouched by ,giulio and 
by ,raffaello himself4 ,but whoever is  
experienced in the freedom and delicacy 
of the chief of this school1 need not   
fear confounding his productions with   

those of the scholars1 or of ,giulio    
himself2 who1 besides having a more     
timid pencil1 made use of a darker tint 
than his master was accustomed to do4 ,i
 have met with an experienced person1   
who declared that he could recognize the
 character of ,giulio in the dark parts 
of the flesh tints1 and in the middle   
dark tints1 not of a leaden colour as   
,raffaello used1 nor so well harmonized2
 in the greater quantity of light1 and  
in the eyes designed more roundly1 which
 ,raffaello painted somewhat long1 after
 the manner of ,pietro4  ,on this       
propitious commencement was founded the 
school which we call ,roman1 rather from
 the city of ,rome itself1 than from the
 people1 as ,i have before observed4    
,for as the inhabitants of ,rome are a  
mixture of many tongues1 and many       
different nations1 of whom the          
descendants of ,romulus form the least  
proportion2 so the school of painting   
has been increased in its numbers by    
foreigners whom she has received and    

united to her own1 and who are          
considered in her academy of ,s4 ,luke1 
as if they had been born in ,rome1 and  
enjoyed the ancient rights of ,romans4  
,hence is derived the great variety of  
names that we find in the course of it4 
,some1 as ,caravaggio1 derived no       
assistance from the study of the ancient
 marbles1 and other aids peculiar to the
 capital2 and these may be said to have 
been in the ,roman ,school1 but not to  
have formed a part of it4 ,others       
adopted the principles of the disciples 
of ,raffaello1 and their usual method   
was to study diligently both ,raffaello 
and the ancient marbles2 and from the   
imitation of him1 and more particularly 
of the antique1 resulted1 if ,i err not1
 the general character1 if ,i may so    
express it1 of the ,roman ,school3 the  
young artists who were expert in copying
 statues and bassirelievi1 and who had  
those objects always before their eyes1 
could easily transfer their forms to the
 panel or the canvas4 ,hence their style

 is formed on the antique1 and their    
beauty is more ideal than that of other 
schools4 ,this circumstance1 which was  
an advantage to those who knew how to   
use it1 became a disadvantage to others1
 leading them to give their figures the 
air of statues1 beautiful1 but isolated1
 and not sufficiently animated4 ,others 
have done themselves greater injury from
 copying the modern statues of saints2 a
 practice which facilitated the         
representation of devout attitudes1 the 
disposition of the folds in the garments
 of the monks and priests1 and other    
peculiarities which are not found in    
ancient sculpture4 ,but as sculpture has
 gradually deteriorated1 it could not   
have any beneficial influence on the    
sister art2 and it has hence led many   
into mannerism in the folds of their    
drapery1 after ,bernino and ,algardi2   
excellent artists1 but who ought not to 
have influenced the art of painting1 as 
they did1 in a city like ,rome4 ,the    
style of invention in this school is1 in

 general1 judicious1 the composition    
chaste1 the costume carefully observed1 
with a moderate study of ornament4 ,i   
speak of pictures in oil1 for the       
frescos of this later period ought to be
 separately considered4 ,the colouring1 
on the whole1 is not the most brilliant1
 nor is it yet the most feeble2 there   
being always a supply of artists from   
the ,lombards1 or ,flemings1 who        
prevented it being entirely neglected4  
,we may now return to the original      
subject of our inquiry1 examine the     
principles of the ,roman ,school1 and   
attend it to its latest epoch4          
,raffaello at all times employed a      
number of scholars1 constantly          
instructing and teaching them2 whence he
 never went to court1 as we are assured 
by ,vasari1 without being accompanied by
 probably fifty of the first artists1   
who attended him out of respect4 ,he    
employed every one in the way most      
agreeable to his talent4 ,some having   
received sufficient instruction1        

returned to their native country1 others
 remained with him as long as he lived1 
and after his death established         
themselves in ,rome1 where they became  
the germs of this new school4 ,at the   
head of all was ,giulio ,romano1 whom1  
with ,gio4 ,francesco ,penni1 ,raffaello
 appointed his heir1 whence they both   
united in finishing the works on which  
their master was employed at his death4 
,they associated to themselves as an    
assistant ,perino del ,vaga1 and to     
render the connexion permanent1 they    
gave him a sister of ,penni to his wife4
 ,to these three were also joined some  
others who had worked under ,raffaello4 
,on their first establishment they did  
not meet with any great success1 for1 as
 ,vasari informs us1 the chief place in 
art being by universal consent assigned 
to ,fra ,sebastiano1 through the        
partiality of ,michelangiolo1 the       
followers of ,raffaello were kept in the
 back ground4 ,we may also add1 as      
another cause1 the death of ,leo ,x41 in

 #aeba1 and the election of his         
successor1 ,adrian ,,vi41 a decided     
enemy to the fine arts1 by whom the     
public works contemplated1 and already  
commenced by his predecessor1 remained  
neglected2 and many artists1 in         
consequence of the want of employment1  
occasioned by this event1 and by the    
plague1 in #aebc1 were reduced to the   
greatest distress4 ,but ,adrian dying   
after a reign of twenty-three months1   
and ,giulio de' ,medici being elected in
 his place under the name of ,clement   
,,vii41 the arts again revived4         
,raffaello1 before his death1 had begun 
to paint the great saloon1 and had      
designed some figures1 and left many    
sketches for the completion of it4 ,it  
was intended to represent four          
historical events1 although the subjects
 of some of them are disputed4 ,these   
were the ,apparition of the ,cross1 or  
the harangue of ,constantine2 the battle
 wherein ,maxentius is drowned1 and     
,constantine remains victor2 the        

,baptism of ,constantine1 received from 
the hands of ,s4 ,silvester2 and the    
,donative of the city of ,rome1 made to 
the same pontiff4 ,giulio finished the  
two first subjects1 and ,giovanni       
,francesco the other two1 and they added
 to them bassirelievi1 painted in       
imitation of bronze under each of the   
same subjects1 with some additional     
figures4 ,they afterwards painted1 or   
rather finished the pictures of the     
villa at ,monte ,mario1 a work ordered  
by the ,cardinal ,giulio de' ,medici1   
and suspended until the second or third 
year of his papal reign4 ,this villa was
 afterwards called di ,madama1 and there
 still remain many traces1 although     
suffering from time1 of the munificence 
of that prince1 and the taste of the    
school of ,raffaello4 ,giulio meanwhile1
 with the permission of the pope1       
established himself in ,mantua1 ,il     
,fattore went to ,naples2 and some      
little time afterwards1 in #aebg1 in    
consequence of the sacking of ,rome1 and

 the unrestrained licence of the        
invading army1 ,vaga1 ,polidoro1        
,giovanni da ,udine1 ,peruzzi1 and      
,vincenzio di ,s4 ,gimignano left ,rome1
 and with them ,parmigianino1 who was at
 this time in the capital1 and          
passionately employed in studying the   
works of ,raffaello4 ,this illustrious  
school was thus separated and dispersed 
over ,italy1 and hence it happened that 
the new style was quickly propagated1   
and gave birth to the florid schools1   
which form the subjects of our other    
books4 ,although some of the scholars of
 ,raffaello might return to ,rome1 yet  
the brilliant epoch was past4 ,the      
decline became apparent soon after the  
sacking of the city1 and from the time  
of that event1 the art daily degenerated
 in the capital1 and ultimately         
terminated in mannerism4 ,but of this in
 its proper place4 ,at present1 after   
this general notice of the school of    
,raffaello1 we shall treat of each      
particular scholar and of his           

assistants4  ,giulio ,pippi1 or ,giulio 
,romano1 the most distinguished pupil of
 ,raffaello1 resembled his master more  
in energy than in delicacy of style1 and
 was particularly successful in subjects
 of war and battles1 which he           
represented with equal spirit and       
correctness4 ,in his noble style of     
design he emulates ,michelangiolo1      
commands the whole mechanism of the     
human body1 and with a masterly hand    
renders it subservient to all his       
wishes4 ,his only fault is1 that his    
demonstrations of motion are sometimes  
too violent4 ,vasari preferred his      
drawings to his pictures1 as he thought 
that the fire of his original conception
 was apt to evaporate1 in some degree1  
in the finishing4 ,some have objected to
 the squareness of his physiognomies1   
and have complained of his middle tints 
being too dark4 ,but ,niccolo ,poussin  
admired this asperity of colour in his  
battle of ,constantine1 as suitable to  
the character of the subject4 ,in the   

picture of the church dell',anima1 which
 is a ,madonna1 accompanied by ,saints1 
and in others of that description1 it   
does not produce so good an effect4 ,his
 cabinet pictures are rare1 and         
sometimes too free in their subjects4   
,he generally painted in fresco1 and his
 vast works at ,mantua place him at the 
head of that school1 which indeed       
venerates him as its founder4           
,gianfrancesco ,penni of ,florence1     
called ,il ,fattore1 who when a boy was 
a servant in the studio of ,raffaello1  
became one of his principal scholars1   
and assisted him more than any other in 
the cartoons of the tapestries3 he      
painted in the gallery of the ,vatican  
the ,histories of ,abraham and ,isaac1  
noticed by ,taja4 ,among other works    
left incomplete by his master1 and which
 he finished1 is the ,assumption of     
,monte ,luci in ,perugia1 the lower part
 of which1 with the apostles1 is painted
 by ,giulio1 and the upper part1 which  
abounds with ,raffaellesque grace1 is   

ascribed to ,il ,fattore1 although      
,vasari assigns it to ,perino4 ,of the  
works which he performed alone1 his     
frescos in ,rome have perished1 and so  
few of his oil pictures remain1 that    
they are rarely to be found in any      
collection4 ,he is characterised by     
fertility of conception1 grace of       
execution1 and a singular talent for    
landscape4 ,he was joint heir of        
,raffaello with ,giulio1 and wished to  
unite himself with him in his           
profession2 but being coldly received by
 ,giulio in ,mantua1 he proceeded to    
,naples1 where he1 as we shall see1     
contributed greatly to the improvement  
of art1 although cut off by an early    
death4 ,orlandi notices two ,penni in   
the school of ,raffaello1 comprehending 
,luca1 a brother of ,gianfrancesco1 a   
circumstance not improbable1 and not1 as
 far as ,i know1 contradicted by        
history4 ,we are also told by ,vasari1  
that ,luca united himself to ,perino del
 ,vaga1 and worked with him at ,lucca1  

and in other places of ,italy2 that he  
followed ,rosso into ,france1 as we have
 before observed2 and that he ultimately
 passed into ,england1 where he painted 
for the king and private persons1 and   
made designs for prints4  ,perino del   
,vaga1 whose true name was ,pierino     
,buonaccorsi1 was a relation and fellow 
citizen of ,penni4 ,he had a share in   
the works of the ,vatican1 where he at  
one time worked stuccos and arabesques  
with ,giovanni da ,udine1 at another    
time painted chiaroscuri with ,polidoro1
 or finished subjects from the sketches 
and after the style of ,raffaello4      
,vasari considered him the best designer
 of the ,florentine ,school1 after      
,michelangiolo1 and at the head of all  
those who assisted ,raffaello4 ,it is   
certain1 at least1 that no one could1   
like him1 compete with ,giulio1 in that 
universality of talent so conspicuous in
 ,raffaello2 and the subjects from the  
,new ,testament1 which he painted in the
 papal gallery1 were praised by ,taja   

above all others4 ,in his style there is
 a great mixture of the ,florentine1 as 
may be seen at ,rome1 in the ,birth of  
,eve1 in the church of ,s4 ,marcello1   
where there are some children painted to
 the life1 a most finished performance4 
,a convent at ,tivoli possesses a ,s4   
,john in the desart1 by him1 with a     
landscape in the best style4 ,there are 
many works by him in ,lucca1 and ,pisa1 
but more particularly in ,genoa1 where  
we shall have occasion again to consider
 him as the origin of a celebrated      
school4  ,giovanni da ,udine1 by a      
writer of ,udine called ,giovanni di    
,francesco ,ricamatore1 7,boni1 p4 #be17
 likewise assisted ,sanzio in arabesques
 and stuccos1 and painted ornaments in  
the gallery of the ,vatican1 in the     
apartments of the pope1 and in many     
other places4 ,indeed1 in the art of    
working in stucco1 he is ranked as the  
first among the moderns1#ec having1     
after long experience1 imitated the     
style of the baths of ,titus1 discovered

 at that time in ,rome1 and opened      
afresh in our own days4#ed ,his foliage 
and shells1 his aviaries and birds1     
painted in the above mentioned places1  
and in other parts of ,rome and ,italy1 
deceive the eye by their exquisite      
imitation2 and in the animals more      
particularly1 and the indigenous and    
foreign birds1 he seems to have reached 
the highest point of excellence4 ,he was
 also remarkable for counterfeiting with
 his pencil every species of furniture2 
and a story is told1 that having left   
some imitations of carpets one day in   
the gallery of ,raffaello1 a groom in   
the service of the ,pope coming in haste
 in search of a carpet to place in a    
room1 ran to snatch up one of those of  
,giovanni1 deceived by the similitude4  
,after the sacking of ,rome he visited  
other parts of ,italy1 leaving wherever 
he went1 works in the most perfect and  
brilliant style of ornament4 ,this will 
occasion us to notice him in other      
schools4 ,at an advanced age he returned

 to ,rome1 where he was provided with a 
pension from the ,pope1 till the time of
 his death4#ee  ,polidoro da            
,caravaggio1 from a manual labourer in  
the works of the ,vatican1 became an    
artist of the first celebrity1 and      
distinguished himself in the imitation  
of antique bassirelievi1 painting both  
sacred and profane subjects in a most   
beautiful chiaroscuro4 ,nothing of this 
kind was ever seen more perfect1 whether
 we consider the composition1 the       
mechanism1 or the design2 and ,raffaello
 and he1 of all artists1 are considered 
in this respect to have approached      
nearest to the style of the ancients4   
,rome was filled with the richest       
friezes1 facades1 and ornaments over    
doors1 painted by him and ,maturino of  
,florence1 an excellent designer1 and   
his partner2 but these1 to the great    
loss of art1 have nearly all perished4  
,the fable of ,niobe1 in the ,maschera  
d',oro1 which was one of their most     
celebrated works1 has suffered less than

 any other from the ravages of time and 
the hand of barbarism4 ,this loss has   
been in some measure mitigated by the   
prints of ,cherubino ,alberti1 and      
,santi ,bartoli1 who engraved many of   
these works before they perished4       
,polidoro lost his comrade by death in  
,rome1 as was supposed1 by the plague1  
and he himself repaired to ,naples1 and 
from thence to ,sicily1 where he fell a 
victim to the cupidity of his own       
servant1 who assassinated him4 ,with him
 invention1 grace1 and freedom of hand1 
seem to have died4 ,this notice of him  
as an artist may suffice for the        
present1 as we shall again recur to him 
in the fourth book1 as one of the       
masters of the ,neapolitan ,school4     
,pellegrino da ,modena1 of the family of
 ,munari1 of all the scholars of        
,raffaello1 perhaps resembled him the   
most in the air of his heads1 and a     
peculiar grace of attitude4 ,after      
having painted in an incomparable manner
 the history of ,jacob1 before          

mentioned1 and others of the same       
patriarch1 and some from the life of    
,solomon1 in the gallery of the         
,vatican1 under ,raffaello1 he remained 
in ,rome employed in the decoration of  
many of the churches1 until his master's
 death4 ,he then returned to his native 
place1 where he became the head of a    
numerous succession of ,raffaellesque   
painters1 as we shall in due time       
relate4  ,bartolommeo ,ramenghi1 or as  
he is sometimes named1 ,bagnacavallo1   
and by ,vasari ,il ,bologna1 is also    
included in the catalogue of those who  
worked in the gallery4 ,there is not    
however any known work of his in ,rome1 
and we may say the same of ,biagio      
,pupini1 a ,bolognese1 with whom he     
afterwards united himself to paint in   
,bologna4 ,vasari is not prodigal of    
praise towards the first1 and writes    
with the most direct censure against the
 second4 ,of their merits we shall speak
 more fully in the ,bolognese ,school1  
to which ,bagnacavallo was the first to 

communicate a new and better style4     
,besides these1 ,vasari mentions        
,vincenzio di ,s4 ,gimignano1 in        
,tuscany1 to whom1 as a highly          
successful imitator of ,raffaello1 he   
gives great praise1 referring to some   
facades in fresco by him1 which have now
 perished4 ,after the sacking of ,rome  
he returned home1 but so changed and    
dispirited1 that he appeared quite      
another person1 and we have no account  
of any of his subsequent works4         
,schizzone1 a comrade of ,vincenzio1 a  
most promising artist1 shared the same  
fate2 and we find also1 in the          
,bolognese ,school1 ,cavedone losing his
 powers by some great mental affliction4
 ,among the subjects of the ,vatican we 
do not find any ascribed to ,vincenzio1 
but we may perhaps assign to him the    
history of ,moses in ,horeb1 which      
,taja1 on mere conjecture1 ascribes to  
the bold pencil of ,raffaele del ,colle1
 who was employed by ,raffaello in the  
,farnesina1 and in the ,hall of         

,constantine1 under ,giulio4 ,of this   
artist and his successors we have spoken
 in the first book1 where we have made  
some additions to the account of        
,vasari4  ,timoteo della ,vite1 of      
,urbino1 after some years spent at      
,bologna in studying under ,francesco   
,francia1 returned to his native city1  
and from thence repaired to the academy 
which his countryman and relation       
,raffaello had opened in the ,vatican4  
,he assisted ,raffaello at the ,pace1 in
 the fresco of the ,sybils1 of which he 
retained the cartoons2 and after some   
time1 from some cause or other1 he      
returned to ,urbino1 and there passed   
the remainder of his days4 ,he brought  
with him to ,rome1 a method of painting 
which partook much of the manner of the 
early masters1 as may be seen in some of
 his ,madonnas1 at the palace           
,bonaventura1 and the chapter of        
,urbino2 and in a ,discovery of the     
,cross in the church of the conventuals 
of ,pesaro4 ,he improved his style under

 ,raffaello1 and acquired much of his   
grace1 attitudes1 and colour1 though he 
always remained a limited inventor1 with
 a certain timidity of touch1 more      
correct than vigorous4 ,the picture of  
the ,conception at the ,osservanti of   
,urbino1 and the ,noli me ,tangere1 in  
the church of ,s4 ,angelo1 at ,cagli1   
are the best pieces that remain of      
,timoteo4 ,pietro della ,vite1 who is   
supposed to have been his brother1      
painted in the same style1 but in an    
inferior manner4 ,this ,pietro is1      
perhaps1 the relative and heir of       
,raffaello1 whom ,baldinucci mentions in
 his fifth volume4 ,the same writer     
affirms1 at the end of his fourth       
volume1 that the artists of ,urbino     
included amongst the scholars of        
,raffaello one ,crocchia1 and assign to 
him a picture at the ,capuchins in      
,urbino1 of which ,i have no further    
knowledge4  ,benvenuto ,tisi1 of        
,ferrara1 or as he is generally called1 
,il ,garofalo1 also studied only a      

little time under ,sanzio2 but it was   
sufficient to enable him to become1 as  
we shall notice hereafter1 the chief of 
the ,ferrarese ,school4 ,he imitated    
,raffaello in design1 in the character  
of his faces1 and in expression1 and    
considerably also in his colouring1     
although he added something of a warmer 
and stronger cast1 derived from his own 
school4 ,rome1 ,bologna1 and other      
cities of ,italy1 abound with his       
pictures from the lives of the apostles4
 ,they are of various merit1 and are not
 wholly painted by himself4 ,in his     
large pictures he stands more alone1 and
 many of these are to be found in the   
,chigi gallery4 ,the ,visitation in the 
,palazzo ,doria1 is one of the first    
pieces in that rich collection4 ,this   
artist was accustomed1 in allusion to   
his name1 to mark his pictures with a   
violet1 which the common people in      
,italy call garofalo4 ,it does not      
appear from ,vasari1 ,titi1 and ,taja1  
that ,garofalo had any share in the     

works which were executed by ,raffaello 
and his scholars4  ,gaudenzio ,ferrari  
is mentioned by ,titi1 as an assistant  
of ,raffaello in the story of ,psyche1  
and we shall advert to him again in     
another book as chief of the ,milanese  
,school4 ,orlandi1 on the credit of some
 more modern writers1 asserts1 that he  
worked with ,raffaello also at ,torre   
,borgia2 and before that time1 he       
considers him to have been a scholar of 
,scotto and ,perugino4 ,in ,florence1   
and in other places in ,lower ,italy1   
some highly finished pictures are       
attributed to him1 which partake of the 
preceding century1 though they do not   
seem allied to the school of ,perugino4 
,of these pictures we shall resume our  
notice hereafter2 at present it may be  
sufficient to remark1 that in ,lombardy1
 where he resided1 there is not a       
picture in that style to be found with  
his name attached to it4 ,he is always  
,raffaellesque1 and follows the chiefs  
of the ,roman ,school4  ,vasari also    

notices ,jacomone da ,faenza4 ,this     
artist assiduously studied the works of 
,raffaello1 and from long practice in   
copying them1 became himself an         
inventor4 ,he flourished in ,romagna1   
and it was from him that a              
,raffaellesque taste was diffused       
throughout that part of ,italy4 ,he is  
also mentioned by ,baldinucci1 and we   
shall endeavour to make him better known
 in his proper place4  ,besides the     
above mentioned scholars and assistants 
of ,raffaello1 several others are       
enumerated by writers1 of whom we may   
give a short notice4 ,il ,pistoja1 a    
scholar of ,il ,fattore1 and probably   
employed by him in the works of ,sanzio1
 as ,raffaellino del ,colle was with    
,giulio1 is mentioned as a scholar of   
,raffaello by ,baglione1 and1 on the    
credit of that writer1 also by ,taja4   
,we mentioned him among the ,tuscans1   
and shall further notice him in ,naples1
 where we shall also find ,andrea da    
,salerno1 head of that school1 whom     

,dominici proves to be a scholar of     
,raffaello4  ,in the ,memorie di ,monte 
,rubbiano1 edited by ,colucci1 at page  
#aj1 ,vincenzo ,pagani1 a native of that
 country1 is mentioned as a pupil of the
 same master4 ,there remains of him in  
the collegiate church there1 a most     
beautiful picture of the ,assumption2   
and the ,padre ,civalli points out      
another in ,fallerone and two at        
,sarnano1 in the church of his religious
 fraternity1 much extolled1 and in a    
,raffaellesque manner1 if we are to     
credit report4 ,this painter1 of whom1  
in ,piceno1 ,i find traces to the year  
#aebi1 again appears in ,umbria in      
#aeec1 where ,lattanzio his son1 being  
elected a magistrate of ,perugia1 he    
transferred himself thither1 and was    
employed to paint the altarpiece of the 
,cappella degli ,oddi1 in the church of 
the ,conventuals1 as we have already    
mentioned4 ,according to the conditions 
of the contract1 ,paparelli had a share 
with him in this work1 and he must be   

considered as an assistant of ,vincenzo1
 both because he is named as holding the
 second place1 and because he is        
reported by ,vasari on other occasions1 
as having been an assistant4 ,but as    
history mentions nothing relative to    
this picture1 except the contract1 we   
shall content ourselves with observing1 
that this praiseworthy artist1 who was  
passed over in silence for so many      
years1 still painted in the year #aeec4 
,whether he was a scholar of ,raffaello1
 or whether this was a tradition which  
arose in his own country in progress of 
time1 supported only on the             
consideration of his age and his style1 
is a point to be decided by proofs of   
more authority than those we possess4 ,i
 agree with the ,sig4 ,arciprete        
,lazzari1 when1 writing of ,f4 ,bernardo
 ,catelani of ,urbino1 who painted in   
,cagli the picture of the great altar in
 the church of the ,capucins1 he says1  
that he had there exhibited the style of
 the school of ,raffaello1 but he does  

not consider him his scholar4  ,it has  
been asserted1 that ,marcantonio        
,raimondi painted some pictures from the
 sketches of ,raffaello1 in a style     
which excited the admiration of the     
designer himself2 but this appears      
doubtful1 and is so considered by       
,malvasia4 ,l',armenini also assigns to 
this school1 ,scipione ,sacco1 a painter
 of ,cesena1 and ,orlandi1 ,don ,pietro 
da ,bagnaja1 whom we shall mention in   
the ,romagna ,school4 ,some have added  
to it ,bernardino ,lovino1 and others   
,baldassare ,peruzzi1 a supposition     
which we shall shew to be erroneous4    
,padre della ,valle has more recently   
revived an opinion1 that ,correggio may 
be ranked in the same school1 and that  
he was probably employed in the gallery1
 and might have painted the subject of  
the ,magi1 attributed by ,vasari to     
,perino4 ,this is conjectured from the  
peculiar smile of the mother and the    
infant4 ,but these surmises and         
conjectures we may consider as the chaff

 of that author1 who has nevertheless   
presented us with much substantial      
information4 ,we shall now advert to the
 foreigners of this school4 ,bellori has
 enumerated1 among the imitators of     
,raffaello1 ,michele ,cockier1 or       
,cocxie1 of ,malines1 of whom there     
remain some pictures in fresco in the   
church dell',anima4 ,being afterwards in
 ,flanders1 where several works of      
,raffaello were engraved by ,cock1 he   
was accused of plagiarism1 but still    
maintained a considerable reputation2 as
 to a fertile invention he added a      
graceful style of execution4 ,many of   
his best pictures passed into ,spain1   
and were there purchased at great       
prices4 ,palomino acquaints us with     
another excellent scholar of ,sanzio1   
,pier ,campanna1 of ,flanders1 who1     
although he could not entirely divest   
himself of the hardness of his native   
school1 was still highly esteemed in his
 day4 ,he resided twenty years in       
,italy1 and was employed in ,venice by  

the ,patriarch ,grimani1 for whom he    
painted several portraits1 and the      
celebrated picture of the ,magdalen led 
by ,saint ,martha to the ,temple1 to    
hear the preaching of ,christ4 ,this    
picture1 which was bequeathed by the    
,patriarch to a friend1 after a lapse of
 many years1 passed into the hands of   
,mr4 ,slade1 an ,english gentleman4     
,pier ,campanna distinguished himself in
 ,bologna1 by painting a triumphal arch 
on the arrival of ,charles ,v41 by whom 
he was invited to ,seville1 where he    
resided a considerable time1 painting   
and instructing pupils1 among whom is   
reckoned ,morales1 who1 from his        
countrymen1 had the appellation of the  
divine4 ,he was accustomed to paint     
small pictures1 which were eagerly      
sought after by the ,english1 and       
transferred to their country1 where they
 are highly prized4 ,of his altarpieces1
 several remain in ,seville1 and we may 
mention the ,purification1 in the       
,cathedral1 and the ,deposition at ,s4  

,croce1 as the most esteemed4 ,murillo1 
who was himself a truly noble artist1   
greatly admired and studied this latter 
picture1 which1 even after we have seen 
the masterpieces of the ,italian        
,school1 still excites our astonishment 
and admiration4 ,this artist1 to some   
one1 who1 in his latter years1 inquired 
why he so often repaired to this        
picture1 replied1 that he waited the    
moment when the body of ,christ should  
reach the ground4 ,mention is also made 
of one ,mosca1 whether a native or      
foreigner ,i know not1 as a doubtful    
disciple of this school4 ,christ on his 
way to ,mount ,calvary1 now in the      
,academy in ,mantua1 is certainly a     
,raffaellesque picture1 but we may      
rather consider ,mosca an imitator and  
copyist1 than a pupil of ,raffaello4 ,in
 the edition of ,palomino1 published in 
,london1 #agdb1 ,i find some others     
noticed as scholars of ,raffaello1 who  
being born a little before or after     
#aebj1 could not possibly belong to him2

 as ,gaspare ,bacerra1 the assistant of 
,vasari2 ,alfonso ,sanchez1 of          
,portugal2 ,giovanni di ,valencia2      
,fernando ,jannes4 ,it is not unusual to
 find similar instances in the history  
of painting1 and the reports have for   
the most part originated in the last    
age4 ,whenever the artists of a country 
began to collect notices of the masters 
who had preceded them1 their style had  
become the prevailing taste2 and as if  
human genius could attain no improvement
 beyond that which it receives          
subserviently from another1 every       
imitator was supposed to be a scholar of
 the artist imitated1 and every school1 
arrogating to itself the names of the   
first masters1 endeavoured to load      
itself with fresh honours4  ,footnote   
#bf3 ,hist4 ,rom4 vol4 i4 ad calcem4    
,footnote #bg3 ,besides his life by     
,vasari1 another was published by ,sig4 
,abate ,comolli1 which ,i consider      
posterior to that of ,vasari4 ,memoirs  
of him were also collected by ,piacenza1

 ,bottari1 and other authors whom ,i    
shall notice2 and ,i shall also avail   
myself of the information derived from  
the inspection of his pictures1 and     
their character1 and the various dates  
of his works4  ,footnote #bh3 ,we find  
his name written ,io4 ,sanctis in the   
,nunziata of ,sinigaglia2 and it appears
 that he was born of a father called1   
according to the expression of that age1
 ,santi or ,sante2 a name in common use 
in many parts of ,italy4 ,in support of 
the surname of ,sanzio1 ,bottari        
produces a portrait of ,antonio ,sanzio1
 which exists in the ,palazzo ,albani1  
representing him holding in his hands a 
document1 with the title of ,genealogia 
,raphaelis ,sanctii ,urbinatis4 ,julius 
,sanctius is there named as the head of 
the family1 familiae quae adhuc ,urbini 
illustris extat1 ab agris dividendis    
cognomen imposuit1 and was the          
progenitor of ,antonio4 ,from the       
latter1 and through a ,sebastiano1 and  
afterwards through a ,gio4 ,batista1    

descends ,giovanni1 ex quo ortus est    
,raphael qui pinxit a4 #aeai4 ,it is    
also recorded that ,sebastiano had a    
brother1 ,galeazzo1 egregium pictorem1  
and the father of three painters1       
,antonio1 ,vincenzio1 and ,giulio1      
called maximus pictor4 ,thus in this    
branch of the ,sanzii are enumerated    
four painters1 of whom ,i do not find   
any memorial in ,urbino4 ,the family    
also boasts of a ,canon in divinity1 and
 a distinguished captain of infantry4   
,the anonymous writer of ,comolli       
confirms this illustrious origin of     
,raffaello2 but it is highly probable1  
that in that age1 when the forgery of   
genealogies1 as ,tiraboschi observes1   
was a common practice1 he may have      
adopted it without any examination4 ,the
 portrait of ,antonio is well executed1 
but it has been said that it would have 
been much more so1 if ,raffaello had    
painted it a year before his death1     
according to the inscription4 ,if       
connoisseurs 7who alone ought to decide 

this point7 should be of this opinion1  
it may be suspected that the person that
 counterfeited the hand of the artist1  
might also substitute the writing2 or we
 may at least conclude1 that the        
etymology of ,sanzio should be sought   
for in the word ,sanctis1 the name of   
the grandfather of ,raffaello1 not in   
sancire1 7to divide fields or property74
 ,in tom4 xxxi4 of the ,ant4 ,picene1 a 
will is produced of ,ser ,simone di     
,antonio1 in #adgg1 where a ,magister   
,baptista1 qu4 ,peri ,sanctis de ,peris1
 who is called ,pittor di grido e di    
eccellenza1 leaves his son ,tommaso his 
heir1 to whom is substituted a son of   
,antonio his brother1 of the name of    
,francesco4 ,i may remark1 that in this 
,batista di ,pier ,sante de' ,pieri1 we 
may find the surname of a family        
different from that of ,sanzia4 ,but on 
this subject ,i hope we shall shortly be
 favoured with more certain information 
by the ,sig4 ,arciprete ,lazzari1 who   
has obliged me with many valuable       

contributions to the present edition of 
this work4  ,footnote #bi3 ,condivi1 in 
his ,life of ,bonarruoti1 7num4 #fg47   
assures us that ,michaelangelo was not  
of a jealous temper1 but spoke well of  
all artists1 not excepting ,raffaello di
 ,urbino1 between whom and himself there
 existed1 as ,i have mentioned1 an      
emulation in painting2 and the utmost   
that he said was1 that ,raffaello did   
not inherit his excellences from nature1
 but obtained them through study and    
application4  ,footnote #cj3 ,see the   
,preface to the ,life of ,raffaello1 by 
,vasari1 ediz4 ,senese1 p4 #bbh1 where  
the will is quoted4  ,footnote #ca3     
,vasari states1 that that event occurred
 either whilst ,michaelangelo was       
employed upon the ,statues in ,s4       
,pietro in ,vincoli1 or whilst he was   
painting the vault of the ,sistine      
,chapel1 that is1 some years afterwards1
 when ,raffaello was in ,rome4 ,to this 
second opinion1 which is the most common
 one1 ,i formerly assented2 but since1  

on perusal of a ,brief of ,julius ,,ii4 
7,lett4 ,pittoriche1 tom4 iii4 p4 #cbj7 
in which that ,pope invites             
,michaelangelo back to ,rome1 and       
promises that illaesus1 inviolatusque   
erit1 ,i am inclined to believe that the
 ,cartoon was finished in #aejf1 which  
is the date of the brief2 so that       
,raffaello1 if he could not see it on   
his first visit to ,florence1 might at  
least have done so on his second or     
third4  ,footnote #cb3 ,see ,vasari1 ed4
 ,sen4 tom4 v4 p4 #bch1 where we find   
the ,letter written from him to one of  
his uncles1 with all the provincialisms 
common to the inhabitants of ,urbino and
 its neighbourhood4  ,footnote #cc3     
,malvasia1 ,felsina ,pittrice1 tom4 i4  
p4 #de4 ,there are some facts1 however1 
in opposition to this letter1 and which 
seem to prove that ,raffaello did not go
 to ,rome until #aeaj4 ,but the ,sig4   
,abate ,francesconi is now employed in  
rectifying the chronology of the ,life  
and ,works of ,sanzio2 and from his     

critical sagacity we may expect the     
solution of this difficulty4  ,footnote 
#cd3 ,see ,le ,aggiunte al ,vasari4 ,ed4
 ,senese1 p4 #bbc4  ,footnote #ce3 ,a   
sonnet by him is referred to by ,sig4   
,piacenza1 in his notes to ,baldinucci1 
tom4 xi4 p4 #cga4  ,footnote #cf3 ,in   
compliance with the wishes of ,leo ,x4  
he made drawings of the buildings of    
,ancient ,rome1 and accompanied them    
with descriptions1 employing the compass
 to ascertain their admeasurement4 ,we  
owe this information to ,sig4 ,abate    
,francesconi1 who has restored to       
,sanzio a letter1 formerly attributed to
 ,castiglione4 ,it is a sort of         
dedication of the work to ,leo ,x42 but 
the work itself and the drawings are    
lost2 and many of the edifices measured 
by ,raffaello were destroyed in the     
following ,pontificates4 ,the ,abate    
,morelli has made public a high eulogium
 on this work1 by a contemporary pen1 in
 the notes to the ,notizia1 page #baj4  
,it is written by one ,marcantonio      

,michiel1 who asserts1 that ,raffaello  
had drawn the ancient buildings of ,rome
 in such a manner1 and shewn their      
proportions1 forms1 and ornaments so    
correctly1 that whoever had inspected   
them might be said to have seen ,ancient
 ,rome4  ,footnote #cg3 ,in a brief of  
,leo ,x4 #aead1 mentioned by ,sig4      
,piacenza1 tom4 ii4 p4 #cba4  ,footnote 
#ch3    ,caesaris in nomen ducuntur     
carmina3 ,caesar   ,dum canitur1 quaeso1
 ,jupiter ipse vaces4                   
,prop4 lib4 iv4 ,eleg4 vi4  ,footnote   
#ci3 ,vol4 ii4 p4 #cbc et seq4          
,footnote #dj3 ,see the first letter of 
,crespi1 ,lettere ,pittoriche1 tom4 ii4 
p4 #cch4  ,footnote #da3 ,mengs has     
observed1 that ,raffaello diligently    
studied the bassirelievi of the arches  
of ,titus and ,constantine1 which were  
on the arch of ,trajan1 and adopted from
 them his manner of marking the         
articulations of the joints1 and a more 
simple and an easier mode of expressing 
the contour of the fleshy parts4        

,riflessioni sopra i tre gran ,pittori1 
c4 cap4 #a4  ,footnote #db3 ,riflessioni
 su la bellezza e sul gusto della       
,pittura1 parte iii4 cap4 #a1 and see   
the ,osservazioni of the ,cav4 ,azara on
 that tract1 ,sec44 xii4  ,footnote #dc3
 ,a doubt has arisen on the exact time  
in which he painted the ,prophet and the
 ,sybils1 and from the grandeur of their
 style doubts have been thrown on       
,vasari's account1 that they were       
painted anterior to #aeaa4 ,but a       
painter who is the master of his art1   
elevates or lowers his style according  
to his subject4 ,the ,sybils are in     
,raffaello's grandest style2 and that   
they are amongst his earliest works1 is 
proved from his having had ,timoteo     
della ,vite1 as his assistant in them4  
,footnote #dd3 ,lett4 ,pittor4 tom4 v4  
p4 #aca4  ,footnote #de3 ,commencing at 
p4 #aci4  ,footnote #df3 ,i do not find 
that any mention has been made of his   
picture in the possession of the        
,olivieri family at ,pesaro1 or of the  

one in the ,basilica di ,loreto in the  
,treasury1 which seems to be the same   
which was formerly in the church of the 
,madonna del ,popolo1 or a copy of it4  
,i have seen a similar subject in the   
,lauretana1 belonging to the ,signori   
,pirri1 in ,rome4 ,at ,sassoferrato     
also1 on the great altar of the church  
of the ,capucins1 there is a ,virgin and
 child1 said to be by him2 but it is    
more probably by ,fra ,bernardo         
,catelani4 ,there exist engravings of   
the two first1 but ,i have not seen any 
of the last4  ,footnote #dg3            
,riflessioni sopra i tre gran ,pittori1 
c41 cap4 i4 ,sec4 #b4  ,footnote #dh3   
,lo dico con questa condizione che ,v4  
,s4 si trovasse meco a far la scelta del
 meglio3 ma essendo carestia e di buoni 
giudici e di belle donne1 mi servo di   
una certa idea che mi viene in mente4   
,lett4 ,pittor4 tom4 i4 p4 #hd4         
,footnote #di3 ,plin4 ,hist4 ,natur4    
lib4 xxxv4 cap4 #aj4 ,quintil4 ,instit4 
,orat4 xii4 #aj4  ,footnote #ej3        

,portraits of ,raffaello are to be found
 in the ,duomo1 and in the ,sacristy of 
,siena1 in more than one picture2 but it
 is doubtful whether by his own hand or 
that of ,pinturicchio4 ,that which is   
mentioned in the ,guida di ,perugia1 as 
being in a picture of the ,resurrection 
at the ,conventuals1 is said to be by   
,pietro ,perugino3 and in the ,borghese 
gallery in ,rome1 there is one1 supposed
 to be by the hand of ,timoteo della    
,vite4 ,the portrait in the gallery in  
,florence1 by ,da ,vinci1 bears some    
resemblance to ,raffaello1 but it is not
 he4 ,another which ,i have seen in     
,bologna1 ought1 perhaps1 to be ascribed
 to ,giulio ,romano4 ,one of the most   
authentic portraits of ,raffaello1 by   
his own hand1 next to the one in the    
picture of ,s4 ,luke1 is that in the    
,medici ,collection in the ,stanza de'  
,pittori1 though this is not in his best
 manner4  ,footnote #ea3 ,idee de       
,peintre parfait1 chap4 xix4  ,footnote 
#eb3 ,engraved by ,morghen4 ,the three  

figures1 the ,madonna1 the ,infant1 and 
,st4 ,john1 appear almost alive4 ,it    
should seem that ,raffaello made several
 studies for this picture1 and he       
painted one without the ,st4 ,john1     
which remained for some time in ,urbino4
 ,i saw a copy in the possession of the 
,calamini family1 at ,recanati1 which   
was said to be by ,baroccio1 and at all 
events belonging to his school4 ,i have 
seen the same subject in the ,casa      
,olivieri1 at ,pesaro1 and at ,cortona1 
in the possession of another noble      
family1 to whom it had passed by        
inheritance from ,urbino1 and was       
considered to be by ,raffaello4 ,the    
faces in these are not so beautiful1 nor
 the colours so fine2 they are round1   
and in a larger circle1 with some       
variations3 ,i have also seen a copy in 
the ,sacristy of ,s4 ,luigi de'         
,franzesi1 in ,rome1 and in the ,palazzo
 ,giustiniani4  ,footnote #ec3 ,morto da
 ,feltro sotto ,alessandro ,,vi41       
comincio a dipingere a grottesco1 ma    

senza stucchi4 ,baglione1 ,vite1 p4 #ba4
  ,footnote #ed3 ,the entrance into     
these baths was designedly and          
maliciously closed4 ,serlio1 in speaking
 of the various arabesques in ,pozzuolo1
 ,baja1 and ,rome1 says that they were  
injured or destroyed by the artists who 
had copied them1 through a jealous      
feeling lest others should also avail   
themselves of the opportunity of        
studying them1 7lib4 iv4 c4 #aa74 ,the  
names of these destroyers1 which ,serlio
 has suppressed1 posterity has been     
desirous of recovering1 and some have   
accused ,raffaello1 others              
,pinturicchio1 and others ,vaga1 or     
,giovanni da ,udine1 or rather his      
scholars and assistants1 of whom1 says  
,vasari1 there were an infinite number  
in every part of ,italy4 ,this subject  
is ably discussed by ,mariotti1 in      
,lettera ix4 p4 #bbd1 and in the        
,memorie delle belle ,arti1 per l'anno  
#aghh1 p4 #bd4  ,footnote #ee3 ,it was  
charged on the office of the ,piombo1 or

 papal signet1 when ,sebastiano da      
,venezia was invested with it1 and was a
 pension of three hundred scudi4 ,padre 
,federici observes that the one was     
designated ,fra ,sebastiano1 but that   
the other was not called ,fra ,giovanni2
 nor is this remarkable1 for a ,bishop  
is called ,monsignore1 but the person   
who enjoys a pension charged upon a     
,bishoprick has not the same title4 ,it 
cannot however be deduced from this1 as 
,federici wishes to do1 that ,sebastiano
 was first ,frate di ,s4 ,domenico1 by  
the name of ,f4 ,marco ,pensaben1 and   
afterwards secularized by the ,pope1 and
 appointed to the signet1 and that he   
retained the ,fra in consequence of his 
former situation4       ,,roman         
,,school4    ,,epoch ,,iii4    ,the art 
declines in consequence of the public   
calamities of   ,rome1 and gradually    
falls into mannerism4   ,after the      
mournful events of the year #aebg1 ,rome
 for some time remained in a state of   
stupor1 contemplating her past          

misfortunes and her future destiny2 and1
 like a vessel escaped from shipwreck1  
began slowly to repair her numerous     
losses4 ,the soldiers of the besieging  
army1 among other injuries committed in 
the ,apostolic palace1 had defaced some 
heads of ,raffaello2 and ,f4            
,sebastiano1 an artist by no means      
competent to such a task1 was employed  
to repair them4 ,this1 at least1 was the
 opinion of ,titian1 who was introduced 
to these works1 and ignorant of the     
circumstances1 asked ,sebastiano what   
presumptuous wretch had had the audacity
 to attempt their restoration2#ef an    
impartial observation1 against which    
even the patronage of ,michelangiolo    
could not shield the artist4 ,paul      
,,iii4 was now in possession of the     
papal chair1 and under his auspices the 
arts again began to revive4 ,the        
decoration of the palace of ,caprarola1 
and other works of ,paul and his        
nephews1 gave employment to the         
painters1 and happy had these patrons   

been1 could they have found a second    
,raffaello4 ,bonarruoti1 as we have     
observed1 was engaged by the ,pope1 and 
gave to the ,roman ,school many noble   
specimens of art1 though he formed but  
few scholars4 ,sebastiano1 after the    
death of ,raffaello1 freed from all     
further competition with that great     
artist1 and honoured with the lucrative 
office of the papal signet1 seemed      
disposed to rest from his labours2 and  
as he had never1 at any time1 discovered
 great application1 he now resigned     
himself to a life of vacant leisure1 and
 ,vasari does not mention with          
commendation any pupil of his school    
except ,laureti4#eg ,giulio ,romano was 
now invited back to ,rome1 and the      
superintendence of the building of ,s4  
,peter's offered to him1 but death      
prevented his return to his native city4
 ,perino del ,vaga1 however1 repaired to
 ,rome1 and might1 himself1 have        
effected the restoration of art1 if his 
magnanimity had corresponded with the   

sublimity of his mind4 ,but he did not  
inherit the daring genius of his master4
 ,he communicated his instructions with 
jealousy1 and worked with a spirit of   
gain1 or to speak correctly1 he did not 
paint himself1 but undertaking works of 
more or less consequence1 he allowed his
 scholars to execute them1 often to the 
injury of his own reputation4 ,he       
continued to secure to himself artists  
of the first talents1 as we shall see2  
but this was done with the intention of 
making them dependant on him1 and to    
prevent their interfering with his      
emoluments and commissions4 ,but        
together with the good1 he engaged also 
many indifferent and inferior artists1  
whence it happens1 that in the chambers 
of the castle of ,s4 ,angelo1 and in    
other places1 we meet with so marked a  
difference in many of his works4 ,few of
 his scholars attained celebrity4 ,luzio
 ,romano is the most noted1 and         
possessed a good execution4 ,of him     
there exists a frieze in the ,palazzo   

,spada2 and for some time1 too1 he had  
for an assistant ,marcello ,venusti of  
,mantua1 a young man of great talents1  
but diffident1 and probably standing in 
need of more instruction than ,perino   
afforded him4 ,he afterwards received   
some instructions from ,bonarruoti1     
whose ideas he executed in an excellent 
manner1 as ,i have mentioned before1 and
 by his aid he became himself also a    
good designer4#eh ,perino1 by these     
means1 always abounded in work and in   
money4 ,a similar traffic in the art was
 carried on by ,taddeo ,zuccaro1 if we  
are to believe ,vasari2 and by ,vasari  
himself1 too1 if we may be allowed to   
judge from his pictures4  ,the actual   
state of the art at this period may be  
ascertained from a view of the numerous 
works produced2 but none are so         
distinguished as the paintings in the   
,sala ,regia1 commenced under ,paul     
,,iii41 and scarcely finished1 after a  
lapse of thirty years1 in #aegc4 ,of    
these ,vaga had the direction1 as       

,raffaello had formerly had1 of the     
chambers of the ,vatican4 ,he planned   
the compartments1 ornamented the        
ceiling1 directed all the stuccos1      
cornices1 devices1 and large figures1   
and all in the style of a great master4 
,he then applied himself to design the  
subjects for his pencil1 and was        
employed on them when he was carried off
 by death in #aedg4 ,through the        
partiality of ,michelangiolo1 he was    
succeeded by ,daniel di ,volterra1 who  
had already worked in stucco1 under his 
direction1 in the same place4 ,volterra 
resolved to represent the donations of  
those sovereigns who had extended or    
consolidated the temporal dominion of   
the church1 whence the chamber was      
called ,sala dei ,regi1 and this idea   
was1 in some degree1 though with        
variations1 continued by succeeding     
artists4 ,volterra was naturally slow   
and irresolute1 and after painting the  
,deposition from the ,cross1 which we   
have mentioned as being executed with   

the assistance of ,michelangiolo1 he    
produced no more of these prodigies of  
art4 ,he had indeed begun some designs1 
but on the death of the ,pope1 in #aedi1
 he was compelled1 in order to          
accommodate the conclave1 to remove the 
scaffolding1 and expose the work        
unfinished4 ,it did not meet with public
 approbation1 nor was it continued under
 ,julius ,,iii41 and still less under   
,paul ,,iv41 in whose reign the art was 
held in so little respect1 that the     
apostles1 painted by ,raffaello in one  
of the chambers of the ,vatican1 were   
displaced4  ,pius ,,iv41 who resumed the
 work1 on the suggestion of ,vasari1 in 
#aefa1 had intended to charge ,salviati 
with the entire execution of it2 but1 by
 the intercessions of ,bonarruoti1 was  
at length prevailed on to assign one    
half of the apartment to ,salviati1 and 
the other half to ,ricciarelli1 though  
this did not contribute to expedite the 
work4 ,pirro ,ligorio1 a ,neapolitan1   
was at this time held in high esteem by 

the ,pope4 ,he was an antiquarian1      
though not of great celebrity1 but a    
good architect1 and a fresco painter of 
some merit2#ei an enthusiast too1 and   
alike jealous of ,ricciarelli1 for the  
homage he paid to ,bonarruoti1 and of   
,salviati1 for the respect which he did 
not shew to ,ligorio himself4 ,remarking
 that the ,pope wished to hasten the    
completion of the work1 he proposed to  
select a number of scholars1 and to     
divide the work amongst them4 ,vasari   
adds1 that ,salviati was disgusted and  
left ,rome2 where1 on his return1 he    
died1 without finishing his work2 and   
that ,ricciarelli1 who was always slow1 
never touched it again1 and died also   
after the lapse of some little time4    
,the completion of the work was then    
entrusted1 as far as possible1 to the   
successors of ,raffaello4 ,livio        
,agresti da ,forli1 ,girolamo           
,siciolante da ,sermoneta1 and ,marco da
 ,pino1 of ,sienna1 although they had   
received their first instructions from  

other masters1 had been instructed by   
,perino del ,vaga1 and had assisted in  
his cartoons4 ,taddeo ,zuccaro had      
accomplished himself under ,giacomone da
 ,faenza1 and had made his younger      
brother ,federigo an able artist4 ,to   
these the work was assigned1 and there  
were added to them ,samacchini and      
,fiorini1 ,bolognese artists2 and       
,giuseppe ,porta della ,garfagnana1     
called ,giuseppe ,salviati4 ,this latter
 had been the pupil of ,francesco       
,salviati1 from whom he learnt the      
principles of design2 he was afterwards 
a follower of the school of ,venice1    
where he resided4 ,of these numerous    
artists ,vasari assigns the palm to     
,taddeo ,zuccaro1 but the court was so  
much pleased with ,porta1 that it was in
 contemplation to destroy the works of  
the other artists1 in order that the    
apartment might be finished by him      
alone4 ,he represented ,alexander ,,iii4
 in the act of bestowing his benediction
 on ,frederick ,barbarossa1 in the      

,piazza of ,s4 ,mark1 in ,venice2 and he
 here indulged his taste for            
architectural ornaments1 in the         
,venetian manner4 ,when however this    
work is viewed and compared with that of
 other artists1 we discover a sameness  
of style1 the character of the time2 a  
deficiency of strength in the colours   
and shadows is the common failing4 ,it  
seems as if the art1 through a long     
course of years1 had become debilitated3
 it discovers the lineaments of a better
 age1 but feebly expressed and deprived 
of their primitive vigour4 ,that portion
 of the work which remained unfinished1 
was1 after the death of ,pius ,,iv41    
completed by ,vasari and his school1    
under his successor2 and some little was
 supplied under ,gregory ,,xiii41 who   
was elected in #aegb4  ,with that year a
 reign commenced but little auspicious  
to art1 and still less so was the       
,pontificate of ,sixtus ,v41 the        
successor of ,gregory4 ,these ,pontiffs 
erected or ornamented so many public    

buildings1 that we can scarcely move a  
step in ,rome1 without meeting with the 
papal arms of a dragon or a lion4       
,baglione has accurately described them1
 and to him we are indebted for the     
lives of the artists of this and the    
following period4 ,it is natural for men
 advanced in years to content themselves
 with mediocrity in the works which they
 order1 from the apprehension of not    
living to see them1 if they wait for the
 riper efforts of talent4 ,hence those  
artists were the most esteemed1 and the 
most employed1 who possessed despatch   
and facility of execution1 particularly 
by ,sixtus1 of whose severity towards   
dilatory artists we shall shortly adduce
 a memorable instance4 ,this inaccuracy 
of style was continued to the time of   
,clement ,,viii41 when a number of works
 were hastily finished to meet the      
opening of the holy year #afjj4 ,under  
these pontiffs the painters of ,italy1  
and even the oltramontani1 inundated    
,rome with their works1 in the same     

manner that the poets and philosophers  
had filled that city with their writings
 in the time of ,domitian and ,marcus   
,aurelius4 ,every one indulged his own  
taste2 and the style of many was        
deteriorated through rapidity of        
execution4 ,thus the art1 particularly  
in fresco1 became the employment of a   
mechanic1 not founded in the just       
imitation of nature1 but in the         
capricious ideas of the artist4#fj ,nor 
was the colouring better than the       
design4 ,at no period do we find such an
 abuse of the simple tints1 in none so  
feeble a chiaroscuro1 or less harmony4  
,these are the mannerists1 who peopled  
the churches1 convents1 and saloons of  
,rome with their works1 but in the      
collections of the nobility they have   
not had the same good fortune4  ,this   
era1 nevertheless1 is not wholly to be  
condemned1 as it contains several great 
names1 the relics of the preceding      
illustrious age4 ,we have enumerated the
 painters who flourished in ,rome in the

 first reigns of this century1 and we   
ought to notice a number of others4     
,they were for the most part foreigners1
 and ought to be introduced in other    
schools4 ,i shall here describe those   
particularly1 who were born within the  
limits of the ,roman ,school1 and those 
who1 being established in it1 taught and
 propagated their own peculiar style4   
,girolamo ,siciolante da ,sermoneta1 who
 adopted ,raffaello's style1 may be     
enumerated among the scholars of that   
great man1 from his felicitous imitation
 of their common master4 ,in the ,sala  
de' ,regi1 in the ,vatican1 he painted  
,pepin1 ,king of ,france1 bestowing     
,ravenna on the church1 after having    
made ,astolfo1 ,king of the ,lombards1  
his prisoner4 ,but he approached        
,raffaello more closely in some of his  
oil pictures than in his frescos1 as in 
the martyrdom of ,s4 ,lucia1 in the     
church of ,s4 ,maria ,maggiore2 in the  
,transfiguration in ,ara ,coeli1 and in 
the ,nativity in the church della ,pace1

 a subject which he repeated in the most
 graceful style in the church of ,osimo4
 ,his masterpiece is in ,ancona on the  
great altar in the church of ,s4        
,bartolommeo1 a vast composition1       
original and rich in invention1 and     
commensurate with the grandeur of the   
subject1 and the multitude of saints    
that are introduced in it4 ,the throne  
of the ,virgin is seen above1 amidst a  
brilliant choir of angels1 and on either
 side a virgin saint in the attitude of 
adoration4 ,to this height there is a   
beautiful ascent on each side1 and the  
picture is thus divided into a higher   
and lower part1 in the latter of which  
is the titular saint1 a half naked      
figure vigorously coloured1 together    
with ,s4 ,paul and two other saints1 the
 whole in a truly ,raffaellesque style4 
,this altarpiece possesses so much      
harmony1 and such a force of colour1    
that it is esteemed by some persons the 
best picture in the city4 ,if any thing 
be wanting in it1 it is perhaps a more  

correct observance of the perspective4  
,sermoneta did not paint many pictures  
for collections4 ,he excelled in        
portrait painting4  ,a similar manner1  
though more laboured1 and formed on the 
styles of ,raffaello and ,andrea del    
,sarto1 was adopted by ,scipione        
,pulzone da ,gaeta1 who was educated in 
the studio of ,jacopino del ,conte4 ,he 
died young in his thirty-eighth year1   
but left behind him a great reputation1 
partly in the painting of portraits1 of 
which he executed a great number for the
 popes and princes of his day1 and with 
so much success1 that by some he is     
called the ,vandyke of the ,roman       
,school4 ,he was a forerunner of        
,seybolt in the high finishing of the   
hair1 and in representing in the pupil  
of the eye the reflexion of the windows1
 and other objects as minute and exact  
as in real life4 ,he also painted some  
pictures in the finest style1 as the    
,crucifixion in the ,vallicella1 and the
 ,assumption in ,s4 ,silvestro at ,monte

 ,cavallo1 a composition of chaste      
design1 great beauty of colouring1 and  
brilliant in effect4 ,in the ,borghese  
collection is a ,holy ,family by him1   
and in the gallery in ,florence1 a      
,christ praying in the garden2 and in   
other places are to be found some of his
 cabinet pictures1 deservedly held in   
high esteem4  ,taddeo and ,federigo     
,zuccaro have been called the ,vasaris  
of this school2 for as ,vasari trod in  
the steps of ,michelangiolo1 so these   
artists professed to follow ,raffaello4 
,they were the sons of an indifferent   
painter of ,s4 ,angiolo in ,vado1 called
 ,ottaviano ,zuccaro1 and came to ,rome 
one after the other1 and in the ,roman  
state executed a vast number of works1  
some good1 some indifferent1 and others1
 when they allowed their pupils to take 
a share in them1 absolutely bad4 ,a     
salesman1 who dealt in the pictures of  
these artists1 was accustomed1 like a   
retailer of merchandize1 to ask his     
purchasers whether they wished for a    

,zuccaro of ,holland1 of ,france1 or of 
,portugal2 intimating by this that he   
possessed them of all qualities4        
,taddeo1 who was the elder of the two1  
studied first under ,pompeo da ,fano1   
and afterwards with ,giacomone da       
,faenza4 ,from the latter and other good
 ,italian artists1 whom he assiduously  
studied1 he acquired sufficient talent  
to distinguish himself4 ,he adopted a   
style which1 though not very correct1   
was unconstrained and engaging1 and very
 attractive to such as do not look for  
grandeur of design4 ,he may be compared 
to that class of orators who keep the   
attention of their hearers awake1 not   
from the nature of their subject1 but   
from the clearness of their language1   
and from their finding1 or thinking they
 find1 truth and nature in every word4  
,his pictures may be called compositions
 of portraits2 the heads are beautiful1 
the hands and feet not negligently      
painted1 nor yet laboured1 as in the    
,florentine manner2 the dress and       

ornaments1 and form of the beard1 are   
agreeable to the times2 the disposition 
is simple1 and he often imitates the old
 painters in shewing on the canvass only
 half figures in the foreground1 as if  
they were on a lower plain4 ,he often   
repeated the same countenance1 and his  
own portrait4 ,in his hands1 feet1 and  
the folds of his drapery1 he is still   
less varied1 and not unfrequently errs  
in his proportions4  ,in ,rome are vast 
works of ,taddeo1 in fresco1 and amongst
 the best may be ranked the history of  
the ,evangelists1 in the church of the  
,consolazione4 ,he left few pictures in 
oil4 ,there is a ,pentecost by him in   
the church of the ,spirito ,santo in    
,urbino1 which city also possesses some 
other of his works1 though not in his   
best style4 ,he is most pleasing in his 
small cabinet pictures1 which are       
finished in the first style of          
excellence4 ,one of the best of these1  
formerly possessed by the ,duke of      
,urbino1 is now in the collection of the

 noble family of ,leopardi1 in ,osimo4  
,it is a ,nativity of our ,lord1 in     
,taddeo's best manner1 but none of his  
productions have added so much to his   
celebrity as the pictures in the        
,farnese ,palace of ,caprarola1 which   
were engraved by ,preninner in #agdh4   
,they represent the civil and military  
history of the illustrious family of the
 ,farnesi4 ,there occur also other      
subjects1 sacred and profane1 of which  
the most remarkable is the ,stanza del  
,sonno1 the subject of which was        
executed in a highly poetical manner1   
from the suggestions of ,caro in a      
delightful letter1 which was circulated 
among his friends1 and is reprinted in  
the ,lettere ,pittoriche1 7tom4 iii4 l4 
#ii74 ,strangers who visit ,caprarola1  
often return with a higher opinion of   
this artist than they carried with them4
 ,it is true that a number of young     
artists1 fully his equal1 or perhaps    
superior to him1 were employed there1   
both in conjunction with him and after  

his death1 whose works ought not to be  
confounded with his1 though it is not   
always easy to distinguish them4 ,like  
,raffaello1 he died at the age of       
thirty-seven1 and his monument is to be 
seen at the side of that illustrious    
master in the ,rotunda4  ,federigo1 his 
brother and scholar1 resembled him in   
style1 but was not equal to him in      
design1 having more mannerism than      
,taddeo1 being more addicted to         
ornament1 and more crowded in his       
composition4 ,he was engaged to finish  
in the ,vatican1 in the ,farnese        
,palace1 in the church of ,la ,trinita  
de' ,monti1 and other places1 the       
various works which his brother had left
 incomplete at his death2 and he thus   
succeeded1 as it were1 to the           
inheritance of his own house4 ,he had   
the reputation of possessing a noble    
style1 and was invited by the ,grand    
,duke ,francis ,i4 to paint the great   
dome of the metropolitan church at      
,florence1 which was commenced by       

,vasari1 and left unfinished at his     
death4 ,federigo in that task designed  
more than three hundred figures1 fifty  
feet in height1 without mentioning that 
of ,lucifer1 so gigantic that the rest  
appeared like children1 for so he       
informs us1 adding1 that they were the  
largest figures that the world had ever 
seen4#fa ,but there is little to admire 
in this work except the vastness of the 
conception1#fb and in the time of ,pier 
da ,cortona1 there was an intention of  
engaging that artist to substitute for  
it a composition of his own1 had not the
 apprehension that his life might not be
 long enough to finish it1 frustrated   
the design4 ,after the painting of this 
dome1 every work on a large scale in    
,rome was assigned to ,federigo1 and the
 ,pope engaged him to paint the vault of
 the ,paolina1 and thus give the last   
touch to a work commenced by            
,michelangiolo4 ,about this period1 in  
order to revenge himself on some of the 
principal officers of the ,pope who had 

treated him with indignity1 he painted1 
and exposed to public view1 an          
allegorical picture of ,calumny1#fc in  
which he introduced the portraits of all
 those persons who had given him        
offence1 representing them with asses'  
ears4 ,his enemies1 on this1 made such  
complaints1 that he was compelled to    
quit the dominions of the ,pope4 ,he    
therefore left ,rome and visited        
,flanders1 ,holland1 and ,england1 and  
was afterwards invited to ,venice to    
paint the submission of the ,emperor    
,federigo ,barbarossa to ,pope          
,alexander ,,iii41 in the ,palazzo      
,pubblico1 and he was there highly      
esteemed and constantly employed4 ,the  
,pontiff being by this time appeased1   
,federigo returned to finish the work he
 had left imperfect1 and which is       
perhaps the best of all he executed in  
,rome1 without the assistance of his    
brother4 ,the larger picture also of ,s4
 ,lorenzo in ,damaso1 and that of the   
,angels in the ,gesu1 and other of his  

works in various churches1 are not      
deficient in merit4 ,federigo built for 
himself a house in the ,monte ,pincio1  
and decorated it with pictures in       
fresco1 portraits of his own family1    
conversazioni1 and many novel and       
strange subjects1 which he painted with 
the assistance of his scholars1 and at  
little expense2 but on this occasion    
more than on any other1 he appears an   
indifferent artist1 and may be called   
the champion of mediocrity4  ,federigo  
was afterwards invited to ,madrid by    
,philip ,,ii42 but that monarch not     
being satisfied with his works1 they    
were effaced1 and their places supplied 
by ,tibaldi1 and he himself1 with an    
adequate pension1 was sent back to      
,italy4 ,he undertook another journey   
late in life1 visiting the principal    
cities of ,italy1 and leaving specimens 
of his art in every place where he was  
called to exercise his talents4 ,one of 
the best of these is an ,assumption of  
the ,virgin1 in an ,oratory of ,rimino1 

on which he inscribed his name1 and the 
,death of the ,virgin1 at ,s4 ,maria in 
,acumine1 with some figures of the      
,apostles1 more finished than usual with
 him4 ,a simple and graceful style is   
observable in his ,presepio1 in the     
cathedral of ,foligno1 and in two       
pictures from the life of the ,virgin1  
in a chapel of ,loreto1 painted for the 
,duke of ,urbino4 ,the ,cistercian      
monks1 at ,milan1 possess two large     
pictures in their library on the        
,miracle della ,neve1 with a numerous   
assemblage of figures1 the countenances 
in his usual lively manner1 the         
colouring varied and well preserved4 ,in
 the ,borromei college1 in ,pavia1 is a 
saloon painted in fresco1 with subjects 
from the life of ,s4 ,carlo4 ,the most  
admired of these is the saint at prayer 
in his retirement2 the other pieces1 the
 ,consistory in which was his chapel1   
and the ,plague of ,milan1 would be much
 better1 if the figures were fewer4 ,he 
returned to ,venice1 where his great    

picture remained1 and which had not been
 so much injured by time1 as by a       
sarcasm of ,boschini on certain sugar   
,zucchero of very poor quality lately   
imported into ,venice1 in consequence of
 which he retouched his work1 and wrote 
on it1 by way of a memorial1 ,federicus 
,zuccarus f4 an4 sal4 #aehb1 perfecit   
an4 #afjc4 ,it is one of his best works1
 copious1 and1 agreeably to ,zanetti1   
beautiful and well sustained4 ,he then  
went to ,turin1 where he painted a ,s4  
,paul1 for the ,jesuits1 and began to   
ornament a gallery for ,charles         
,emanuel1 ,duke of ,savoy2 and it was in
 that city that he first published ,la  
idea de' ,pittori1 ,scultori1 e         
,architetti1 which he dedicated to the  
,duke4 ,he afterwards returned into     
,lombardy1 where he composed two other  
works1 the one intitled ,la ,dimora di  
,parma del ,sig4 ,cav4 ,federigo        
,zuccaro3 the other1 ,il ,passaggio per 
,italia colla dimora di ,parma del ,sig4
 ,cav4 ,federigo ,zuccaro1 both printed 

in ,bologna1 in #afjh4 ,in the following
 year1 on his return to his native      
place1 he fell sick in ,ancona1 where he
 died4 ,baglione admired the versatility
 of talent in this artist1 which        
extended to sculpture and architecture2 
but more than all he admired his good   
fortune1 in which he exceeded all his   
contemporaries4 ,this distinction he    
owed in a great measure to his personal 
qualities1 to his noble presence1 his   
encouragement of letters1 his quality of
 attaching persons to him1 and his      
liberality1 which led him to expend in a
 generous manner the large sums he      
derived from his works4  ,he appears to 
have written with the intention of      
rivalling and excelling ,vasari4        
,whatever was the cause1 ,vasari was    
disliked by him1 as may be gathered from
 the notes to his ,lives1 occasionally  
cited by the annotator of the ,roman    
edition2 and is charged by him with     
spleen and malignity1 particularly in   
the life of ,taddeo ,zuccaro4 ,in order 

to excel ,vasari1 it seems he chose an  
abstruse mode of writing1 in opposition 
to the plain style of that author4 ,the 
whole work1 printed in ,turin1 is       
involved in its design1 and instead of  
precepts1 contains speculative          
metaphysical opinions1 which tend more  
to raise disputes than to convey        
information4 ,the language is           
incongruous and affected1 and even the  
very titles to the chapters are         
interwoven with many absurdities1 as    
that of the #abth1 ,che la filosofia e  
il filosofare e disegno ,metaforico     
similitudinario4 ,this style may perhaps
 impose on the ignorant1 but cannot     
deceive the learned4#fd ,the latter do  
not esteem a writer for pedantic        
expressions adopted from the ,greek and 
,latin authors2 but for a correct mode  
of definition1 for an accuracy of       
analysis1 for a sagacity in tracing     
effects to their true causes1 and for a 
manner strictly adapted to the subject4 
,these qualities are not to be found in 

the works of ,federigo1 where we find   
philosophical expressions mingled with  
puerile reflections1 as in the etymology
 of the word disegno1 which after much  
circumlocution1 he informs us1 owes its 
derivation to ,segno di ,dio2 and       
instead of affording any instructive    
maxims to youth1 he presents them with a
 mass of sterile and ill directed       
speculations4 ,hence we may be said to  
derive more information from a single   
page of ,vasari1 than from this author's
 whole work4 ,both ,mariette and        
,bottari have shewn the little esteem in
 which they held this work1 by their    
correspondence1 inserted in the #fth    
volume of the ,lettere ,pittoriche4 ,nor
 are his other two works of greater     
utility1 one of which contains some     
arguments in the same style1 which are  
proposed as a theme for disputation in  
the ,academy of the ,innominati1 in     
,parma4  ,it is generally thought that  
this treatise of ,zuccaro was composed  
in ,rome1 where he presided in the      

,academy of ,s4 ,luke4 ,that academy was
 instituted in the pontificate of       
,gregory ,,xiii41 who signed the brief  
for its foundation at the instance of   
,muziano1 as ,baglione relates in the   
life of that artist4 ,he further states1
 that when the ancient church of ,s4    
,luke1 on the ,esquiline1 was           
demolished1 the seat ,i believe of the  
society of painters1 the church of ,s4  
,martina was allotted to them1 at the   
foot of the ,campidoglio4 ,but this     
brief does not seem to have been used   
until the return of ,zuccaro from       
,spain1 as according to the same writer1
 it was he who put it in execution4 ,and
 this must have occurred in #aeie1 if   
the year which was celebrated by the    
painters of ,s4 ,luke in #afie1 was the 
true centenary of the ,academy4 ,but the
 origin of the institution may be dated1
 agreeably to some persons1 from the    
month of ,november1 #aeic1 as mentioned 
by the ,sig4 ,barone ,vernazza1 who1    
among the first promoters1 or members1  

includes the ,piedmontese ,arbasia1 on  
the relation of ,romano ,alberti4       
,baglione says that ,federigo was       
declared president by common consent2   
and that that day was a sort of triumph 
to him1 as he was accompanied on his    
return home by a company of artists and 
literary persons2 and in a little time  
afterwards he assigned a saloon in his  
own house for the use of the academy4   
,he wrote both in poetry and in prose in
 the ,academy of ,s4 ,luke1 which is    
referred to more than once in his       
greater work4 ,he evinced an            
extraordinary affection for this        
institution1 and according to the       
example of ,muziano1 he named it the    
heir of his estate1 in the event of the 
extinction of his family4 ,he was       
succeeded in the presidency by ,laureti1
 and a series of eminent artists down to
 our own time4 ,the sittings of the     
academy have now for a long time past   
been fixed in a house contiguous to the 
church of ,s4 ,martina1 which is        

decorated with the portraits and works  
of its members4 ,the picture of ,s4     
,luke1 by ,raffaello1 is there          
religiously preserved1 together with his
 own portrait2 and there too is to be   
seen the skull of ,raffaello1 in a      
casket1 the richest spoil ever won by   
death from the empire of art4 ,of this  
academy we shall speak further towards  
the conclusion of this third book4 ,we  
will now return to ,federigo4  ,the     
school of this artist received          
distinction from ,passignano and other  
scholars1 elsewhere mentioned by us4 ,to
 these we may add ,niccolo da ,pesaro1  
who painted in the church of ,ara       
,coeli2 but whose best piece is a ,last 
,supper in the church of the sacrament  
at ,pesaro4 ,it is a picture so well    
conceived and harmonized1 and so rich in
 pictorial ornament1 that ,lazzarini has
 descanted on it in his lectures as one 
of the first of the city4 ,it is said   
that ,baroccio held this artist in great
 esteem4 ,baglione commended him for his

 early works1 but it must be confessed  
that he did not persevere in his first  
style1 and fell into an insipid manner1 
whence he suffered both in reputation   
and fortune4 ,another artist of ,pesaro1
 instructed by ,zuccaro1 was ,gio4      
,giacomo ,pandolfi1 whose works are     
celebrated in his native city1 and do   
not yield the palm to those of          
,federigo1 as the picture of ,s4 ,george
 and ,s4 ,carlo in the ,duomo4 ,he      
ornamented the whole chapel in the ,nome
 di ,dio1 with a variety of subjects in 
fresco1 from the ,old and ,new          
,testament2 but as he was then become   
infirm from age and the gout1 they did  
not add much to his fame4 ,his greatest 
merit was the instilling good principles
 into ,simon ,canterini1 of whom1 as    
well as of the ,pesarese artists his    
followers1 we shall write at large in   
the school of ,bologna4 ,one ,paolo     
,cespede1 a ,spaniard1 called in ,rome  
,cedaspe1 also received his education   
from ,zuccaro4 ,he commenced his career 

in ,rome1 and excited great expectations
 from some pictures in fresco1 which are
 still to be seen at the church of      
,trinita de' ,monti1 and other places4  
,he had adopted a natural style1 and was
 in a way to rise in his profession1    
when he obtained an ecclesiastical      
benefice in his native country1 and     
retired to reside upon it4 ,marco       
,tullio ,montagna accompanied ,federigo 
to ,turin as an assistant2 and a small  
picture of ,s4 ,saverio and other saints
 in a church of that city1 generally    
attributed to the school of ,zuccaro1 is
 probably by him4 ,he painted in ,rome  
in the church of ,s4 ,niccolo in        
,carcere1 in the vaults of the ,vatican1
 and in many other places1 in a         
tolerable style1 but nothing more4      
,after the above named artists a crowd  
of contemporaries present themselves1   
more particularly those who had the     
direction of the works under ,gregory   
,,xiii4 ,the ,sala de' ,duchi was       
entrusted to ,lorenzino of ,bologna1 who

 was invited to ,rome from his native   
city1 where he enjoyed the reputation of
 an excellent painter1 and deservedly   
so1 as we shall see in his place4 ,he   
undertook the decoration of the gallery 
of the ,vatican1 which1 from the vast   
size of that building1 forms a boundless
 field of art4 ,niccolo ,circignani1 or 
delle ,pomarance1 already mentioned in  
the first book1 distributed the work    
amongst a number of young artists1 who  
there painted historical subjects1      
landscapes1 and arabesques4 ,the ,pope  
was desirous that the walls also should 
serve the cause of science1 and ordered 
the compartments to be adorned with     
geographical delineations of ancient and
 modern ,italy1 a task which was        
assigned to ,padre ,ignazio ,danti1 a   
,domenican1 a mathematician and         
geographer of his court1 and who was    
afterwards promoted to the bishopric of 
,alatri4 ,ignazio was born in ,perugia1 
of a family devoted to the fine arts1   
and had two brothers1 painters2         

,girolamo1 of whom there remain some    
works in ,s4 ,pietro1 on the model of   
,vasari2 and ,vincenzio1 who in ,rome   
assisted ,ignazio1 and there died1 and  
was a good fresco painter4 ,another     
grand work was also undertaken about    
this time1 which was the continuation of
 the gallery of ,raffaello1 in an arm of
 the building contiguous to it1 where1  
in conformity to the plan of ,raffaello1
 it was intended to paint four subjects 
in every arcade1 all from the ,new      
,testament4 ,roncelli1 the scholar of   
,circignano1 our notice of whom we shall
 reserve to a subsequent epoch1 was     
charged with the execution of this plan1
 but was himself subject to the         
direction of ,padre ,danti1 experience  
having shewn that the entire abandonment
 of a design to the direction of        
practical artists is injurious to its   
execution1 as there are few that1 in the
 choice of inferior artists1 are not    
governed by influence1 avarice1 or      
jealousy4 ,the selection1 therefore1 was

 reserved to ,danti1 who to an excellent
 practical knowledge of the art of      
design1 united moral qualities that     
insured success3 and under his direction
 the whole work was regulated and       
conducted in such a manner1 that the    
spirit of ,raffaello seemed to be       
resuscitated in the precincts of the    
,vatican4 ,but the hand was no longer   
the same1 and the imbecility which was  
apparent in the new productions1 when   
compared with the old1 betrayed the     
decline of the art1 though we           
occasionally meet with subjects by      
,tempesti1 ,raffaellino da ,reggio1 the 
younger ,palma1 and ,girolamo ,massei1  
which reflect a ray of honour on the    
age4  ,another superintendant of the    
works of the ,vatican1 but rather in    
architecture than in painting1 was      
,girolamo ,muziano da ,brescia1 who1    
undistinguished in his native place1    
came young to ,rome1 and was there      
considered the great supporter of true  
taste4 ,he derived his principles both  

in design and colour from the ,venetian 
,school1 and early acquired such skill  
in landscape1 that he was named in ,rome
 ,il ,giovane de' ,paesi4 ,but he soon  
afterwards adopted a more elevated      
style1 and devoted himself with such    
obstinate assiduity to study1 that he   
shaved his head in order to prevent     
himself from going out of the house4 ,it
 was at this time that he painted the   
,raising of ,lazarus1 afterwards        
transferred from the church of ,s4      
,maria ,maggiore to the ,quirinal       
,palace2 and which1 when exposed to     
public view1 immediately conciliated to 
him the esteem and protection of        
,bonarruoti4 ,his pictures occur in     
various churches and palaces of ,rome1  
and are often ornamented with landscapes
 in the style of ,titian4 ,the church of
 the ,carthusians possesses one of      
singular beauty4 ,it represents a troop 
of ,anchorets attentively listening to a
 ,saint4 ,there is great elegance and   
good disposition in the picture of the  

,circumcision in the ,gesu1 and the     
,ascension in ,ara ,coeli displays an   
intimate knowledge of art4 ,the picture 
too of ,s4 ,francis receiving the       
,stigmata1 in the church of the         
,conception1 is an enchanting piece1    
both as regards the figures and the     
landscape4 ,nor was he beneath himself  
in the pictures which he executed in the
 ,duomo at ,orvieto1 which are highly   
commended by ,vasari4 ,the chapel of the
 ,visitation in the ,basilica ,loretana1
 possesses three pictures by him1 and   
that of the ,probatica discovers great  
originality and expression4 ,in the     
,duomo of ,foligno1 a picture by him in 
fresco1 of the ,miracles of ,s4         
,feliciano is pointed out1 which was    
formerly hidden by dust1 but was a few  
years ago restored in a wonderful manner
 to all its original freshness and charm
 of colour4  ,the figures of ,muziano   
are accurately drawn1 and we not        
unfrequently trace in them the anatomy  
of ,michelangiolo4 ,he excelled in      

painting military and foreign dresses2  
and above all1 in representing hermits  
and anchorets1 men of severe aspects1   
whose bodies are attenuated by          
abstinence1 and his style1 in general1  
inclines rather to the dry than the     
florid4 ,we are indebted to this artist 
for the engraving of the ,trajan        
,column4 ,giulio ,romano had begun to   
copy it1 and the laborious undertaking  
was continued and perfected by ,muziano1
 and so prepared for the engraver4  ,the
 most celebrated scholar of ,muziano1   
was ,cesare ,nebbia of ,orvieto4 ,he    
presided over the works of ,sixtus1     
entrusting the completion of his own    
designs to the younger painters4 ,in    
this task he was assisted by ,gio4      
,guerra da ,modena1 who suggested to him
 the subjects1 and apportioned the work 
among the scholars4 ,both the one and   
the other of these artists1 was endowed 
with a facility which was essential to  
the vast works on which they were       
employed in the five years reign of     

,sixtus1 in the chapel of ,s4 ,maria    
,maggiore1 in the library of the        
,vatican itself1 in the ,quirinal and   
,lateran palaces1 and at the ,scala     
,santa1 and many other places4 ,but in  
other respects1 ,muziano left his       
scholars far behind1 as he was possessed
 of a great and inventive genius1 while 
,nebbia was more remarkable for the     
mechanism of his art2 particularly when 
he decorated walls4 ,there are1 however1
 some beautiful and well coloured       
pictures by him2 among which may be     
mentioned the ,epiphany1 in the church  
of ,s4 ,francis at ,viterbo1 quite in   
,muziano's style4 ,baglione associates  
with ,nebbia ,giovanni ,paolo della     
,torre1 a gentleman of ,rome1 who was   
raised by ,girolamo above the rank of a 
mere dilettante4 ,taja too1 adds        
,giacomo ,stella da ,brescia1 who1 he   
observes1 had degenerated in some degree
 from the style of his master4 ,he was  
employed1 nevertheless1 both in the     
gallery of ,gregory ,,xiii41 and in     

other places1 not without commendation4 
,it may be observed1 that ,m4 ,bardon   
states him to have been a native of     
,lyons1 long resident in ,italy4        
,another foreigner1 but who came a      
considerable time after ,muziano1 was   
,raffaellino da ,reggio1 who1 after     
being instructed in the first principles
 of the art by ,lelio di ,novellara1    
formed a master style in ,rome4 ,nothing
 was wanting to this artist except a    
greater knowledge of design1 as he      
possessed spirit1 disposition1 delicacy1
 relief1 and grace2 qualities not common
 in that age4 ,his pictures in oil are  
occasionally1 though not often1 found in
 galleries1 but his best works are his  
frescos of small figures1 such as the   
two charming fables of ,hercules1 in the
 ducal hall at ,florence1 and the two   
gospel stories in the gallery adjoining 
to that of ,raffaello d',urbino4 ,he    
painted also at ,caprarola in           
competition with the ,zuccari1 and      
,vecchi1 and with such success1 that his

 figures seem living1 while those of his
 comrades are inanimate4 ,this excellent
 artist died immaturely1 greatly        
lamented1 without leaving any pupil     
worthy of his name4 ,he was however     
considered as the head of a school in   
,rome1 and his works were studied by the
 youth of the academy4 ,many artists    
adopted his manner of fresco1           
particularly ,paris ,nogari of ,rome1   
who left there numerous works1 which are
 known for their peculiar manner2       
amongst others1 some subjects in the    
gallery4 ,he had another follower in    
,gio4 ,batista della ,marca1 of the     
family of ,lombardelli1 a young man of  
great natural talents1 but which were   
rendered unavailing from his want of    
application4 ,many pictures in fresco by
 him remain in ,perugia and in ,rome1   
but the best are in ,montenovo1 his     
native place4 ,none1 however1 approached
 so near to ,raffaellino as ,giambatista
 ,pozzo1 who also died young1 and who1  
as far as regards ideal beauty1 may be  

considered the ,guido of his day4 ,to be
 convinced of this it is only necessary 
to see the ,choir of ,angels1 which he  
painted in the chapel of the ,gesu4 ,if 
he had survived to the time of the      
,caracci1 it is impossible to say to    
what degree of perfection he might not  
have attained4  ,tommaso ,laureti1 a    
,sicilian1 already noticed with         
commendation by us among the scholars of
 ,f4 ,sebastiano1 and deserving         
honourable mention among the professors 
of ,bologna1 was invited to ,rome in the
 pontificate of ,gregory ,,xiii41 and   
was entrusted with a work of an         
invidious nature4 ,this was the         
decoration of the ceiling and lunettes  
in the ,hall of ,constantine1 the lower 
part of which had been illustrated by   
the pencils of ,giulio ,romano and      
,perino4 ,the subjects chosen by this   
master were intended to commemorate the 
piety of ,constantine1 idols subverted1 
the cross exalted1 and provinces added  
to the church4 ,baglione informs us that

 ,laureti was entertained by the ,pope  
in his palace in a princely manner2 and 
either from his natural indolence1 or   
his reluctance to return to a laborious 
profession1 procrastinated the work so  
much1 that ,gregory died1 and ,sixtus   
commenced his reign before it was       
completed4 ,the new pontiff was aware   
that the artist had abused the patience 
of his predecessor1 and became so       
exasperated1 that ,laureti1 in order to 
avert his wrath1 proceeded in all haste 
to finish his labours4 ,when the work   
however was exposed to public view1 in  
the first year of the new pontificate1  
it was judged unworthy of the situation4
 ,the figures were too vast and heavy1  
the colouring crude1 the forms vulgar4  
,the best part of it was a temple in the
 ceiling1 drawn in excellent            
perspective1 in which art indeed        
,laureti may be considered as one of the
 first masters of his day4 ,misfortune  
was added to his disgrace2 for he was   
not only not rewarded as he had         

expected1 but the cost of his living and
 provisions were placed to his charge1  
even to the corn supplied to his horse4 
,so that he gained no remuneration1 and 
actually died in poverty in the         
succeeding pontificate4 ,he had however 
an opportunity afforded him of redeeming
 his credit1 particularly in the stories
 of ,brutus and ,horatius on the bridge1
 which he painted in the ,campidoglio1  
in a much better style4 ,intimately     
acquainted with the theory of art1 and  
possessing an agreeable manner of       
inculcating its principles1 he taught at
 ,rome with considerable applause4 ,he  
had a scholar and assistant in the      
,vatican1 in ,antonio ,scalvati1 a      
,bolognese1 who in the time of ,sixtus  
was employed among the painters of the  
,library1 and who was afterwards engaged
 in painting portraits under ,clement   
,,viii41 ,leo ,,xi41 and ,paul ,v42 and 
was highly celebrated in this           
department4  ,a better fortune attended 
,gio4 ,batista ,ricci da ,novara1 who   

arrived at ,rome in the pontificate of  
,sixtus1 and who from his despatch      
manifested in the works at the ,scala   
,lateranense1 and the ,vatican ,library1
 was immediately taken into employ by   
the ,pope1 who appointed him            
superintendant for the decorations of   
the palace of the ,quirinal4 ,he was    
also held in favour by ,clement ,,viii41
 in whose time he painted in ,s4        
,giovanni ,laterano the history of the  
consecration of that church3 and there1 
according to ,baglione1 he succeeded    
better than in any other place4 ,he left
 not a few works in ,rome1 and elsewhere
 his pictures display a facility of     
pencil1 and a brilliancy and elegance   
which attract the eye4 ,he was born in a
 city into which ,gaudenzio ,ferrari had
 introduced the ,raffaellesque style1   
and where ,lanini1 his son-in-law had   
practised it2 but in whose hands it     
seemed to decline1 and still more so    
under ,ricci1 when he came to ,rome2 so 
that his style was ,raffaellesque       

reduced to mannerism1 like that         
professed by ,circignani1 ,nebbia1 and  
others of this age4  ,giuseppe ,cesari1 
also called ,il ,cavaliere d',arpino1 is
 a name as celebrated among painters1 as
 that of ,marino among poets4 ,these two
 individuals1 each in his line1         
contributed to corrupt the taste of an  
age already depraved1 and attached more 
to shew than to reality4 ,both the one  
and the other exhibited considerable    
talents1 and it is an old observation1  
that the arts1 like republican states1  
have received their subversion from     
master spirits4 ,cesari discovered great
 capacity from his infancy1 and soon    
attracted the admiration of ,danti1 and 
obtained the protection of ,gregory     
,,xiii41 with the reputation of the     
first master in ,rome4 ,some pictures   
painted in conjunction with ,giacomo    
,rocca1#fe from designs of              
,michelangiolo1 7in which ,giacomo was  
very rich17 established his reputation4 
,so much talent was not required to     

secure him general applause1 as the     
public of that day were chiefly         
attracted by the energy1 fire1 tumult1  
and crowds1 that filled his composition4
 ,his horses1 which he drew in a        
masterly manner1 and his countenances1  
which were painted with all the force of
 life1 won the admiration of the many2  
while few attended to the incorrect     
design1 the monotony of the extremities1
 the poverty of the drapery1 the faulty 
perspective and chiaroscuro4 ,of these  
few however were ,caravaggio1 and       
,annibale ,caracci4 ,with these he      
became involved in disputes1 and        
challenges were mutually exchanged4     
,cesari refused the challenge of        
,caravaggio1 as he was not a cavaliere1 
and ,annibale declined that of the      
,cavaliere d',arpino1 alleging that the 
pencil was his proper weapon4 ,thus     
these two eminent professors met with no
 greater obstacle in ,rome in their     
attempts to reform the art1 than ,cesari
 and his adherents4  ,the ,cavaliere    

d',arpino survived both these masters   
more than thirty years1 and left behind 
him progeniem vitiosiorem4 ,to conclude1
 he was born a painter1 and in so vast  
and difficult an art1 he had endowments 
sufficient to atone1 in part1 for his   
defects4 ,his colouring in fresco was   
admirable1 his imagination was fruitful 
and felicitous1 his figures were        
animated1 and possessed a charm that    
,baglione1 who himself entertained very 
different principles1 could not refrain 
from admiring4 ,cesari moreover         
practised two distinct manners4 ,the    
one1 the most to be commended1 is that  
in which he painted the ,ascension1 at  
,s4 ,prassede1 and several prophets1 di 
sotto in su3 the ,madonna in the ceiling
 of ,s4 ,giovanni ,grisogono1 which is  
remarkable for its fine colouring2 the  
gallery of the ,casa ,orsini2 and in the
 ,campidoglio1 the ,birth of ,romulus1  
and the battle of the ,romans and the   
,sabines1 a painting in fresco1         
preferred by some to all his other      

works4 ,others of his pictures may be   
added1 particularly some smaller works1 
with lights in gold1 exquisitely        
finished1 as if they were by an entirely
 different artist4 ,of this kind there  
is an ,epiphany in possession of the    
,count ,simonetti1 in ,osimo1 and ,s4   
,francis in extacies1 in the house of   
the ,belmonti at ,rimino4 ,his other    
style was sufficiently free1 but        
negligent1 and this latter he used too  
frequently1 partly through impatience of
 labour1 and partly through old age1 as 
may be seen in three other subjects in  
the ,campidoglio1 painted in the same   
saloon forty years after the first4 ,his
 works are almost innumerable1 not only 
in ,rome1 where he worked in the        
pontificates of ,gregory and ,sixtus1   
and where1 under ,clement ,,viii41 he   
presided over the decorations in ,s4    
,gio4 ,laterano1 and there continued    
under ,paul ,v41 but also in ,naples1 at
 ,monte ,casino1 and in various cities  
of the ,roman state1 without mentioning 

the pictures sent to foreign courts1 and
 painted for private individuals4 ,for  
the latter indeed1 and even for persons 
of inferior rank in life1 he worked more
 willingly than for princes1 with whom1 
like the ,tigellius of ,horace1 he was  
capricious and morose4 ,he was indeed   
desirous of being solicited by persons  
of rank1 and often affected to neglect  
them1 so much had the applause of a     
corrupted age flattered his vanity4     
,cesari had many scholars and           
assistants1 whom he more particularly   
employed in the works of the ,lateran2  
as he did not deign in those times often
 to take up the pencil himself4 ,some of
 these pupils adopted his faults1 and as
 they did not possess the same genius1  
their works proved intolerably bad4 ,a  
vicious example1 easy of imitation1 is1 
as ,horace has observed1 highly         
seductive4 ,there were however some of  
his school1 who in part at least        
corrected themselves from the works of  
others4 ,his brother1 too1 ,bernardino  

,cesari1 was an excellent copyist of the
 designs of ,bonarruoti1 and worked     
assiduously under the ,cav4 ,giuseppe1  
but little remains of him1 as he died   
young4 ,one ,cesare ,rossetti1 a ,roman1
 served under ,arpino a longer time1 and
 of him there are many works in his own 
name4 ,there are also to be found some  
public memorials of ,bernardino         
,parasole1 who was cut off in the flower
 of his age4 ,guido ,ubaldo ,abatini of 
,citta di ,castello1 merited            
commendation from ,passeri as a good    
fresco painter1 particularly for a vault
 at the ,vittoria4 ,francesco ,allegrini
 di ,gubbio was a fresco painter1 in    
design very much resembling his master1 
if we may judge from the cupola of the  
,sacrament in the ,cathedral of ,gubbio1
 and from another at the ,madonna de'   
,bianchi4 ,we there observe the same    
attenuated proportions1 and the same    
predominant facility of execution4 ,he  
nevertheless shewed himself capable of  
better things1 when his mind became     

matured1 and he worked with more care4  
,he is commended by ,ratti for various  
works in fresco1 executed at ,savona1 in
 the ,duomo1 and in the ,casa ,gavotti1 
and for others in the ,casa ,durazzo at 
,genoa2 where one may particularly      
admire the freshness of the colouring1  
and the skill exhibited in his sotto in 
su4 ,he is also commended by ,baldinucci
 for similar works in the ,casa         
,panfili1 and merits praise for his     
smaller pieces and battles frequently   
found in ,rome and ,gubbio4 ,he also    
added figures to the landscapes of      
,claude1 two of which are to be seen1 in
 the ,colonna palace4 ,he lived a long  
time in ,rome1 and his son ,flaminio    
with him1 commemorated by ,taja for some
 works in the ,vatican4 ,baglione has   
enumerated not a few other artists1 in  
part belonging to the ,roman state1 and 
in part foreigners4 ,donato of ,formello
 7a fief of the dukes of ,bracciano7 had
 greatly improved on the style of       
,vasari his master1 as is proved by his 

histories of ,s4 ,peter1 in a staircase 
of the ,vatican1 particularly the one of
 the piece of money found in the fish's 
mouth4 ,he died whilst yet young1 and   
the art had real cause to lament his    
loss4 ,giuseppe ,franco1 also called    
dalle ,lodole1 in consequence of his    
painting a lark in one of his pieces in 
,s4 ,maria in ,via1 and on other        
occasions1 and ,prospero ,orsi1 both    
,romans1 had a share in the works       
prosecuted by ,sixtus4 ,when these were 
finished1 the former repaired to ,milan1
 where he remained some years2 the      
latter1 from painting historical        
subjects1 passed to arabesque1 and from 
his singular talents in that line1 was  
called ,prosperino dalle ,grottesche4   
,of the same place was ,girolamo ,nanni1
 deserving of particular mention1       
because1 during all the time that he was
 engaged in these works1 he never       
hurried himself1 and to the directors   
who urged him to despatch1 he answered  
always poco e buono1 which expression   

was ever afterwards attached to him as a
 surname4 ,he continued to work with the
 same study and devotion1 as far as his 
talents would carry him1 at ,s4         
,bartolommeo all',isola1 at ,s4         
,caterina de' ,funai1 and in many other 
places3 he was not however much         
distinguished1 except for his great     
application4 ,of him however1 and of    
,giuseppe ,puglia1 or ,bastaro1 and of  
,cesare ,torelli1 also ,romans2 and of  
,pasquale ,cati da ,jesi1 an            
inexhaustible painter of that age1      
though somewhat affected1 and of many   
professors1 that are in fact forgotten  
in ,rome itself1 ,i have thought it my  
duty to give this short notice1 as ,i   
had pledged myself to include a number  
of the second rate artists4 ,it would be
 an endless task to enumerate here all  
the foreign artists4 ,it may be         
sufficient to observe1 that in the      
,vatican library more than a hundred    
artists1 almost all foreigners1 were    
employed4 ,in the first book ,i have    

mentioned ,gio4 de' ,vecchi1 an eminent 
master1 who1 from the time of his works 
for the ,farnese family1 was considered 
a first rate artist2 and the colony of  
painters1 his fellow citizens1 whom     
,raffaellino brought to ,rome4 ,in the  
same book we meet with ,titi1 ,naldini1 
,zucchi1 ,coscj1 and a number of        
,florentines1 and in the following book 
,matteo da ,siena and some others of his
 school4 ,again1 in the fourth book1    
,matteo da ,leccio and ,giuseppe        
,valeriani dell' ,aquila will have      
place2 and in the third volume will be  
described ,palma the younger 7amongst   
the ,venetians7 who worked in the       
gallery2 about which time ,salvator     
,fontana1 a ,venetian1 painted at ,s4   
,maria ,maggiore1 whom it is sufficient 
to have named4 ,we may also enumerate   
,nappi and ,paroni of ,milan1 ,croce of 
,bologna1 ,mainardi1 ,lavinia ,fontana1 
and not a few others of various schools1
 who in those times painted in ,rome1   
without ultimately remaining there1 or  

leaving scholars4  ,a more              
circumstantial mention may be made of   
some oltramontani1 who1 in conjunction  
with our countrymen1 were employed in   
the works in these pontificates2 and it 
may be done with the more propriety1 as 
we do not speak of them in any other    
part of our work4 ,but those who worked 
in ,rome were very numerous in every    
period1 and it would be too much to     
attempt to enumerate them all in a      
history of ,italian painting4 ,one      
,arrigo1 from ,flanders1 painted a      
,resurrection in the ,sistine chapel1   
and also worked in fresco in other      
places in ,rome2 and is commended by    
,baglione as an excellent artist4       
,francesco da ,castello1 was also of    
,flanders1 and of a more refined and    
correct taste4 ,there is a picture by   
him at ,s4 ,rocco1 with various saints2 
and it is perhaps the best piece the    
world possesses of him2 but almost all  
his works were painted for the cabinet1 
and in miniature1 in which he excelled4 

,the ,brilli we may include among the   
landscape painters4  ,the states of the 
church possessed in this epoch painters 
of consideration1 besides those in      
,perugia1 where flourished the two      
,alfani and others1 followers of a good 
style2 but whether they were known or   
employed in ,rome1 ,i am not able to    
say4 ,i included them in the school of  
,pietro1 in order that they might not be
 separated from the artists of ,perugia1
 but they continued to live and to work 
for many years in the #afth century4 ,to
 these may be added ,piero and ,serafino
 ,cesarei1#ff and others of less note4  
,in the city of ,assisi1 there resided1 
in the beginning of the #afth century1 a
 ,francesco ,vagnucci1 and there remain 
some works by him in the spirit of the  
old masters4 ,there1 also1 afterwards   
resided ,cesare ,sermei ,cavaliere1 who 
was born in ,orvieto1 and married in    
,assisi1 and lived there until #afjj1   
when he died at the age of #hd4 ,he     
painted both there and in ,perugia1 and 

if not in a grand style of fresco1 still
 with a felicity of design1 with much   
spirit in his attitudes1 and with a     
vigorous pencil4 ,he was a good         
machinist1 and of great merit in his oil
 pictures4 ,at ,spello ,i saw a picture 
by him of the ,beatified ,andrea        
,caccioli2 and it seems to me1 that few 
other painters of the ,roman ,school had
 at that time equalled him4 ,his heirs1 
in ,assisi1 possess some pictures by him
 of fairs1 processions1 and ceremonies  
which occur in that city on occasion of 
the ,perdono2 and the numbers and       
variety and grace of the small figures1 
the architecture1 and the humour        
displayed1 are very captivating4 ,at    
,spello1 just above mentioned1 in the   
church of ,s4 ,giacomo1 is a picture    
which represents that saint and ,s4     
,catherine before the ,madonna3 where we
 read ,tandini ,mevanatis1 #aehj2 that  
is1 of ,tandino di ,bevagna1 a place    
near ,assisi2 nor is it a picture to be 
passed over4  ,gubbio possessed two     

painters1 brothers of the family de'    
,nucci2 ,virgilio1 who was said to be   
the scholar of ,daniel di ,volterra1    
whose ,deposition he copied for an altar
 at ,s4 ,francis in ,gubbio2 and        
,benedetto1 a disciple of ,raffaellino  
del ,colle1 considered the best of the  
painters of ,gubbio4#fg ,both of them   
have left works in their native place1  
and in the neighbouring districts2 the  
first of them always following the      
,florentine1 and the second the ,roman  
,school4 ,of the latter there are many  
pictures at ,gubbio1 which shew the     
progress he had made in the style of    
,raffaello2 and to see him in his best  
work1 we must inspect his ,s4 ,thomas in
 the ,duomo1 which would be taken for a 
picture of ,garofalo1 or some such      
artist1 if we were not acquainted with  
the master4 ,a little time afterwards   
flourished ,felice ,damiani1 or ,felice 
da ,gubbio1 who is said to have studied 
in the ,venetian ,school4 ,the          
,circumcision at ,s4 ,domenico has      

certainly a good deal of that style2 but
 in pencil he inclines more to the      
,roman taste1 which he1 perhaps1 derived
 from ,benedetto ,nucci4 ,the           
,decollation of ,st4 ,paul1 at the      
,castel ,nuovo1 in ,recanati1 is by him3
 the attitude of the saint excites our  
sympathy3 the spectators are represented
 in various attitudes1 all appropriate  
and animated3 the drawing is correct1   
and the colours vivid and harmonious4   
,it is inscribed with the year #aehd4   
,about ten years afterwards1 he painted 
two chapels at the ,madonna de' ,lumi1  
at ,s4 ,severino1 with subjects from the
 life of ,christ2 and there likewise    
displayed more elegance than grandeur of
 style4 ,his most studied and powerful  
work is at ,s4 ,agostino di ,gubbio1 the
 ,baptism of the ,saint1 painted in     
#aeid1 a picture abounding in figures1  
and which surprises by the novelty of   
the attire1 by its correct architecture1
 and by the air of devotion exhibited in
 the countenances4 ,he received for this

 picture two hundred scudi1 by no means 
a low price in those times2 and it      
should seem that his work was regulated 
by the price1 since in some other       
pictures1 and particularly in one in    
#afjd1 he is exceedingly negligent4     
,federigo ,brunori1 called also         
,brunorini1 issued1 it is said1 from his
 school1 and still more decidedly than  
his master1 followed the ,venetian      
style4 ,his portraits are natural2 and  
he was a lover of foreign drapery1 and  
coloured with a strong effect4 ,the     
,bianchi have an ,ecce ,homo by him1 in 
which the figures are small1 but boldly 
expressed1 and shew that he had profited
 from the engravings of ,albert ,durer4 
,pierangiolo ,basilj1 instructed by     
,damiani1 and also by ,roncalli1        
partakes of their more delicate manner4 
,his frescos1 in the choir of ,s4       
,ubaldo1 are held in esteem2 and at ,s4 
,marziale1 there is by him a ,christ    
preaching1 with a beautiful portico in  
perspective1 and a great number of      

auditors3 the figures in this are also  
small1 and such as are seen in the      
compositions of ,albert ,durer4 ,the    
pictures appear to be painted in        
competition4 ,brunori displays more     
energy1 ,basilj more variety and grace4 
,in the former edition of this work ,i  
made mention of ,castel ,durante1 now   
,urbania1 in the state of ,urbino4 ,i   
noticed ,luzio ,dolce among the ancient 
painters1 of whom ,i had at that time   
seen no performance1 except an          
indifferent picture1 in the country     
church of ,cagli1 in #aecf4 ,since that 
period ,colucci has published 7tom4     
xxvii47 a ,cronaca di ,castel ,durante1 
wherein he gives a full account of      
,luzio1 and of others that belong to    
that place4 ,bernardino1 his            
grandfather1 and ,ottaviano1 his father1
 excelled in stucco1 and had exercised  
their art in other places2 and he       
himself1 who was living in #aehi1 is    
commended for his altarpieces and other 
pictures1 in the churches1 both in his  

native city and other places3 and       
further1 it is stated that he was       
employed by the duke to paint at the    
,imperiale4 ,he also makes honourable   
mention of a brother of ,luzio1 and     
extols ,giustino ,episcopio1 called     
formerly de' ,salvolini1 who1 in        
conjunction with ,luzio1 painted in the 
abbey the picture of the ,spirito       
,santo1 and the other pictures around   
it4 ,he also executed many other works  
by himself in ,castel ,durante and      
elsewhere1 and in ,rome as well1 where  
he studied and resided for a            
considerable time4 ,it is probable that 
,luzio was1 in the latter part of his   
life1 assisted by ,agostino ,apolonio1  
who was his sister's son1 married in ,s4
 ,angelo in ,vado1 and who removed and  
settled in ,castel ,durante where he    
executed works both in stucco and in    
oils1 particularly at ,s4 ,francesco1   
and succeeded alike to the business and 
the property of his maternal uncle4  ,at
 ,fratta1 which is also in the state of 

,urbino1 there died young1 one ,flori1  
of whom scarcely any thing remains1     
except the ,supper of our ,lord1 at ,s4 
,bernardino4 ,but this picture is       
composed in the manner of the best      
period of art1 and deserves             
commemoration4 ,not far from thence is  
,citta di ,castello1 where1 in the days 
of ,vasari1 flourished ,gio4 ,batista   
della ,bilia1 a fresco painter1 and     
another ,gio4 ,batista1 employed in the 
,palazzo ,vitelli1 7tom4 v4 p4 #aca74 ,i
 know not whether it was from him1 or   
some other artist1 that ,avanzino ,nucci
 had his first instructions1 who        
repairing to ,rome1 designed after the  
best examples1 and was a scholar and    
fellow labourer in many of the works of 
,niccolo ,circignano4 ,he had a share in
 almost all the works under ,sixtus1 and
 executed many others1 in various       
churches and palaces4 ,he possessed     
facility and despatch1 and a style not  
very dissimilar to that of his master1  
though inferior in grandeur4 ,he resided

 some time in ,naples1 and worked also  
in his native place4 ,there is a picture
 by him1 of the ,slaughter of the       
,innocents1 at ,s4 ,silvestro di        
,fabriano4 ,somewhat later than he1 was 
,sguazzino1 noticed by ,orlandi for the 
pictures painted at the ,gesu in        
,perugia2 though he left better works in
 ,citta di ,castello1 as the ,s4        
,angelo1 in the ,duomo2 and the         
lunettes1 containing various histories  
of our ,lady1 at the ,spirito ,santo1   
besides others in various churches4 ,he 
was not very correct in his drawing1 but
 had a despatch and a contrast of       
colours1 and a general effect that      
entitled him to approbation4  ,another  
considerable painter1 though less known1
 was ,gaspare ,gasparrini1 of ,macerata4
 ,he was of noble birth1 and followed   
the art through predilection1 and       
painted both in fresco and oils4 ,from  
the information which ,i received from  
,macerata1#fh it seems he learned to    
paint from ,girolamo di ,sermoneta4#fi  

,however this may be1 ,gasparrini       
pursued a similar path1 although his    
manner is not so finished1 if we may    
judge from the two chapels at ,s4       
,venanzio di ,fabriano1 in one of which 
is the ,last ,supper1 and in the other  
the ,baptism of ,christ4 ,other subjects
 are added on the side walls1 and the   
best is that of ,s4 ,peter and ,s4 ,john
 healing the ,sick1 a charming          
composition1 in the style of ,raffaello4
 ,we find by him1 in his native place1 a
 picture of the ,stigmata1 at the       
,conventuals1 and some cabinet pictures1
 in the collection of the ,signori      
,ferri1 relations of the family of      
,gaspare4 ,others too are to be found1  
but either doubtful in themselves1 or   
injured by retouching4 ,padre ,civalli  
,m4 ,c41 who wrote at the close of the  
sixteenth century1 mentions this master 
with high commendation1 as may be seen  
on reference to the ,antichita ,picene1 
tom4 xxv4 ,in a recent description of   
the pictures at ,ascoli1 ,i find that a 

,sebastian ,gasparrini1 of ,macerata1 a 
scholar of the ,cav4 ,pomaranci1        
decorated a chapel of ,s4 ,biagio in    
that city with historical paintings in  
fresco4 ,but it is probable that this   
may be ,giuseppe ,bastiani1 the scholar 
of ,gasparrini4 ,another chapel at the  
,carmelites in ,macerata1 contains many 
pictures by him1 with the date of #aeid4
  ,of ,marcantonio di ,tolentino1       
mentioned by ,borghini in his account of
 the ,tuscan artists1 and after him by  
,colucci 7tom4 xxv4 p4 #hj71 ,i do not  
know whether or not he returned to      
practise his art in his native country4 
,in ,caldarola1 in the territory of     
,macerata1 flourished a ,durante de'    
,nobili1 a painter who formed himself on
 the style of ,michelangiolo4 ,a picture
 of a ,madonna by him is to be seen in  
,ascoli1 at ,s4 ,pier di ,castello1 on  
which he inscribed his name and country1
 and the year #aega4 ,from another      
school ,i believe arose a ,simon de     
,magistris1 a painter as well as        

sculptor1 who left many works in the    
province4 ,one of his pictures of ,s4   
,philip and ,s4 ,james1 in the ,duomo of
 ,osimo1 in #aehe1 discovers a poverty  
in the composition1 and little felicity 
of execution2 but he appears to greater 
advantage1 at a more advanced period of 
life1 in the works he left at ,ascoli4  
,there is one1 of the ,rosario1 at ,s4  
,domenico1 where ,orsini found much to  
commend in the arrangement of the       
figures1 in the design1 and in the      
colouring4 ,there is another1 of the    
same subject1 at ,s4 ,rocco1 which is   
preferred to the former1 except for the 
shortness of the figures1 and which we  
have described in writing of ,andrea del
 ,sarto1 and afterwards of ,taddeo      
,zuccaro4 ,for the same reason he       
reproaches ,carlo ,allegretti1 who1 in  
the same city1 committed a similar      
fault4 ,he painted in various styles1 as
 may be seen from an ,epiphany1 in      
,bassano's manner1 which he placed in   
the cathedral1 a picture which will     

apologize for the others4 ,baldassini1  
in his ,storia di ,jesi1 speaking of    
,colucci1 records there the priest      
,antonio ,massi1 who studied and gave to
 the world some pictures in ,bologna2   
and ,antonio ,sarti1 whom ,i esteem     
superior to ,massi2 praising highly his 
picture of the ,circumcision1 in the    
collegiate church of ,massaccio4 ,this  
city gave birth to ,paolo ,pittori1 who 
ornamented his native place and its     
vicinity4 ,these may serve as an example
 of the provincial painters of this age4
 ,i purposely omit many names1 several  
of whom are fresco painters1 who were   
indifferent artists2 and others who were
 below mediocrity4 ,it is indeed true1  
that many have escaped1 from being      
unknown to me1 and there still remain1  
in the ,roman state1 many works highly  
beautiful1 deserving of research and    
notice4  ,from the time of the preceding
 epoch1 the art became divided into     
various departments2 and at this period1
 they began to multiply1 in consequence 

of many men of talent choosing to       
cultivate different manners4 ,after     
,jacopo del ,conte and ,scipione da     
,gaeta1 the portraits of ,antonio de'   
,monti1 a ,roman1 are celebrated1 who   
was considered the first among the      
portrait painters under ,gregory2 as    
also those of ,prospero and ,livia      
,fontana1 and of ,antonio ,scalvati2 all
 three of the ,school of ,bologna2 to   
whom may be added ,pietro ,fachetti1 of 
,mantua4  ,with regard to perspective1  
it was successfully cultivated by       
,jacopo ,barocci1 commonly called ,il   
,vignola1 an illustrious name in        
architecture2 owing to which his        
celebrity in the other branches has been
 overlooked4 ,but it ought to be        
observed that his first studies were    
directed to painting1 in the school of  
,passarotti1 in ,bologna2 until he was  
led by the impulse of his genius1 to    
apply himself to perspective1 and by the
 aid of that science1 as he was         
accustomed to say1 to architecture1 in  

which he executed some wonderful works1 
and amongst others the palace of        
,caprarola4 ,there1 and ,i know not     
whether in other places1 are to be seen 
some pictures by him4 ,as a writer1 we  
shall refer to him in the second index1 
where1 omitting his other works1 we     
shall cite the two books which he wrote 
in this department of art4 ,great       
progress was made in ,rome1 in the art  
of perspective1 after ,laureti1 by the  
genius of ,gio4 ,alberti di ,citta ,s4  
,sepolcro1 whose eulogy ,i shall not    
here stop to repeat1 having already     
spoken of it in the first volume4       
,baglione names two friends1 ,tarquinio 
di ,viterbo and ,giovanni ,zanna1 of    
,rome2 the first of whom painted        
landscapes1 and the second adorned them 
with figures4 ,he mentions the two      
brothers1 ,conti1 of ,ancona2 ,cesare1  
who excelled in arabesques1 and         
,vincenzio in figures3 these artists    
painted for private persons4 ,marco da  
,faenza was much employed under ,gregory

 ,,xiii41 in arabesques1 and the more   
elegant decorations of the ,vatican1 and
 had also the direction of other        
artists4 ,of him we shall make more     
particular mention amongst the artists  
of ,romagna4  ,the landscapes in the    
,apostolic palace1 and in various places
 of ,rome1 were many of them painted by 
,matteo da ,siena1 and by ,gio4         
,fiammingo1 with whom ,taja makes us    
acquainted1 in the ducal hall1 and      
particularly the two brothers ,brilli1  
of ,flanders1 who painted both in fresco
 and oil4 ,matteo always retained his   
ultramontane manner1 rather dry1 and not
 very true in colour4 ,paolo1 who       
survived him1 improved his style1 from  
the study of ,titian and the ,caracci1  
and was an excellent artist in every    
department of landscape1 and in the     
power of adapting it to historical      
subjects4 ,italy abounds with his       
pictures4 ,two other landscape painters 
also lived in ,rome at this time1       
,fabrizio of ,parma1 who may be ranked  

with ,matteo1 and ,cesare1 a            
,piedmontese1 more attached to the style
 of ,paolo4 ,nor ought we to omit       
,filippo d',angeli1 who1 from his long  
residence in ,naples1 is called a       
,neapolitan1 though he was born in      
,rome1 where1 and as we have observed in
 ,florence1 he was highly esteemed4 ,his
 works are generally of a small size2   
his prospects are painted with great    
care1 and ornamented with figures       
admirably introduced4 ,there are also   
some battle pieces by him4  ,but in     
battles and in hunting pieces1 none in  
these times equalled ,antonio ,tempesti4
 ,he was followed1 though at a          
considerable interval1 by ,francesco    
,allegrini1 a name not new to those who 
have read the preceding pages4 ,to these
 we may add ,marzio di ,colantonio1 a   
,roman1 though he has left fewer works  
in ,rome than in ,turin1 where he was   
employed by the ,cardinal1 prince of    
,savoy4 ,he was also accomplished in    
arabesque and landscapes1 and painted   

small frescos in an agreeable manner4   
,it is at this epoch that ,vasari       
describes the manufacture of earthen    
vases1 painted with a variety of        
colours1 with such exquisite art1 that  
they seemed to rival the oil pictures of
 the first masters4 ,he pretends that   
this art was unknown to the ancients1   
and it is at any rate certain that it   
was not carried to such perfection by   
them4 ,signor ,gio4 ,batista ,passeri1  
who composed l',istoria delle pitture in
 ,majolica fatte in ,pesaro e ne' luoghi
 circonvicini1 derives the art from     
,luca della ,robbia1 a ,florentine1 who 
discovered a mode of giving to the clay 
a glazing to resist the injuries of     
time4 ,in this manner were formed the   
bassirelievi and altars which still     
exist1 and the pavements which are      
described at page #ha4 ,others derive   
this art from ,cina1 whence it passed to
 the island of ,majolica1 and from      
thence into ,italy2 and this invention  
was particularly cultivated in the state

 of ,urbino4 ,the coarse manufacture had
 been for a long time in use4 ,the fine 
earthenware commenced there about #aejj1
 and was manufactured by an excellent   
artist1 of whom there exists in the     
convent of ,domenicans1 of ,gubbio1 a   
statue of an abbot1 ,s4 ,antonio1 well  
modelled and painted1 and many services 
in various noble houses with his name   
,m4 ,giorgio da ,ugubio4 ,the year is   
also inscribed1 from which it appears   
that his manufacture of these articles  
began in #aeai1 and ended in #aecg4 ,at 
this time ,urbino also cultivated the   
plastic art1 and the individual of his  
day1 who most excelled1 was ,federigo   
,brandani4 ,whoever thinks that ,i      
exaggerate1 may view the ,nativity1     
which he left at ,s4 ,joseph1 and say1  
whether1 except ,begarelli of ,modena1  
there is any one that can be compared   
with him for liveliness and grace in his
 figures1 for variety and propriety of  
attitude1 and for natural expression of 
the accessory parts2 the animals1 which 

seem alive2 the satchels and a key      
suspended2 the humble furniture1 and    
other things admirably appropriate1 and 
all wonderfully represented3 the figure 
of the divine ,infant is not so highly  
finished1 and is perhaps the object     
which least surprises us4 ,nor in the   
meanwhile did the people of ,urbino     
neglect to advance the art of painted   
vases1 in which fabric a ,m4 ,rovigo of 
,urbino is much celebrated4 ,the        
subjects which were first painted in    
porcelain1 were poor in design1 but were
 highly valued for the colouring1       
particularly for a most beautiful red1  
which was subsequently disused1 either  
because the secret was lost1 or because 
it did not amalgamate with the other    
colours4  ,but the art did not attain   
the perfection which ,vasari describes1 
until about the year #aedj1 and was     
indebted for it to ,orazio ,fontana1 of 
,urbino1 whose vases1 for the polish of 
the varnish1 for the figures1 and for   
their forms1 may perhaps be ranked      

before any that have come down to us    
from antiquity4 ,he practised this art  
in many parts of the state1 but more    
especially in ,castel ,durante1 now     
called ,urbania1 which possesses a light
 clay1 extremely well adapted for every 
thing of this nature4 ,his brother1     
,flamminio1 worked in conjunction with  
him1 and was afterwards invited to      
,florence by the grand duke of ,tuscany1
 and introduced there a beautiful manner
 of painting vases4 ,this information is
 given us by the ,sig4 ,lazzari1 and for
 which the ,florentine history of art   
ought to express its obligations to him4
 ,the establishment of this fine taste  
in ,urbino1 was1 in a great measure1    
owing to the ,duke ,guidobaldo1 who was 
a prince enthusiastically devoted to the
 fine arts1 and who established a       
manufactory1 and supported it at his own
 expense4 ,he did not allow the painters
 of these vases to copy their own       
designs1 but obliged them to execute    
those of the first artists1 and         

particularly those of ,raffaello2 and   
gave them for subjects many designs of  
,sanzio never before seen1 and which    
formed part of his rich collection4     
,hence these articles are commonly known
 in ,italy by the name of ,raphael ware1
 and from thence arose certain idle     
traditions respecting the father of     
,raffaello1 and ,raffaello himself2 and 
the appellation of boccalajo di ,urbino 
7the potter of ,urbino71 was in         
consequence applied1 as we shall        
mention1 to that great master4#gj ,some 
designs of ,michelangiolo1 and many of  
,raffaele del ,colle1 and other         
distinguished masters1 were adopted for 
this purpose4 ,in the life of ,batista  
,franco1 we are informed that that      
artist made an infinite number of       
designs for this purpose1 and in that of
 ,taddeo ,zuccaro it is related that all
 the designs of the service1 which was  
manufactured for ,philip ,,ii41 were    
entrusted to him4 ,services of porcelain
 were also prepared there for ,charles  

,v4 and other princes1 and the duke     
ordered not a few for his own court4    
,several of his vases were transferred  
to1 and are now in the ,s4 ,casa di     
,loreto2 and the ,queen of ,sweden was  
so much charmed with them1 that she     
offered to replace them with vases of   
silver4 ,a large collection of them     
passed into the hands of the ,grand     
,duke of ,florence1 in common with other
 things inherited from the ,duke of     
,urbino1 and specimens of them are to be
 seen in the ducal gallery1 some with   
the names of the places where they were 
manufactured4 ,there are many1 too1 to  
be found in the houses of the nobility  
of ,rome1 and in the state of ,urbino1  
and1 indeed1 in all parts of ,italy4    
,the art was in its highest perfection  
for about the space of twenty years1 or 
from #aedj to #aefj2 and the specimens  
of that period are not unworthy a place 
in any collection of art4 ,if we are to 
believe ,lazzari1 the secret of the art 
died with the ,fontani1 and the practice

 daily declined until it ended in a     
common manufactory and object of        
merchandize4 ,whoever wishes for further
 information on this subject1 may       
consult the above cited ,passeri1 who   
inserted his treatise in the fourth     
volume of the ,calogeriani1 not         
forgetting the ,dizionario ,urbinate1   
and the ,cronaca ,durantina4  ,the art  
of painting on leather deserves little  
attention2 nevertheless1 as ,baglione   
mentions it with commendation in his    
life of ,vespasian ,strada1 a fresco    
painter of some merit in ,rome1 ,i did  
not think it right to pass it over      
without this slight notice4  ,footnote  
#ef3 ,dolce1 ,dial4 della ,pittura1 p4  
#aa4  ,footnote #eg3 ,we shall notice   
him again in the school of ,bologna1    
where he passed his best years1 and also
 in the ,roman ,school1 in which he was 
a master4 ,sebastiano had also another  
scholar1 or imitator1 as we find a      
,communion of ,s4 ,lucia1 painted in his
 style1 in the collegiate church of     

,spello4 ,the artist inscribes his name1
 ,camillus ,bagazotus ,camers           
faciebat4--,orsini ,risposta1 p4 #af4   
,footnote #eh3 ,he painted the ,s4      
,catherine in ,s4 ,agostino1 the        
,presepio in ,s4 ,silvestro at ,monte   
,cavallo1 and left works in many other  
churches4  ,footnote #ei3 ,he painted   
some facades in ,rome4 ,in the oratory  
of ,s4 ,giovanni ,decollato1 there      
remains the ,dance before ,herod1 not   
very correctly designed1 and feeble in  
colouring2 but the perspective1 and the 
richness of the drapery in the ,venetian
 style1 may confer some value on the    
picture4  ,footnote #fj3 ,bellori1 ,vite
 de' ,pittori1 p4 #bj4  ,footnote #fa3  
,idea de' ,pittori1 ,scultori1 e        
,architetti1 reprinted in the ,lett4    
,pitt4 tom4 vi4 p4 #adg4  ,footnote #fb3
 ,the charming poet ,lasca noticed this 
work as soon as the ,cupola was opened  
to public view1 in a madrigal inserted  
in the edition of his poems in the year 
#agda4 ,he blamed ,giorgio d',arezzo    

7,vasari7 more than ,federigo1 that for 
sordid motives he had designed and      
undertaken a work1 which in the judgment
 of the ,florentines1 injured the       
,cupola of ,brunellesco1 which was the  
admiration of every one1 and which      
,benvenuto ,cellini was accustomed to   
call1 la ,maraviglia delle cose belle4  
,he concludes by saying1 that the       
,florentine people    ,non sara mai di  
lamentarsi stanco   ,se forse un di non 
le si da di bianco4  ,footnote #fc3     
,this is not the large picture of the   
,calumny of ,apelles painted in         
distemper for the ,orsini family1 and   
engraved1 and which is now to be seen in
 the ,palazzo ,lante1 and is one of the 
most finished productions of ,federigo4 
,footnote #fd3 ,the same inflated style 
has of late become prevalent in some    
parts of ,italy1 with no little injury  
to our language and to good taste4 ,in  
the ,arte di vedere we find for example 
le pieghe longitudinali1 la trombeggiata
 resurrezzione del ,bello1 c4 ,some one 

has also attempted to illustrate the    
qualities of the art of painting by     
those of music1 which has given occasion
 to a clever ,maestro di ,capella to    
write a humorous letter1 an extract of  
which is given in the ,difesa del       
,ratti1 pag4 #ae1 c41 and is the most   
entertaining and least ill tempered     
thing to be met with in that work4      
,footnote #fe3 ,a scholar of ,daniel di 
,volterra1 from whom he inherited these 
designs1 with many others by the same   
great master4 ,he painted but little1   
and generally from the designs of       
others1 and which he did not execute in 
a happy manner2 and ,baglione says1 his 
pictures were deficient in taste4       
,footnote #ff3 ,there remained1 in the  
time of ,pascoli1 some pitture saporite1
 as he terms them1 by this artist1 at   
,spoleto1 where ,piero established      
himself1 and in the neighbouring towns2 
and which often pass for the works of   
,pietro ,perugino1 from a similarity of 
names4 ,it appears however that ,cesarei

 was desirous of preventing this error1 
as he inscribed his name ,perinus       
,perusinus1 or ,perinus ,cesareus       
,perusinus1 as in the picture of the    
,rosary at ,scheggino1 painted in #aeie4
 ,vasari1 in the life of ,agnol ,gaddi1 
names among his scholars ,stefano da    
,verona1 and says1 that all his works   
were imitated and drawn by that ,pietro 
di ,perugia1 the painter in miniature1  
who ornamented the books at the         
cathedral of ,siena1 in the ,library of 
,pope ,pius1 and who worked well in     
fresco4 ,these words have puzzled more  
than one person4 ,pascoli 7,p4 ,p4 p4   
#acd47 and ,mariotti 7,l4 ,p4 p4 #ei47  
consider them as written of ,piero      
,cesarei2 as if a man born in the golden
 age should so far extol an old         
trecentista2 or as if the canons of     
,siena could approve such a style after 
possessing ,razzi and ,vanni4 ,padre    
della ,valle interprets it to mean      
,pietro ,vannucci1 and not finding the  
books of the ,choir adorned in such a   

style as he wished1 reproves ,vasari for
 having confounded so great a master    
with a common fresco painter and a      
,miniatore4 ,it is most likely that this
 ,miniatore and ,frescante of ,vasari   
was a third ,pietro1 hitherto unknown in
 ,perugia1 and whom we shall notice in  
the ,venetian ,school4  ,footnote #fg3  
,see ,il ,sig4 ,cav4 ,reposati          
,appendice del tomo ii4 della ,zecca di 
,gubbio2 and the ,sig4 ,conte           
,ranghiasci in the ,elenco de'          
,professori ,eugubini1 inserted in vol4 
iv4 of ,vasari 7ediz4 ,senese71 at the  
end of the volume4  ,footnote #fh3 ,i am
 indebted for it1 to the noble ,sig4    
,cav4 ,ercolani1 who obligingly         
transmitted it to me1 after procuring it
 from the ,sig4 ,cav4 ,piani and the    
,sig4 ,paolo ,antonio ,ciccolini1 of    
,macerata4  ,footnote #fi3 ,in a former 
edition1 on the authority of a ,,ms4 ,i 
called him ,serj1 and was doubtful      
whether ,siciolante was not his surname4
 ,sig4 ,brandolese has informed me of an

 epitaph1 in the hands of ,mons4        
,galletti1 in which he is called        
,siciolante1 whence ,serio was most     
probably his surname4  ,footnote #gj3   
,another probable cause of this         
appellation1 is to be found in the name 
of ,raffaello ,ciarla1 who was one of   
the most celebrated painters of this    
ware1 and was appointed by the duke to  
convey a large assortment of it to the  
court of ,spain4 ,hence the vulgar1 when
 they heard the name of ,raffaello1     
might attribute them to ,sanzio4        
,,roman ,,school4    ,,fourth ,,epoch4  
,restoration of the ,roman ,school by   
,barocci1 and other   ,artists1         
,subjects of the ,roman ,state1 and     
,foreigners4   ,the numerous works      
carried on by the ,pontiffs ,gregory and
 ,sixtus1 and continued under ,clement  
,,viii41 while they in a manner         
corrupted the pure taste of the ,roman  
,school1 contributed1 nevertheless1 at  
the same time1 to regenerate it4 ,rome1 
from the desire of possessing the best  

specimens of art1 became by degrees the 
resort of the best painters1 as it had  
formerly been in the time of ,leo ,x4   
,every place sent thither its first     
artists1 as the cities of ,greece       
formerly sent forth the most valiant of 
their citizens to contend for the palm  
and the crown at ,olympia4 ,barocci1 of 
,urbino1 was the first restorer of the  
,roman ,school4 ,he had formed himself  
on the style of ,correggio1 a style the 
best calculated to reform an age which  
had neglected the true principles of    
art1 and particularly colouring and     
chiaroscuro4 ,happy indeed had it been1 
had he remained in ,rome1 and retained  
the direction of the works which were   
entrusted to ,nebbia1 ,ricci1 and       
,circignani6 ,he was there1 indeed1 for 
some time1 and assisted the ,zuccari in 
the apartments of ,pius ,,iv41 but was  
compelled to fly in consequence of some 
pretended friends having1 in an         
execrable manner1 administered poison to
 him through jealousy of his talents1   

and so materially injured his health1   
that he could only paint at intervals1  
and for a short space of time4          
,forsaking ,rome1 therefore1 he resided 
for some time in ,perugia1 and a longer 
period in ,urbino1 from whence he       
despatched his pictures from time to    
time to ,rome and other places4 ,by     
means of these1 the ,tuscan ,school     
derived great benefit through ,cigoli1  
,passignano1 and ,vanni1 as we have     
before observed2 and it is not          
improbable1 that ,roncalli and ,baglione
 may have profited by them1 if we may   
judge from some works of both the one   
and the other of these artists to be    
seen in various places4  ,however this  
might be1 at the commencement of the    
seventeenth century1 these five were in 
the highest repute as artists who were  
not corrupted by the prevailing taste4  
,an idea had subsisted from the time of 
,clement ,,viii41 of decorating the     
church of the ,vatican1 with the        
,history of ,s4 ,peter1 and of employing

 in that work the best artists4 ,the    
execution of this design occupied a     
considerable time1 the pictures being   
reduced to mosaic1 as the painting on   
wood and slate did not resist the       
humidity of the church4 ,the five before
 mentioned artists were selected to     
paint each a subject2 and ,bernardo     
,castelli1 one of the first painters of 
the ,genoese ,school1 was the sixth1 and
 the least celebrated4 ,these artists   
were all liberally paid1 and the five   
first raised to the rank of ,cavalieri1 
and their works had a beneficial        
influence on the rising generation1 and 
proved that the reign of the mannerists 
was on the decline4 ,caravaggio gave it 
a severe shock by his powerful and      
natural style1 and ,baglione attests1   
that this young artist1 by the great    
applause which he gained1 excited the   
jealousy of ,federigo ,zuccaro1 then    
advanced in years1 and entered into     
competition with ,cesare1 his former    
master4 ,but the most serious blow the  

mannerists received1 was from the       
,caracci and their school4 ,annibale    
arrived in ,rome not much before the    
year #afjj1 invited by the ,cardinal    
,farnese to paint his gallery2 a work   
which occupied him for nearly eight     
years1 and for which he received only   
five hundred scudi1 a sum so inadequate 
that we can scarcely believe it to be   
correct4 ,he also decorated several     
churches4 ,lodovico1 his cousin1 was    
with him for a short time2 ,agostino1   
his brother1 for a longer period2 and he
 had his scholars with him1 amongst whom
 we may enumerate ,domenichino1 ,guido1 
,albano1 and ,lanfranc4 ,they came      
thither at different periods1 matured in
 their talents1 and able to assist their
 master not only in execution but       
design4  ,rome had for some years seen  
only the two extreme styles of painting4
 ,caravaggio and his followers were mere
 naturalists2 ,arpino and his scholars  
pure idealists4 ,annibale introduced a  
style founded in nature1 yet ennobled by

 the ideal1 and supported his ideal by  
his knowledge of nature4 ,he was at     
first denounced as cold and insipid1    
because he was not affected and         
extravagant1 or rather because great    
merit was never unaccompanied by envy4  
,but though envy for a time1 by her     
insidious suggestions and subterfuges1  
may derive a mean pleasure in           
persecuting a man of genius1 she can    
never hope to succeed in blinding the   
public1 who ever decide impartially on  
the merits of individuals1 and whose    
judgment is not disregarded even by     
princes4 ,the ,farnese gallery was      
opened1 and ,rome beheld in it a        
grandeur of style1 which might claim a  
place after the ,sistine chapel1 and the
 chambers of the ,vatican4 ,it was then 
discovered1 that the preceding ,pontiffs
 had only lavished their wealth for the 
corruption of art2 and that the true    
secret which the great ought to put in  
practice lay in a few words3 a judicious
 selection of masters1 and a more       

liberal allowance of time4 ,hence1      
though somewhat tardy indeed in         
consequence of the death of ,annibale1  
came the order from ,paul ,v41 to       
distribute the work among the           
,bolognese2 for so the ,caracci and     
their scholars were at that time        
designated2 one of whom1 ,ottaviano     
,mascherini1 was the ,pope's            
architect4#ga ,a new spirit was thus    
introduced into the ,roman ,school1     
which1 if it did not wholly destroy the 
former extravagance of style1 still in a
 great degree repressed it4 ,the        
pontificate of ,gregory ,,xv4           
7,lodovisi7 was short1 but still1       
through national partiality1 highly     
favourable to the ,bolognese1 amongst   
whom we may reckon ,guercino da ,cento1 
although a follower of ,caravaggio      
rather than ,annibale4 ,he was the most 
employed in ,st4 ,peter's1 and in the   
villa ,lodovisi4 ,this reign was        
followed by the pontificate of ,urban   
,,viii41 favourable both to poets and   

painters1 though1 perhaps1 more so to   
the latter than the former2 since it    
embraced1 besides the ,caracci and their
 school1 ,poussin1 ,pietro da ,cortona1 
and the best landscape painters that the
 world had seen4 ,the leading masters   
then all found employment1 either from  
the ,pope himself1 or his nephew the    
,cardinal1 or other branches of that    
family1 and were engaged in the         
decoration of ,st4 ,peter's1 or their   
own palaces1 or in the new church of the
 ,capucins1 where the altarpieces were  
distributed among ,lanfranc1 ,guido1    
,sacchi1 ,berrettini1 and other         
considerable artists4 ,the same liberal 
plan was followed by ,alexander ,,vii4 a
 prince of great taste1 and by his      
successors4 ,it was during the reign of 
,alexander1 that ,christina1 ,queen of  
,sweden1 established herself in ,rome1  
and her passion for the fine arts       
inspired and maintained not a few of the
 painters whom we shall mention4 ,it    
must indeed be premised1 that we are    

under the necessity of deferring our    
notice of the greatest names of this    
epoch to another place1 as they belong  
of right to the school of ,bologna1 and 
some we have already recorded in the    
,florentine ,school4 ,but to proceed4   
,federigo ,barocci might from the time  
of his birth be placed in the preceding 
epoch1 but his merit assigns him to this
 period1 in which ,i comprise the       
reformers of art4 ,he learned the       
principles of his art from ,batista     
,franco1 a ,venetian by birth1 but a    
,florentine in style4 ,this artist going
 young to ,rome1 to prosecute his       
studies there1 was struck with the grand
 style of ,michelangiolo1 and copied    
both there and in ,florence1 all his    
works1 as well his paintings and        
drawings as statues4 ,he became an      
excellent designer1 but was not equally 
eminent as a colourist1 having turned   
his attention at a late period to that  
branch of the art4 ,in ,rome he may be  
seen in some evangelical subjects       

painted in fresco1 in a chapel in the   
,minerva1 and preferred by ,vasari to   
any other of his works4 ,he also        
decorated the choir of the ,metropolitan
 church of ,urbino in fresco1 and there 
left a ,madonna in oil1 placed between  
,s4 ,peter and ,s4 ,paul1 in the best   
,florentine style1 except that the      
figure of ,s4 ,paul is somewhat         
attenuated4 ,there is a grand picture in
 oil by him in the tribune of ,s4       
,venanzio1 in ,fabriano2 containing the 
,virgin1 with the titular and two other 
protecting ,saints4 ,in the sacristy of 
the cathedral of ,osimo1 ,i saw many    
small pictures representing the life of 
,christ1 painted by him in the year     
#aedg1 as we learn from the archives of 
that church2 a thing of rare occurrence1
 as ,franco was scarcely ever known to  
paint pictures of this class4 ,under    
this artist1 whilst he resided in       
,urbino1 ,barocci designed and studied  
from the antique4 ,he then went to      
,pesaro1 where he employed himself in   

copying after ,titian1 and was          
instructed in geometry and perspective  
by ,bartolommeo ,genga1 the architect1  
the son of ,girolamo and the uncle of   
,barocci4 ,from thence he passed to     
,rome1 and acquired a more correct style
 of design1 and adopted the manner of   
,raffaello1 in which style he painted   
the ,s4 ,cecilia for the ,duomo of      
,urbino1 and in a still more improved   
and original manner1 the ,s4 ,sebastian1
 a work which ,mancini1 in point of     
solid taste1 sets above all the works of
 ,barocci4 ,but the amenity and         
gracefulness of his style led him almost
 instinctively to the imitation of      
,correggio1 in whose manner he painted  
in his native city the delightful       
picture of ,s4 ,simon and ,s4 ,judas1 in
 the church of the ,conventuals4        
,nevertheless this was not the style    
which he permanently adopted as his own1
 but as a free imitation of that great  
master4 ,in the heads of his children   
and of his female figures1 he approaches

 nearly to him2 also in the easy flow of
 his drapery1 in the pure contour1 in   
the mode of foreshortening his figures2 
but in general his design is not so     
grand1 and his chiaroscuro less ideal2  
his tints are lucid and well arranged1  
and bear a resemblance to the beautiful 
hues of ,correggio1 but they have       
neither his strength nor truth4 ,it is  
however delightful to see the great     
variety of colours he has employed1 so  
exquisitely blended by his pencil1 and  
there is perhaps no music more finely   
harmonized to the ear1 than his pictures
 are to the eye4 ,this is in a great    
measure the effect of the chiaroscuro1  
to which he paid great attention1 and   
which he was the first to introduce into
 the schools of ,lower ,italy4 ,in order
 to obtain an accurate chiaroscuro1 he  
formed small statues of earthenware1 or 
wax1 in which art he did not yield the  
palm to the most experienced sculptors4 
,in the composition and expression of   
every figure1 he consulted the truth4   

,he made use of models too1 in order to 
obtain the most striking attitudes1 and 
those most consonant to nature2 and in  
every garment1 and every fold of it1 he 
did not shew a line that was not to be  
found in the model4 ,having made his    
design1 he prepared a cartoon the size  
of his intended picture1 from which he  
traced the contours on his canvass2 he  
then on a small scale tried the         
disposition of his colours1 and         
proceeded to the execution of his work4 
,before colouring1 however1 he formed   
his chiaroscuro very accurately after   
the best ancient masters1 7vol4 i4 p4   
#ahg17 of which method he left traces in
 a ,madonna and ,saints1 which ,i saw in
 ,rome in the ,albani palace1 a picture 
which ,i imagine the artist was         
prevented by death from finishing4      
,another picture unfinished1 and on that
 account very instructive and highly    
prized1 is in possession of the noble   
family of ,graziani in ,perugia4 ,to    
conclude1 perfection was his aim in     

every picture1 a maxim which insures    
excellence to artists of genius4        
,bellori1 who wrote the life of         
,barocci1 has given us a catalogue of   
his pictures4 ,there are few found which
 are not of religious subjects2 some    
portraits1 and the ,burning of ,troy1   
which he painted in two pictures1 one of
 which now adorns the ,borghese gallery4
 ,except on this occasion his pencil may
 be said to have been dedicated to      
religion2 so devout1 so tender1 and so  
calculated to awaken feelings of piety1 
are the sentiments expressed in his     
pictures4 ,the ,minerva1 in ,rome1      
possesses his ,institution of the       
,sacrament1 a picture which ,clement ,x4
 employed him to paint2 the ,vallicella 
has his two pictures of the ,visitation 
and the ,presentation4 ,in the ,duomo of
 ,genoa is a ,crucifixion by him1 with  
the ,virgin and ,s4 ,john1 and ,s4      
,sebastian2 in that of ,perugia1 the    
,deposition from the ,cross2 in that of 
,fermo1 ,s4 ,john the ,evangelist2 in   

that of ,urbino1 the ,last ,supper of   
our ,lord4 ,another ,deposition1 and a  
picture of the ,rosario1 and mysteries1 
is in ,sinigaglia2 and1 in the          
neighbouring city of ,pesaro1 the       
calling of ,st4 ,andrew1 the            
,circumcision1 the ,ecstacy of ,s4      
,michelina on ,mount ,cavalry1 a single 
figure1 which fills the whole picture1  
and esteemed1 it is said1 by ,simon     
,cantarini1 as his masterpiece4 ,urbino1
 besides the pictures already noticed1  
and some others1 possesses a ,s4        
,francis in prayer1 at the ,capucins2   
and at the ,conventuals1 the great      
picture of the ,perdono1 in which he    
consumed seven years4 ,the perspective1 
the beautiful play of light1 the        
speaking countenances1 the colour and   
harmony of the work1 cannot be imagined 
by any one who has not seen it4 ,the    
artist himself was delighted with it1   
wrote his name on it1 and etched it4    
,his ,annunciation1 at ,loreto1 is a    
beautiful picture1 and the same subject 

at ,gubbio1 unfinished2 the ,martyrdom  
of ,s4 ,vitale1 at the church of that   
saint1 in ,ravenna1 and the picture of  
the ,misericordia1 painted for the      
,duomo of ,arezzo1 and afterwards       
transferred to the ducal gallery of     
,florence4 ,the same subject exists also
 in the hospital of ,sinigaglia1 copied 
there by the scholars of ,barocci1 who  
have repeated the pictures of their     
master in numerous churches of the state
 of ,urbino1 and of ,umbria1 and in some
 in ,piceno1 and these are1             
occasionally1 so well painted1 that one 
might imagine he had finished them      
himself4  ,the same may be said of some 
of his cabinet pictures1 which are to be
 seen in collections2 such is the       
,virgin adoring the ,infant ,christ1    
which ,i remarked in the ,ambrosian     
,library at ,milan1 in the ,casa        
,bolognetti in ,rome1 and in a noble    
house in ,cortona1 and which ,i find    
mentioned also in the imperial gallery  
at ,vienna4 ,a head of the ,ecce ,homo  

has also been often repeated1 and some  
,holy ,families1 which he varied in a   
singular manner2 ,i have seen a ,s4     
,joseph sleeping1 and another ,s4       
,joseph1 in the ,casa ,zaccaria1 in the 
act of raising a tapestry2 and in the   
,repose in ,egypt1 which was transferred
 from the sacristy of the ,jesuits at   
,perugia to the chamber of the ,pope1 he
 is represented plucking some cherries  
for the ,infant ,christ1 a picture1     
which seems painted to rival ,correggio4
 ,bellori remarks1 that he was so fond  
of it that he frequently repeated it4   
,the school of ,barocci extended itself 
through this duchy and the neighbouring 
places2 although his best imitator was  
,vanni of ,siena1 who had never studied 
in ,urbino4 ,the disciples of ,federigo 
were very numerous1 but remaining in    
general in their own country they did   
not disseminate the principles1 and few 
of them inherited the true spirit of    
their master's style3 the most confining
 themselves to the exterior of the art  

of colouring2 and even this was         
deteriorated by the use of large        
quantities of cinnabar and azure1       
colours which their master had employed 
with greater moderation2 and they were  
not unfrequently condemned for this     
practice1 as ,bellori and ,algarotti    
remark4 ,the flesh tints under their    
pencil often became livid1 and the      
contours too much charged4 ,i cannot    
give an accurate catalogue of these     
scholars1 but independent of the writers
 on the works in ,urbino1 and other     
guides and traditions in various parts1 
,i am certain1 that if they were not    
instructed by ,barocci himself1 they    
must at all events1 from their country1 
and from the period at which they       
flourished1 have formed themselves on   
his pictures4 ,there is little to be    
observed respecting ,francesco          
,baldelli1 the nephew and scholar of    
,federigo4 ,i do not find any memorial  
of him1 except a picture which he placed
 in the ,capella ,danzetta1 of ,s4      

,agostino1 in ,perugia1 and which is    
mentioned by ,crispolti1 in his history 
of that city1 at page #acc4  ,of        
,bertuzzi and ,porino ,i have not seen  
any works1 except copies in the style of
 ,barocci1 or feeble productions of     
their own4 ,an excellent copyist was    
found in ,alessandro ,vitali of ,urbino1
 in which city1 at the ,suore della     
,torre1 is found the ,annunciation of   
,loreto1 copied by him in such a manner 
that it might be taken for the original 
picture4 ,barocci was pleased with his  
talent1 and willingly retouched some of 
his pictures1 and probably favoured him 
in this way in the ,s4 ,agnes and ,s4   
,agostino1 placed by ,vitali1 the one in
 the ,duomo1 the other in the church of 
the ,eremitani1 where he may be said to 
surpass himself4 ,antonio ,viviani1     
called il ,sordo of ,urbino1 also made  
some very accurate copies of his master1
 which are still preserved by his noble 
posterity4 ,he too was a great favourite
 of ,federigo1 and was in his native    

city called his nephew2 although        
,baglione1 who wrote his life1 is silent
 on this head4 ,he left some pictures in
 ,urbino1 in the best style of ,barocci2
 particularly the ,s4 ,donato1 in a     
suburban church of the saint of that    
name4 ,this however cannot be called his
 own style1 for he visited ,rome at     
various times1 where1 having received   
instructions from ,mascherini1 and      
employed himself for a time in the      
imitation of ,cesari1 and of the rapid  
manner of the practicians recorded by   
us1 he exhibited in that metropolis     
various styles1 and some of the most    
feeble which he adopted4 ,assuredly his 
fresco pictures1 which remain in various
 places in ,rome1 do not support the    
opinion which is inspired by a view of  
the vast work which he conducted in the 
church de' ,filippini at ,fano4 ,there1 
in the vault1 and in the chapel1 are    
executed various histories of the chief 
of the apostles to whom the church is   
dedicated4 ,his style in these exhibits 

a beautiful imitation of ,barocci and   
,raffaello1 in which the manner of the  
latter predominates4 ,lazzari maintains 
that this ,antonio ,viviani repaired to 
,genoa1 and that ,soprani changed his   
name to ,antonio ,antoniani2 thus giving
 to ,barocci a scholar who never        
existed4 ,of this supposition we shall  
speak with more propriety in the        
,genoese ,school4 ,another ,viviani is  
mentioned by tradition in ,urbino1      
,lodovico1 a brother or cousin of the   
preceding4 ,this painter sometimes      
imitates ,barocci1 as in the ,s4        
,girolamo in the ,duomo1 and sometimes  
approaches the ,venetian style1 as in   
the ,epiphany at the ,monastery della   
,torre4  ,another painter almost unknown
 in the history of art1 but of singular 
merit1 is ,filippo ,bellini of ,urbino1 
of whom ,i have not seen any works in   
his native place1 but a number in oil   
and fresco scattered through many cities
 of the ,march4 ,he is in general an    
imitator of ,barocci1 as in the picture 

of the ,circumcision in the church of   
,loreto1 in the ,espousals of the       
,virgin in the ,duomo in ,ancona1 and in
 a ,madonna belonging to the ,counts    
,leopardi at ,osimo4 ,he affords1       
however1 sometimes an example of a      
vigorous and lively style1 and exhibits 
a powerful colouring1 and a grandeur of 
composition4 ,he discovered this        
character in some works in ,fabriano in 
his best time1 and particularly in the  
,opere della ,misericordia1 which are   
fourteen subjects taken from ,scripture1
 and represented in the church della    
,carita4#gb ,they are beheld by         
cultivated foreigners with admiration1  
and it appears strange that such a      
painter1 whose life and works are alike 
worthy of remembrance1 should not have  
found a place in the catalogues4 ,he is 
also extolled for his works in fresco1  
in the chapel of the ,conventuals in    
,montalboddo1 where he has represented  
the ,martyrdom of ,s4 ,gaudenzio1 and   
which is described in the guide book of 

that city4  ,we may next notice ,antonio
 ,cimatori1 called also ,antonio        
,visacci1 not only by the vulgar1 but   
also by ,girolamo ,benedetti1 in the    
,relazione1 which in the lifetime of the
 artist he composed on the festival at  
,urbino1 in honour of ,giulia de'       
,medici1 married to the ,prince         
,federigo4 ,cimatori was there engaged  
to paint the arches and pictures1 which 
were exhibited1 in conjunction with the 
younger ,viviani1 ,mazzi1 and ,urbani4  
,his forte lay in pen drawing1 and in   
chiaroscuro2 as may be seen from his    
,prophets1 in a grand style1 transferred
 from the ,duomo to the apostolic       
palace4 ,he did not leave many works in 
his native place2 but amongst them is   
his picture of ,s4 ,monica1 at ,s4      
,agostino4 ,his copies from the original
 pictures of ,barocci are to be found in
 various places1 particularly in the    
,duomo of ,cagli4 ,he resided1 and      
worked for a long time in ,pesaro1 where
 he instructed ,giulio ,cesare ,begni1 a

 bold and animated artist1 a good       
perspective painter1 and in a great     
degree a follower of the ,venetian      
,school1 in which he studied and        
painted4 ,he left many works in ,udine1 
and many more in his native place1 in a 
rapid and unfinished style1 but of a    
good general effect4 ,in the            
,descrizione odeporica della ,spagna1   
7tom4 ii4 p4 #acj71 we find ,giovanni   
and ,francesco d',urbino mentioned1 who 
about the year #aege1 it seems1 were    
both engaged by the court to decorate   
the ,escurial4 ,the latter came early in
 life to ,spain1 and being endowed with 
a noble genius1 soon became an excellent
 artist1 and is extolled by his         
contemporary ,p4 ,siguenza1 and by all  
who have seen the ,judgment of ,solomon1
 and his other pictures in a choir in   
that magnificent place3 he died young4  
,that these works belong to the pencil  
of ,barocci might be suspected from     
their era1 and the practice of that     
splendid court1 which was in the habit  

of engaging in its service the first    
masters of ,italy or their scholars4    
,but not possessing positive            
information1 nor finding any indication 
of their style1 ,i dare not assign these
 two to ,barocci4 ,i feel a pleasure    
however in restoring them to the        
glorious country from which they had    
been separated4  ,passing from the      
fellow countrymen of ,barocci to        
foreigners1 some persons have imagined  
,andrea ,lilio1 of ,ancona1 to have been
 his disciple4 ,i rather consider him to
 have been an imitator of him1 but more 
in respect to colour than any thing     
else4 ,he had a share in the works which
 were carried on under ,sixtus1 and     
painted for the churches1 chiefly in    
fresco1 and sometimes in partnership    
with ,viviani of ,urbino4 ,he went to   
,rome when young1 and lived there until 
the reign of ,paul ,v41 but suffered    
both in body and mind from domestic     
misfortunes1 which interrupted not a    
little his progress in art4 ,ancona     

possesses several of his pictures in    
fresco1 varying in their merit1 as well 
as some of his oil pictures at the      
,paolotti in ,s4 ,agostino1 and in the  
sacristy some pieces1 from the ,life of 
,s4 ,nicholas1 highly prized4 ,the most 
celebrated is his ,martyrdom of ,s4     
,lorenzo1 by many ascribed to ,barocci1 
for which ,i refer to the ,guida of     
,montalboddo1 and the church of ,s4     
,catherine1 where it is placed4 ,his    
greatest work is the altarpiece in the  
,duomo at ,fano1 representing all the   
saints1 containing a vast number of     
figures well grouped and well           
contrasted1 and if not very correctly   
designed1 still possessing ,barocci's   
tone of colour4  ,giorgio ,picchi of    
,durante ,i included in a former edition
 among the scholars of ,barocci1 in     
conformity to the general opinion       
prevalent in ,pesaro and ,rimini2 but ,i
 have not found this confirmed in the   
chronicle of ,castel ,durante1 published
 by ,colucci1 which contains a          

particular account of this artist1      
written soon after his death4 ,i am     
therefore inclined to think him only a  
follower1 like ,lilio1 with whom he was 
associated in ,rome in the time of      
,sixtus ,v41 if the chronicle is to be  
relied on4 ,it relates that he worked in
 the library of the ,vatican1 at the    
,scala ,santa1 and at the ,palazzo di   
,s4 ,giovanni2 and it appears           
unaccountable that all this was unknown 
to ,baglione1 who narrates the same     
circumstances of ,lilio and others1 and 
makes no mention of ,picchi4 ,however   
this may be1 he was certainly a         
considerable artist1 and was attached to
 the style of ,barocci1 which was in    
vogue at that period1 as we may perceive
 from his great picture of the ,cintura1
 in the church of ,s4 ,agostino1 in     
,rimini1 and still more from the history
 of ,s4 ,marino1 which he painted in the
 church of that saint in the same city4 
,others of his works are to be found    
both in oil and fresco in ,urbino1 in   

his native place1 at ,cremona1 and      
elsewhere2 and although on a vast scale1
 embracing whole oratories and churches1
 they could not have cost him any great 
labour1 from the rapid manner which he  
had acquired in ,rome4  ,in ,s4         
,ginesio1 a place in the ,march1        
,domenico ,malpiedi is considered as    
belonging to ,federigo's school1 and of 
him there are preserved in the          
collegiate church1 the ,martyrdoms of   
,s4 ,ginesio and ,s4 ,eleuterio1 which  
are highly commended4 ,from ,colucci we 
learn that there also remain other works
 by him2 and from the prices paid1 we   
may conclude that he was esteemed an    
excellent artist4 ,he was living in     
#aeif1 and about the same time there    
flourished also another ,malpiedi1 who  
painted a ,deposition from the ,cross in
 ,s4 ,francesco di ,osimo1 and inscribed
 on it ,franciscus ,malpedius di ,s4    
,ginesio1 a picture feeble in           
composition1 deficient in expression1   
and little resembling the school of     

,barocci1 except in a distant           
approximation of colour4  ,the ,guida of
 ,pesaro assigns to the same school     
,terenzio ,terenzj1 called il           
,rondolino1 whom it characterises as an 
eminent painter1 and of whom there exist
 four specimens in public1 and many more
 in the neighbourhood of the city 7page 
#hj74 ,it is also mentioned that he was 
employed by the ,cardinal della ,rovere 
in ,rome1 and that he placed a picture  
in the church of ,s4 ,silvestro4 ,the   
picture of ,s4 ,silvestro in capite1    
which represents the ,madonna1 attended 
by ,saints1 is ascribed by ,titi to a   
,terenzio of ,urbino1 who1 according to 
,baglione1 served the ,cardinal         
,montalto4 ,it is most probable1 that in
 the records of ,pesaro there arose some
 equivoque on the name of the cardinal1 
and that these two painters might1 or   
rather ought to be merged in one4       
,terenzio ,rondolino1 it appears to me1 
is the same as ,terenzio d',urbino1 and 
very probably in ,rome took his name    

from ,urbino1 the capital of ,pesaro4   
,but by whatever name this painter may  
be distinguished1 we learn from         
,baglione that ,terenzio d',urbino was a
 noted cheat2 and that1 after having    
sold to inexperienced persons many of   
his own pictures for those of ancient   
masters1 he attempted to pass the same  
deceit upon the ,cardinal ,peretti1 the 
nephew of ,sixtus ,v4 and his own       
patron1 offering to his notice one of   
his own pieces as a ,raphael3 but the   
fraud was detected1 and ,terenzio in    
consequence banished from the court2 a  
circumstance which he took to heart1 and
 died whilst yet young4  ,two brothers1 
,felice and ,vincenzio ,pellegrini1 born
 and resident in ,perugia1 are recorded 
by ,orlandi and ,pascoli1 as scholars of
 ,barocci4 ,the first became an         
excellent designer1 and in the          
pontificate of ,clement ,,viii4 was     
called to ,rome1 probably to assist     
,cesari1 though it is not known that he 
left any work in his own name4 ,some    

copies after ,barocci by him exist in   
,perugia1 and it is well known that his 
master was highly satisfied with his    
labours in that line4 ,the other brother
 is mentioned by ,bottari in the notes  
to his life of ,raffaello2 and ,i       
recollect having seen in ,perugia a     
picture in the sacristy of ,s4 ,philip1 
in rather a hard manner1 in which it is 
difficult to recognize the style of his 
supposed master4 ,it is possible that   
these two artists might have had their  
first instructions from ,barocci1 and   
that they afterwards returned to another
 manner4 ,a similar instance occurs in  
,ventura ,marzi4 ,in the ,biographical  
,dictionary of the ,painters of ,urbino 
he is given to the school of ,barocci4  
,his manner however is different1 and ,i
 should say bad1 if all his pictures    
were similar to that of ,s4 ,uomobuono1 
which ,i saw in the sacristy of the     
metropolitan church2 but he did indeed  
paint some better1 and it is an ancient 
maxim1 that to improve we must sometimes

 err4 ,benedetto ,bandiera1 of ,perugia1
 who approaches nearer to the style of  
,barocci than most others1 is said to   
have been a relative of ,vanni1 from    
whom he derived that manner1 if we may  
believe ,orlandi4 ,but ,pascoli1 both on
 this point1 and on the period in which 
he flourished1 confutes him1 and        
considers him to have been instructed by
 ,barocci in ,urbino for many years1 and
 that afterwards he became a diligent   
observer of all his pictures which he   
could discover in other places4  ,whilst
 ,italy was filled with the fame of     
,barocci1 there came to ,urbino1 and    
resided in his house for some time1     
,claudio ,ridolfi1 called also ,claudio 
,veronese1 from his native city1 of     
which he was a noble4 ,he was there     
instructed by ,dario ,pozzo1 an author  
of few but excellent works1 and after   
these first instructions he remained    
many years without further applying     
himself4 ,being afterwards compelled by 
necessity to practise the art1 he became

 the scholar of ,paolo1 and the rival of
 the ,bassani2 and not finding          
employment in his native place1 which   
then abounded with painters1 he removed 
to ,rome1 and from thence to ,urbino4   
,it is said that he derived from        
,federigo the amenity of his style1 and 
the beautiful airs of his heads4 ,he    
married in ,urbino1 and afterwards fixed
 his residence in the district of       
,corinaldo1 where1 and in the           
neighbouring places1 he left a great    
number of pictures1 which yield little  
in tone to the best colourists of his   
native school1 and are often conducted  
with a design1 a sobriety1 and a        
delicacy sufficient to excite their     
envy4 ,ridolfi1 who wrote a brief life  
of him1 enumerates scarcely one half of 
his works4 ,there are some at           
,fossombrone1 ,cantiano1 and ,fabriano2 
and ,rimino possesses a ,deposition from
 the ,cross1 a beautiful composition4   
,there are several mentioned in the     
,guida di ,montalboddo1 lately edited4  

,urbino is rich in them1 where the      
,nascita del ,s4 ,precursore1 7the      
,birth of ,s4 ,john the ,baptist71 at   
,s4 ,lucia1 and the ,presentation of the
 ,virgin at the ,spirito ,santo1 are    
highly valued4 ,many of his works are   
also to be seen in the ,palazzo ,albani1
 and in other collections of the        
nobility in ,urbino4 ,he there indeed   
formed a school1 which gave birth to    
,cialdieri1 of whom there are works     
remaining1 both public and private2 the 
most noted of which is a ,martyrdom of  
,s4 ,john1 at the church of ,s4         
,bartholomew4 ,he possessed a facility  
and elegance of style1 was highly       
accomplished in landscape1 which he     
often introduced into his pictures1 and 
is remarkable for his accurate          
perspective4 ,urbinelli1 of ,urbino1 and
 ,cesare ,maggieri#gc of the same city1 
lived also about this time4 ,the first  
was a vigorous painter1 an excellent    
colourist1 and partial to the ,venetian 
style4 ,the second an industrious       

artist1 inclining to the style of       
,barocci and ,roman ,school4 ,the       
history of art does not assign either of
 these to the school of ,ridolfi2 but   
there is a greater probability of the   
first rather than the second belonging  
to it4 ,another painter of uncertain    
school1 but who partakes more of        
,claudio than of ,barocci1 is           
,patanazzi1 who is mentioned in the     
,galleria de' ,pittori ,urbinati1 7v4   
,coluc4 tom4 xvi471 and poetic incense  
is bestowed on his risentito pennello e 
l'ottima invenzione4 ,i have seen by him
 in a chapel of the ,duomo a ,marriage  
of the ,virgin1 the figures not large1  
but well coloured and correctly drawn1  
if indeed some of them may not be       
thought rather attenuated than slender  
and elegant4 ,a celebrated scholar of   
,ridolfi1 ,benedetto ,marini1 of        
,urbino1 went to ,piacenza1 where he    
left some highly valued pictures in     
several churches1 in which the style of 
,barocci is mixed with the ,lombard and 

,venetian4 ,the work which excites our  
greatest admiration is the ,miracle of  
the ,loaves in the ,desert1 which he    
painted in the refectory of the         
,conventuals in #afbe4 ,it is one of the
 largest compositions in oil which is to
 be seen1 well grouped and well         
contrasted1 and displaying uncommon     
powers4#gd ,i should not hesitate to    
prefer the scholar to the master in     
grandeur of idea and vigour of          
execution1 though in the fundamental    
principles of the art he may not be     
equal to him4 ,the history of his life1 
as well as his works1 scattered in that 
neighbourhood1 in ,pavia1 and elsewhere1
 were deserving of commemoration2 yet   
this artist as well as ,bellini remains 
unnoticed by the catalogues1 and what is
 more1 he is little known in his native 
place1 which has no other specimen of   
his pencil than a picture of ,s4 ,carlo 
at the ,trinita1 with some angels1 which
 does not excite the same admiration as 
his works in ,lombardy4#ge ,some other  

scholars of ,claudio are found in       
,verona1 to which city he returned1 and 
remained for a short time2 and in the   
,bolognese ,school mention will be made 
of ,cantarini1 among the masters of     
which he is numbered4 ,in the meantime  
let us turn from these provincial       
schools1 which were the first that felt 
the reviving influence of the age1 to   
the capital1 where we shall find        
,caravaggio1 the ,caracci1 and other    
reformers of the art4  ,michelangiolo   
,amerighi1 or ,morigi da ,caravaggio1 is
 memorable in this epoch1 for having    
recalled the art from mannerism to      
truth1 as well in his forms1 which he   
always drew from nature1 as in his      
colours1 banishing the cinnabar and     
azures1 and composing his colours of few
 but true tints1 after the manner of    
,giorgione4 ,annibale ,caracci extolling
 him1 declares that he did not paint1   
but grind flesh1 and both ,guercino and 
,guido highly admired him1 and profited 
from his example4 ,he was instructed in 

the art in ,milan1 from whence he went  
to ,venice to study ,giorgione2 and he  
adopted at the commencement of his      
career that subdued style of shadow1    
which he had learnt from that great     
artist1 and in which some of the most   
highly prized works of ,caravaggio are  
executed4 ,he was however afterwards led
 away by his sombre genius1 and         
represented objects with very little    
light1 overcharging his pictures with   
shade4 ,his figures inhabit dungeons1   
illuminated from above by only a single 
and melancholy ray4 ,his backgrounds are
 always dark1 and the actors are all    
placed in the same line1 so that there  
is little perspective in his pictures2  
yet they enchant us1 from the powerful  
effect which results from the strong    
contrast of light and shade4 ,we must   
not look in him for correct design1 or  
elegant proportion1 as he ridiculed all 
artists who attempted a noble expression
 of countenance1 or graceful foldings of
 drapery1 or who imitated the forms of  

the antique1 as exhibited in sculpture1 
his sense of the beautiful being all    
derived from visible nature4 ,there is  
to be seen by him in the ,spada palace a
 ,s4 ,anne1 with the ,virgin at her     
side1 occupied in female work4 ,their   
features are remarkable only for their  
vulgarity1 and they are both attired in 
the common dress of ,rome1 and are      
doubtless portraits1 taken from the     
first elderly and young women that      
offered themselves to his observation4  
,this was his usual manner2 and he      
appeared most highly pleased when he    
could load his pictures with rusty      
armour1 broken vessels1 shreds of old   
garments1 and attenuated and wasted     
bodies4 ,on this account some of his    
works were removed from the altars1 and 
one in particular at the ,scala1 which  
represented the ,death of the ,virgin1  
in which was figured a corpse1 hideously
 swelled4  ,few of his pictures are to  
be seen in ,rome1 and amongst them is   
the ,madonna of ,loreto1 in the church  

of ,s4 ,agostino2 but the best is the   
,deposition from the ,cross1 in the     
church of the ,vallicella1 which forms a
 singular contrast to the gracefulness  
of ,barocci1 and the seductive style of 
,guido1 exhibited on the adjoining      
altars4 ,he generally painted for       
collections4 ,on his arrival in ,rome he
 painted flowers and fruit2 afterwards  
long pictures of half figures1 a custom 
much practised after his time4 ,in these
 he represented subjects sacred and     
profane1 and particularly the manners of
 the lower classes1 drinking parties1   
conjurors1 and feasts4 ,his most admired
 works are his ,supper at ,emmaus1 in   
the ,casa ,borghese2 ,s4 ,bastiano in   
,campidoglio2 ,agar1 with ,ishmael      
,dying1 in the ,panfili collection2 and 
the picture of a ,fruit ,girl1 which    
exhibits great resemblance of nature1   
both in the figures and accompaniments4 
,he was still more successful in        
representing quarrels and nightly       
broils1 to which he was himself no      

stranger1 and by which too he rendered  
his own life scandalous4 ,he fled from  
,rome for homicide1 and resided for some
 time in ,naples2 from thence he passed 
to ,malta1 where1 after having been     
honoured with the ,cross by the ,grand  
,master1 for his talent displayed in his
 picture of the ,decollation of ,s4     
,john1 in the oratory of the church of  
the ,conventuals1 he quarrelled with a  
cavalier and was thrown into prison4    
,escaping from thence with difficulty1  
he resided for some time in ,sicily1 and
 wished to return to ,rome2 but had not 
proceeded further on his journey than   
,porto ,ercole1 when he died of a       
malignant fever1 in the year #afji4 ,he 
left numerous works in these different  
countries1 as we learn from ,gio4       
,pietro ,bellori1 who wrote his life at 
considerable length4 ,of his chief      
scholars we shall treat in the following
 book4 ,at present we will enumerate his
 followers in ,rome and its territories4
  ,his school1 or rather the crowd of   

his imitators1 who were greatly         
increased on his death1 does not afford 
an instance of a single bad colourist2  
it has nevertheless been accused of     
neglect1 both in design and grace4      
,bartolommeo ,manfredi1 of ,mantua1     
formerly a scholar of ,roncalli1 might  
be called a second ,caravaggio1 except  
that he was rather more refined in his  
composition4 ,his works are seldom found
 in collections1 although he painted for
 them1 as he died young1 and is often   
supplanted by his master1 as ,i believe 
was the case with some pictures painted 
for the ,casa ,medicea1 mentioned by    
,baglione4  ,carlo ,saracino1 or        
,saraceni1 also called ,veneziano1      
wishing to be thought a second          
,caravaggio1 affected the same singular 
mode of dress as that master1 and       
provided himself with a huge shagged    
dog1 to which he gave the same name that
 ,caravaggio had attached to his own4   
,he left many works in ,rome1 both in   
fresco and oils4 ,he too was a          

naturalista1 but possessed a more clear 
style of colour4 ,he displayed a        
,venetian taste in his figures1 dressing
 them richly in the ,levant fashion1 and
 was fond of introducing into his       
compositions corpulent persons1 eunuchs1
 and shaven heads4 ,his principal       
frescos are in a hall of the ,quirinal2 
his best oil pictures are thought to be 
those of ,s4 ,bonone1 and a martyred    
bishop in the church dell',anima4 ,he is
 seldom found in collections2 but1 from 
the above peculiarities1 ,i have more   
than once recognized his works4 ,he     
returned to ,venice1 and soon afterwards
 died there2 hence he was omitted by    
,ridolfi1 and scarcely noticed by       
,zanetti4  ,monsieur ,valentino1 as he  
is called in ,italy1 who was born at    
,brie1 near ,paris1 and studied in      
,rome1 became one of the most judicious 
followers of ,caravaggio4 ,he painted in
 the ,quirinal the ,martyrdom of the    
,saints ,processo and ,martiniano4 ,he  
was a young artist of great promise1 but

 was cut off by a premature death4 ,his 
easel pictures are not very rare in     
,rome4 ,the ,denial of ,s4 ,peter1 in   
the ,palazzo ,corsini1 is a delightful  
picture4  ,simone ,vovet1 the restorer  
of the ,french ,school1 and the master  
of ,le ,brun1 formed his style from the 
pictures of ,caravaggio and ,valentino4 
,in ,rome there are some charming       
productions by him both in public and   
private1 particularly in the ,barberini 
gallery4 ,i have heard them preferred to
 many others that he painted in ,france 
in his noted rapid style4  ,angiolo     
,caroselli was a ,roman1 in whose works1
 consisting chiefly of portraits and    
small figures1 if we except the ,s4     
,vinceslao of the ,quirinal palace1 and 
a few similar pictures1 we find the     
style of ,caravaggio improved by an     
addition of grace and delicacy4 ,he was 
remarkable for not making his design on 
paper1 or using any preparatory study   
for his canvass4 ,he is lively in his   
attitudes1 rich in his tints1 and       

finished and refined in his pictures1   
which are highly prized1 but few in     
number1 when we consider the term of his
 life4 ,besides practising the style of 
,caravaggio1 in which he frequently     
deceived the most experienced1 he       
imitated other artists in a wonderful   
manner4 ,a ,s4 ,elena by him was        
considered as a production of ,titian   
even by his rivals1 until they found the
 cipher ,a4 ,c4 marked on the picture in
 small letters1 and ,poussin affirms1   
that he should have taken his two copies
 of ,raffaello for genuine pictures1 if 
he had not known where the originals    
were deposited4  ,gherardo ,hundhorst is
 called ,gherardo dalle ,notti1 from    
having painted few subjects except      
illuminated night pieces1 in which he   
chiefly excelled4 ,he imitated          
,caravaggio1 adopting only his better   
parts1 his carnations1 his vigorous     
pencil1 and grand masses of light and   
shade3 but he aimed also at correctness 
in his costume1 selection in his forms1 

gracefulness of attitude1 and           
represented religious subjects with     
great propriety4 ,his pictures are very 
numerous1 and the ,prince ,giustiniani  
possesses the one of ,christ led by     
night to the ,judgment ,seat1 which is  
one of his most celebrated works4  ,the 
school of ,caravaggio flourished for a  
considerable period1 but its followers1 
painting chiefly for private            
individuals1 have in a great degree     
remained unknown4 ,baglione makes       
particular mention of ,gio4 ,serodine1  
of ,ascona1 in ,lombardy1 and enumerates
 many works by him1 more remarkable for 
their facility of execution than their  
excellence4 ,there remains no public    
specimen of him1 except a ,decollation  
of ,s4 ,john at ,s4 ,lorenzo fuor delle 
,mura4 ,one of the latest of the school 
of ,caravaggio was ,tommaso ,luini1 a   
,roman1 who1 from his quarrelsome       
disposition1 and his style1 was called  
,il ,caravaggino4 ,he worked in ,rome1  
and appeared most to advantage when he  

painted the designs of his master1      
,sacchi1 as at ,s4 ,maria in ,via4 ,when
 he embodied his own ideas1 his design  
was rather dry and his colouring dark4  
,about the same time ,gio4 ,campino of  
,camerino1 who received his first       
instructions under ,gianson in          
,flanders1 resided in ,rome for some    
years1 and increased the number of this 
school4 ,he was afterwards painter to   
the court of ,madrid1 and died in       
,spain4 ,it is not known whether or not 
,gio4 ,francesco ,guerrieri di          
,fossombrone ever studied in ,rome1 but 
his works are to be seen at ,filippini  
di ,fano1 where he painted in a chapel1 
,s4 ,carlo contemplating the ,mysteries 
of the ,passion1 with two lateral       
pictures from the life of that saint2   
and in another chapel1 where he         
represented the ,dream of ,s4 ,joseph1  
his style resembles that of ,caravaggio1
 but possesses more softness of colour1 
and more gracefulness of form4 ,in the  
,duomo of ,fabriano is also a ,s4       

,joseph by him4 ,he has left1 in his    
native place1 an abundance of works1    
which1 if distributed more widely1 would
 give him a celebrity which it has not  
hitherto been his lot to receive4 ,i    
there saw1 in a church1 a night piece of
 ,s4 ,sebastian attended by ,s4 ,irene1 
a picture of most beautiful effect2 a   
,judith1 in possession of the           
,franceschini family2 other works in the
 ,casa ,passionei and elsewhere1 very   
charming1 and which often shew that he  
had very much imitated ,guercino4 ,his  
female forms are almost all cast in the 
same mould1 and are copied from the     
person of a favorite mistress4  ,we now 
come to the ,caracci and their school4  
,before ,annibale arrived in ,rome1 he  
had already formed a style which left   
nothing to be desired1 except to be more
 strongly imbued with the antique4      
,annibale added this to his other noble 
qualities when he came to ,rome2 and his
 disciples1 who trod in his steps1 and  
continued after his death to paint in   

that city1 are particularly             
distinguished by this characteristic    
from those who remained in ,bologna     
under the instruction of his cousin     
,lodovico4 ,the disciples of ,annibale  
left scholars in ,rome2 but no one      
except ,sacchi approached so near in    
merit to his master1 as they had done to
 ,annibale1 nor did there appear1 like  
them1 any founder of an original style4 
,still they were sufficient to put a    
check on the mannerists1 and the        
followers of ,caravaggio1 and to restore
 the ,roman ,school to a better taste4  
,we shall now proceed to enumerate their
 scholars in their various classes4     
,domenichino ,zampieri1 to his talents  
as a painter1 added commensurate powers 
of instruction4 ,besides ,alessandro    
,fortuna1 who under the direction of his
 master painted some fables from        
,apollo1 in the villa ,aldobrandini in  
,frescati1 and died young1 ,zampieri had
 in ,rome two scholars of great repute1 
mentioned only by ,bellori2 ,antonio    

,barbalunga1 of ,messina1 and ,andrea   
,camassei of ,bevagna1 both of whom     
honoured their country with their name  
and works1 although they did not live   
many years4 ,the first was a happy      
imitator of his master1 who had long    
employed him in copying for himself4 ,in
 the church of the ,p4 ,p4 ,teatini1 at 
,monte ,cavallo1 is his picture of their
 ,founder1 and of ,s4 ,andrea ,avellino1
 attended by angels1 which might be     
ascribed to ,zampieri himself1 whose    
forms in this class of subjects were    
select1 and his attitudes elegant1 and  
most engaging4 ,to him ,i shall return  
in the fourth book4 ,the second1 who had
 also studied in the school of ,sacchi1 
lived longer in ,rome2 and whoever      
wishes justly to appreciate him1 must   
not judge from the chapel which he      
painted whilst yet young in his native  
place1 but must inspect his works in the
 capital4 ,there1 in ,s4 ,andrea della  
,valle1 is the ,s4 ,gaetano1 painted at 
the same time1 and in competition with  

the ,s4 ,andrea of ,barbalunga1 before  
mentioned with commendation2 the        
,assumption at the ,rotonda1 and the    
,pieta at the ,capucins2 and many       
excellent frescos in the ,baptistery of 
the ,lateran1 and in the church of ,s4  
,peter2 which evince that he had almost 
an equal claim to fame with his comrade4
 ,if1 indeed1 he was somewhat less bold1
 and less select1 yet he had a natural  
style1 a grace1 and a tone of colour1   
that do honour to the ,roman ,school1 to
 which he contributed ,giovanni         
,carbone1 of ,s4 ,severino1 a scholar of
 some note4 ,it has been remarked1 that 
his fate resembles that of ,domenichino1
 as his merits were undervalued1 and    
himself persecuted by his relatives1 and
 he was also prematurely cut off by     
domestic afflictions4  ,francesco ,cozza
 was born in ,calabria1 but settled in  
,rome4 ,he was the faithful companion of
 ,domenichino during the life of that   
master1 and after his death completed   
some works left unfinished by that      

artist1 and executed them in the genuine
 spirit of his departed friend1 as may  
be seen in ,titi4 ,he appears to have   
inherited from his teacher his learning 
rather than his taste4 ,one of his most 
beautiful pictures is the ,virgin del   
,riscatto at ,s4 ,francesca ,romana a   
,capo alle ,case4 ,out of ,rome there   
are few public or private works to be   
met with by him4 ,he was considered     
exceedingly expert in his knowledge of  
the hands of the different masters1 and 
on disputed points1 which often arose on
 this subject in ,rome1 his opinion was 
always asked and acted on1 without any  
appeal from his judgment4 ,of ,pietro   
del ,po1 also a disciple of             
,domenichino1 and of his family1 we     
shall speak more at large in the fourth 
book4  ,giannangiolo ,canini1 of ,rome1 
was first instructed by ,domenichino1   
and afterwards by ,barbalunga1 and would
 have obtained a great reputation for   
his inventive genius1 if1 seduced by the
 study of antiquities1 he had not for   

his pleasure taken a short way to the   
art2 which led him to neglect the       
component parts1 and to satisfy himself 
with a general harmonious effect4 ,he   
possessed1 however1 great force and     
energy in subjects which required it1 as
 in the ,martyrdom of ,s4 ,stephen at   
,s4 ,martino a' ,monti4 ,the works which
 he executed with the greatest labour   
and care1 were some sacred and profane  
subjects1 which he was commissioned to  
paint for the ,queen of ,sweden4 ,but   
although he was appointed painter to    
that court1 and was also a great        
favourite with the queen1 it should seem
 that he did not much exercise his      
profession either for her or others1 as 
his great pleasure was in designing from
 the antique4 ,he filled a large volume 
with a collection of portraits of       
illustrious ancients1 and heads of the  
heathen deities1 from gems and marbles4 
,this book1 the ,cardinal ,chigi having 
carried it with him into ,france1 he    
presented to ,louis ,,xiv41 and received

 a collar of gold as a remuneration for 
it4 ,on his return to ,rome he was      
intending to eulogize the queen in      
verse1 and to continue in prose the     
lives of the painters1 which he had in  
part prepared when he died4 ,his        
biographical work probably afforded     
assistance to ,passeri or to ,bellori1  
his intimate friends4  ,with ,canini    
worked ,giambatista ,passeri1 a ,roman1 
a man of letters1 and who became        
afterwards a secular priest4 ,it is     
recorded1 that in the early part of his 
life he lived on very intimate terms    
with ,domenichino at ,frescati1 and he  
adhered much to his style4 ,there exists
 by him a ,crucifixion between two      
,saints at ,s4 ,giovanni della ,malva1  
but no other work in public1 as most of 
his pictures are in private collections4
 ,in the ,palazzo ,mattei are some      
pictures representing butcher's meat1   
birds1 and game1 touched with a masterly
 pencil2 to these are added some half   
figures1 and also some sparrows         

7passere71 in allusion to his name4     
,there is also1 by his hand1 at the     
academy of ,s4 ,luke1 the portrait of   
,domenichino1 painted on the occasion of
 his funeral2 on which occasion         
,passeri1 and not ,passerino1 as        
,malvasia states1 recited a funeral     
oration1 and probably paid some poetical
 tribute to his memory1 since he was    
accustomed to write both verse and prose
 as ,bellori did2 and his silence on the
 ,lives of ,bellori1 which had then     
appeared1 and which he had numerous     
opportunities of noticing1 probably     
arose from feelings of jealousy4 ,he is 
esteemed one of the most authentic      
writers on ,italian art2 and if         
,mariette expressed himself dissatisfied
 with him1 7v4 ,lett4 ,pitt4 tom4 vi4 p4
 #aj17 it probably arose from his having
 seen only his ,life of ,pietro da      
,cortona1 which was left unfinished by  
the author4 ,he possessed a profound    
knowledge of the principles of art1 was 
just in his criticisms1 accurate in his 

facts2 if1 indeed1 as has been pretended
 by a writer in the ,pittoriche         
,lettere1 he did not in some degree     
depreciate ,lanfranc1 in order to raise 
his own master1 ,zampieri4 ,his work    
contains the lives of many painters1 at 
that time deceased1 and was published   
anonymously1 it is supposed1 by         
,bottari1 who in many places shortened  
it1 and improved the style1 which was   
too elaborate1 containing useless       
preambles1 and was occasionally too     
severe against ,bernino and others1 on  
which account the work remained unedited
 for more than a century4  ,vincenzio   
,manenti1 of ,sabina1 who was first the 
scholar of ,cesari1 and afterwards of   
,domenichino1 left many works in his    
native place4 ,some pictures by him are 
to be seen in ,tivoli1 as the ,s4       
,stefano in the ,duomo1 and the ,s4     
,saverio at the ,gesu1 which do not     
exhibit him as an artist of very great  
genius1 but assiduous and expert in     
colouring4 ,of ,ruggieri1 of ,bologna1  

we shall speak elsewhere4  ,guido cannot
 be said to have contributed much to the
 ,roman ,school1 except in leaving in   
the capital a great number of works     
displaying that charm of style1 and     
distinguished by that superhuman beauty1
 which were his characteristics4 ,we are
 told of two scholars who came to him at
 the same time from ,perugia1           
,giandomenico ,cerrini1 and ,luigi1 the 
son of ,giovanni ,antonio ,scaramuccia4 
,the pictures of ,cerrini1 7who was     
commonly called ,il ,cav4 ,perugino7    
were frequently touched by his master   
,guido1 and passed for originals of that
 artist1 and were much sought after4 ,in
 his other works he varies1 having      
sometimes followed the elder            
,scaramuccia4 ,his fellow disciple is   
more consistent4 ,he displays grace in  
every part of his work1 and if he does  
not soar1 still he does not fall to the 
ground4 ,there are many of his paintings
 in ,perugia1 both in public and        
private1 amongst which is a             

,presentation at the ,filippini1 from   
all accounts a beautiful performance4   
,he left many works in ,milan1 where in 
the church of ,s4 ,marco1 is a ,s4      
,barbera by him2 a large composition1   
and extremely well coloured4 ,he        
published a book in ,pavia1 in #afed1   
which he intituled ,le ,finezze de'     
,pennelli ,italiani4 ,it is full1 says  
the ,abbate ,bianconi1 di buona volonta 
pittorica4 ,it possesses nevertheless   
some interesting remarks4  ,gio4        
,batista ,michelini1 called ,il         
,folignate1 is almost forgotten in this 
catalogue2 but there are in ,gubbio     
various works by him1 and particularly a
 ,pieta1 worthy of the school of ,guido4
 ,macerata possessed a noble disciple of
 ,guido1 in the person of the ,cav4     
,sforza ,compagnoni1 by whose hand there
 is1 in the academy de' ,catinati1 the  
device of that society1 which might be  
taken for a design of ,guido4 ,he gave a
 picture to the church of ,s4 ,giorgio1 
which is still there1 and presented a   

still more beautiful one to the church  
of ,s4 ,giovanni1 which was long to be  
seen over the great altar1 but is now in
 the possession of the ,conte ,cav4     
,mario ,compagnoni4 ,malvasia mentions  
him in the life of ,viola1 but makes him
 a scholar of ,albano4 ,the ,ginesini   
boast of ,cesare ,renzi1 as a           
respectable scholar of ,guido1 and1 in  
the church of ,s4 ,tommaso1 they shew a 
picture of that saint by his hand4 ,in  
addition to the scholars of ,guido1     
whose names have been handed down to us1
 ,i shall here beg leave to add an      
imitator of ,guido1 who from the time in
 which he flourished1 and from his noble
 style of colour1 probably belonged to  
the same school4 ,i found his name      
subscribed ,giorgio ,giuliani da ,civita
 ,castellana1 #afa441 on a large picture
 of the ,martyrdom of ,s4 ,andrew1 which
 ,guido painted for the ,camaldolesi di 
,s4 ,gregorio at ,rome3 and which this  
artist copied for the celebrated        
monastery of the ,camaldolesi           

all',avellana4 ,it is exposed in the    
refectory1 and notwithstanding the      
dampness of the place1 maintains a      
freshness of colour very unusual in     
pictures of that antiquity4  ,the ,cav4 
,gio4 ,lanfranco came to ,rome whilst   
yet young1 and there formed that free   
and noble style1 which served to        
decorate many cupolas and noble         
edifices1 and which pleases also in his 
cabinet pictures when he executed them  
with care4 ,giacinto ,brandi di ,poli   
was his most celebrated scholar in      
,rome4 ,he at first adopted his master's
 moderate tone of colour1 the variety   
and contrast of his composition1 and his
 flowing pencil2 but in consequence of  
his filling1 as he did1 ,rome and the   
state with his works1 he neglected      
correctness of design1 and never arrived
 at that grandeur of style which we     
admire in ,lanfranc4 ,he sometimes      
indeed went beyond himself1 as in the   
,s4 ,rocco of the ,ripetta1 and in the  
forty martyrs of the ,stigmata in ,rome2

 but his inordinate love of gain would  
not allow him to finish many works in   
the same good style4 ,i have been       
informed by a connoisseur1 on whose     
opinion ,i can rely1 that the best works
 of this artist are at ,gaeta1 where he 
painted at the ,nunziata a picture of   
the ,madonna with the ,holy ,infant2 and
 where1 in the inferior part of the     
,duomo1 he painted in the vault three   
recesses and ten angles1 adding over the
 altar the picture of the martyrdom of  
,s4 ,erasmus1 bishop of the city1 who   
was buried in that church4 ,brandi did  
not perpetuate the taste of his school1 
not leaving any pupil of eminence except
 ,felice ,ottini1 who painted in his    
youth a chapel at the ,p4 ,p4 di ,gesu e
 ,maria1 and did not long survive that  
work4 ,orlandi also mentions a ,carlo   
,lamparelli di ,spello1 who left in     
,rome a picture at the church of the    
,spirito ,santo1 but nothing further4   
,an ,alessandro ,vaselli also left some 
works in another church in ,rome4       

,after ,brandi1 we ought to commemorate 
,giacomo ,giorgetti1 of ,assisi1 who is 
little known beyond his native city1 and
 the neighbouring towns4 ,he is said to 
have first studied the art of design in 
,rome1 when he learned colouring from   
,lanfranc1 and became a good fresco     
painter4 ,there is by him in a chapel of
 the ,duomo at ,assisi1 a large         
composition in fresco1 and in the       
sacristy of the ,conventuals1 various   
subjects from the ,life of the ,virgin1 
also in fresco2 works coloured in a fine
 style1 and much more finished than was 
usual with ,lanfranc4 ,if there be any  
fault to be found with them1 it is the  
proportions of the figures1 which not   
unfrequently incline to awkwardness4    
,his name is found in the ,descrizione  
della ,chiesa di ,s4 ,francesco di      
,perugia1 together with that of         
,girolamo ,marinelli1 his fellow citizen
 and contemporary1 of whom ,i never     
found any other notice4  ,lanfranc      
instructed in ,rome a noble lady1 who   

filled the church of ,s4 ,lucia with her
 pictures4 ,these were designed by her  
master1 and coloured by herself4 ,her   
name was ,caterina ,ginnasi4 ,there were
 also with ,lanfranc in ,rome1          
,mengucci1 of ,pesaro1 and others1 who  
afterwards left ,rome1 and will be      
mentioned by us elsewhere4 ,some have   
added to these ,beinaschi1 but he was   
only an excellent copyist and imitator1 
as we shall see in the fourth book4 ,at 
the same time1 we may assert1 that none 
of the ,caracci school had a greater    
number of followers than ,lanfranc2 as  
,pietro di ,cortona1 the chief of a     
numerous family1 derived much of his    
style from him1 and the whole tribe of  
machinists adopted him as their leader1 
and still regard him as their prototype4
  ,albano too1 here deserves a          
conspicuous place as a master of the    
,roman ,school4 ,giambatista ,speranza1 
a ,roman1 learned from him the          
principles of the art1 and became a     
fresco painter of the best taste in     

,rome4 ,if we inspect his works at ,s4  
,agostino1 and ,s4 ,lorenzo in ,lucina1 
and in other places where he painted    
religious subjects1 we immediately      
perceive that his age is not that of the
 ,zuccari1 and that the true style of   
fresco still flourished4 ,from ,albano  
too1 and from ,guercino1 ,pierfrancesco 
,mola di ,como derived that charming    
style1 which partook of the excellences 
of both these artists4 ,he renounced the
 principles of ,cesari1 who had         
instructed him for many years2 and after
 having diligently studied colouring at 
,venice1 he attached himself to the     
school of the ,caracci1 but more        
particularly to ,albano4 ,he never1     
however1 equalled his master in grace1  
although he had a bolder tone of colour1
 greater invention1 and more vigour of  
subject4 ,he died in the prime of life  
whilst preparing for his journey to     
,paris1 where he was appointed painter  
to the court4 ,rome possesses many of   
his pictures1 particularly in fresco1 in

 the churches2 and in the ,quirinal     
palace1 is ,joseph found by his         
,brethren1 which is esteemed a most     
beautiful piece4 ,there are also many of
 his pictures to be found in private    
collections2 and in his landscapes1 in  
which he excelled1 it is doubted whether
 the figures are by him or ,albano4 ,he 
had in ,rome three pupils1 who1 aspiring
 to be good colourists1 frequented the  
same fountains of art as their master   
had done1 and travelled through all     
,italy4 ,they were ,antonio ,gherardi da
 ,rieti1 who on the death of ,mola      
frequented the school of ,cortona2 and  
painted in many churches in ,rome with  
more despatch than elegance2#gf ,gio4   
,batista ,boncuore1 of ,abruzzo1 a      
painter in a grand though somewhat heavy
 style2#gg and ,giovanni ,bonatti1 of   
,ferrara1 whom we shall reserve for his 
native school4  ,virgilio ,ducci1 of    
,citta di ,castello1 is little known    
among the scholars of ,albano1 though he
 does not yield to many of the          

,bolognese in the imitation of their    
common master4 ,two pictures of ,tobias1
 in a chapel of the ,duomo1 in his      
native place1 are painted in an elegant 
and graceful style4 ,an ,antonio        
,catalani1 of ,rome1 is mentioned to us 
by ,malvasia1 and with him ,girolamo    
,bonini1 of ,ancona1 the intimate friend
 of ,albani4 ,these artists resided in  
,bologna1 and were employed there1 as we
 shall see in our history of that       
school4 ,of the second we are told that 
he painted both in ,venice and in ,rome2
 and ,orlandi praises his works in the  
,sala ,farnese1 which either no longer  
exist1 or are neglected to be mentioned 
in the ,guida of ,titi4  ,lastly1 from  
the studio of ,albani issued ,andrea    
,sacchi1 after its chief the best       
colourist of the ,roman ,school1 and one
 of the most celebrated in design1 in   
the practice of which he continued until
 his death4 ,profoundly skilled in the  
theory of art1 he was yet slow in the   
execution4 ,it was a maxim with him that

 the merit of a painter does not consist
 in giving to the world a number of     
works of mediocrity1 but a few perfect  
ones2 and hence his pictures are rare4  
,his compositions do not abound with    
figures1 but every figure appears       
appropriate to its place2 and the       
attitudes seem not so much chosen by the
 artist1 as regulated by the subject    
itself4 ,sacchi did not1 indeed1 shun   
the elegant1 though he seems born for   
the grand style--grave miens1 majestic  
attitudes1 draperies folded with care   
and simplicity2 a sober colouring1 and a
 general tone1 which gave to all objects
 a pleasing harmony1 and a grateful     
repose to the eye4 ,he seems to have    
disdained minuteness1 and1 after the    
example of many of the ancient          
sculptors1 to have left some part always
 unfinished2 so at least his admirers   
assert4 ,mengs expresses himself        
differently1 and says1 that ,sacchi's   
principle was to leave his pictures1 as 
it were1 merely indicated1 and to take  

his ideas from natural objects1 without 
giving them any determinate form3 on    
this matter the professors of the art   
must decide4 ,his picture of ,s4        
,romualdo surrounded by his monks1 is   
ranked among the four best compositions 
in ,rome2 and the subject was a         
difficult one to treat1 as the great    
quantity of white in the vestures tends 
to produce a sameness of colour4 ,the   
means which ,sacchi adopted on this     
occasion have always been justly        
admired4 ,he has placed a large tree    
near the foreground1 the shade of which 
serves to break the uniformity of the   
figures1 and he thus introduced a       
pleasing variety in the monotony of the 
colours4 ,his ,transito di ,s4 ,anna at 
,s4 ,carlo a' ,catinari1 his ,s4 ,andrea
 in the ,quirinal1 and his ,s4 ,joseph  
at ,capo alle ,case1 are also beautiful 
pictures4 ,perugia1 ,foligno1 and       
,camerino1 possess altarpieces by him   
which are the boast of these cities4 ,he
 enjoyed the reputation of an amiable   

and learned instructor4 ,one of his     
lectures1 communicated by his celebrated
 scholar1 ,francesco ,lauri1 may be read
 in the life of that artist1 written by 
,pascoli1 who1 as ,i have before        
remarked1 collected the greater part of 
his information from the old painters in
 ,rome4 ,he has probably engrafted on   
them some sentiments either of his own  
or of others1 as often happens in a     
narrative when the related facts are    
founded more in probability than in     
certainty2 but the maxims there         
inculcated by ,sacchi are worthy of an  
artist strongly attached to the true1   
the select1 and the grand2 and who1 to  
give dignity to his figures1 seems to   
have had his eyes on the precepts of    
,quintilian respecting the action of his
 orator4 ,he had a vast number of       
scholars1 among whom we may reckon      
,giuseppe ,sacchi1 his son1 who became a
 conventual monk1 and painted a picture 
in the sacristy1 in the church of the   
,apostles4 ,but his most illustrious    

disciple was ,maratta1 of whom1 and of  
whose scholars1 we shall speak in       
another epoch4  ,we find a follower of  
the ,caracci1 though we know not of what
 particular master1 in ,giambatista     
,salvi1 called from the place in which  
he was born1 ,sassoferrato1#gh and whom 
we shall notice further when we speak of
 ,carlo ,dolci1 and his very devotional 
pictures4 ,this artist excelled ,dolci  
in the beauty of his ,madonnas1 but     
yielded to him in the fineness of his   
pencil4 ,their style was dissimilar1    
,salvi having formed himself on other   
models2 he first studied in his native  
place under ,tarquinio1 his father1#gi  
then in ,rome and afterwards in ,naples2
 it is not known precisely under what   
masters1 except that in his ,,ms4       
,memoirs we read of one ,domenico4 ,the 
period in which ,salvi studied          
corresponds in a remarkable manner with 
the time in which ,domenichino was      
employed in ,naples1 and his manner of  
painting shews that he adopted the style

 of that master1 though not exclusively4
 ,i have seen in the possession of his  
heirs many copies from the first        
masters1 which he executed for his own  
pleasure4 ,i observed several of        
,albano1 ,guido1 ,barocci1 ,raffaello1  
reduced to a small size1 and painted1 as
 one may say1 all in one breath4 ,there 
are also some landscapes of his         
composition1 and a vast number of sacred
 portraits2 several of ,s4 ,john the    
,baptist1 but more than all of the      
,madonna4 ,though not possessing the    
ideal beauty of the ,greeks1 he has yet 
a style of countenance peculiarly       
appropriate to the ,virgin1 in which an 
air of humility predominates1 and the   
simplicity of the dress and the attire  
of the head corresponds with the        
expression of the features1 without at  
the same time lessening the dignity of  
her character4 ,he painted with a       
flowing pencil1 was varied in his       
colouring1 had a fine relief and        
chiaroscuro2 but in his local tints he  

was somewhat hard4 ,he delighted most in
 designing heads with a part of the     
bust1 which frequently occur in         
collections2 his portraits are very     
often of the size of life1 and of that  
size1 or larger1 is a ,madonna1 by him1 
with the infant ,christ1 in the ,casali 
palace at ,rome4 ,the picture of the    
,rosario1 that he painted at ,s4        
,sabina1 is one of the smallest pictures
 in ,rome4 ,it is1 however1 well        
composed1 and conducted with his usual  
spirit1 and is regarded as a gem4 ,in   
other places the largest picture by him 
which is to be seen1 is an altarpiece in
 the cathedral of ,montefiascone4  ,a   
follower of the ,caracci also1 though of
 an uncertain school1 was ,giuseppino da
 ,macerata1 whom a dubious tradition has
 assigned to ,agostino4 ,his works are  
to be seen in the two collegiate        
churches of ,fabriano2 an ,annunciation1
 in oils1 in ,s4 ,niccolo1 and at ,s4   
,venanzio two chapels1 painted in       
fresco1 in one of which1 where he       

represented the miracles of the         
apostles1 he surpassed himself in the   
beauty of the heads and in the general  
composition2 in other respects he is    
somewhat hasty and indecisive4 ,two of  
his works remain in his native place2 at
 the ,carmelites the ,madonna in ,glory1
 with ,s4 ,nicola and ,s4 ,girolamo on  
the foreground2 and at the ,capucins1   
,s4 ,peter receiving the ,keys4 ,both   
these pictures are in the ,caracci      
style1 but the second is most so2       
corresponding in a singular manner with 
one of the same subject which the       
,filippini of ,fano have in their       
church1 and which is an authentic and   
historical work of ,guido ,reni4 ,the   
second1 therefore1 is probably a copy4  
,there is written on it ,joseph ,ma4    
faciebat #afcj1 but the figures of the  
year are not very legible4 ,marcello    
,gobbi1 and ,girolamo ,boniforti1#hj a  
tolerable good imitator of ,titian1     
lived at this time in ,macerata4        
,perugia presents us with two scholars  

of the ,caracci1 ,giulio ,cesare ,angeli
 and ,anton4 ,maria ,fabrizzi1 the one  
the pupil of ,annibale in ,rome1 the    
other of ,lodovico in ,bologna4 ,they   
were attracted by the fame of their     
masters1 and secretly leaving their     
native place for about the space of     
twelve years1 they obtained admission   
for some time into their school1 if we  
may rely on ,pascoli4 ,fabrizzi1 who is 
also said to have worked under          
,annibale1 does not shew great          
correctness2 and the cause may be       
ascribed to his too ardent temperament1 
and the want of more mature instruction2
 for ,annibale dying after three years1 
from a scholar he became a master1 and  
was celebrated for his vigorous         
colouring1 his composition1 and the     
freedom of his pencil4 ,angeli was more 
remarkable for expression and colour    
than design1 and excelled rather in the 
draped than in the naked figure4 ,there 
is a vast work by him in fresco in the  
oratory of the church of ,s4 ,agostino  

in ,perugia1 and in part of it a limbo  
of saints1 certainly not designed by the
 light of ,lodovico's lamp1 if indeed it
 ought not to be considered that this   
lunette is by another hand4 ,this branch
 of the ,bolognese ,school1 which was   
constantly degenerating from the        
excellence of its origin1 being at such 
a distance from ,bologna as not to be   
able to be revivified by the pictures of
 the ,caracci1 still survived for a long
 time4 ,angeli instructed ,cesare       
,franchi1 who excelled in small         
pictures1 which were highly prized in   
collections2 and ,stefano ,amadei also1 
who was formed more on the ,florentine  
,school of that age than on the ,school 
of ,bologna4 ,stefano was also attached 
to letters1 and opened a school1 and by 
frequent meetings and instructive       
lectures improved the minds of the young
 artists who frequented it4 ,one of the 
most assiduous of these was ,fabio1     
brother of the ,duke of ,cornia1 of whom
 some works are mentioned in the ,guida 

di ,roma1 and who entitled himself to a 
higher rank than that of a mere         
dilettante4  ,besides the ,bolognese1 a 
number of ,tuscans who were employed by 
,paul ,v4 in the two churches of ,s4    
,peter and ,s4 ,m4 ,maggiore1 also      
contributed to the melioration of the   
,roman ,school2 and some others who1    
deprived of that opportunity of         
distinguishing themselves1 are yet      
memorable for the scholars they left    
behind them4 ,of the diocese of         
,volterra was ,cristoforo ,roncalli1    
called ,il ,cav4 delle ,pomarance1      
cursorily noticed by us among the       
,tuscans4 ,i now place him in this      
school1 because he both painted and     
taught for a considerable time in ,rome2
 and ,i assign him to this epoch1 not   
from the generality of his works1 but   
from his best having been executed in   
it4 ,he was the scholar of ,niccolo     
delle ,pomarance1 for whom he worked    
much with little reward2 and from his   
example he learnt to avail himself of   

the labour of others1 and to content    
himself with mediocrity4 ,yet there are 
several pictures by him1 in which he    
appears excellent1 except that he too   
often repeats himself in his            
backgrounds1 his foreshortened heads1   
and full and rubicund countenances4 ,his
 style of design is a mixture of the    
,florentine and ,roman4 ,in his frescos 
he displayed fresh and brilliant        
colours2 in his oil pictures1 on the    
contrary1 he adopted more sober tints1  
harmonized by a general tone of         
tranquillity and placidness4 ,he        
frequently decorated these with         
landscapes gracefully disposed4 ,among  
his best labours is reckoned the death  
of ,ananias and ,sapphira1 which is at  
the ,certosa1 and which was copied in   
mosaic in ,s4 ,peter's4 ,other mosaics  
also in the same church were executed   
after his cartoons1 and in the          
,lateranense is his ,baptism of         
,constantine1 a grand historical        
composition4 ,but his most celebrated   

work is the cupola of ,loreto1 very rich
 in figures1 but injured by time1 except
 some prophets1 which are in a truly    
grand style4 ,he painted considerably in
 the treasury of that church2 and there 
are some histories of the ,madonna not  
conducted with equal felicity1          
particularly in the perspective4 ,he    
obtained this vast commission through   
the patronage of the ,cardinal          
,crescenzi1 in competition with         
,caravaggio1 who1 to gratify his        
revenge1 hired an assassin to wound him 
in the face2 and in rivalship too with  
,guido ,reni1 who retaliated in a more  
laudable manner1 by proving his         
superiority by his works4 ,roncalli from
 this time was in great request in the  
cities of ,picenum1 which in consequence
 abound with his pictures4 ,there is to 
be seen at the ,eremitani at ,s4        
,severino1 a ,noli me tangere2 at ,s4   
,agostino in ,ancona1 a ,s4 ,francis    
praying2 and at ,s4 ,palazia in ,osimo1 
a picture of a saint1 one of his most   

finished productions4 ,in the same city1
 in the ,casa ,galli1 he painted di     
sotto in su the ,judgment of ,solomon2  
and this is perhaps the best fresco that
 he ever executed4 ,he could vary his   
manner at will4 ,there is an ,epiphany  
in the possession of the ,marquis       
,mancinforti in ,ancona1 quite in the   
style of the ,venetian ,school4  ,there 
were two artists who approached this    
master in style1 the ,cav4 ,gaspare     
,celio1 a ,roman1 and ,antonio1 the son 
of ,niccolo ,circignani4 ,celio was the 
pupil of ,niccolo1 according to         
,baglione1 but of ,roncalli1 if we are  
to believe ,titi4 ,he designed and      
engraved antique statues1 and painted in
 a commendable manner whilst young1     
after the designs of ,p4 ,gio4 ,bat4    
,fiammeri1 at the ,gesu1 and at a more  
mature age after his own1 in numerous   
churches4 ,the ,s4 ,francis1 on the     
altar of the ,ospizio1 at ,ponte ,sisto1
 is by him2 and he also painted the     
history of ,s4 ,raimondo at the         

,minerva1 and the ,moses passing the    
,red ,sea1 in a vault of the ,mattei    
gallery1 where he competed with other   
first rate artists4 ,antonio is not well
 known in ,rome1 where he worked with   
his father1 after whose death he        
decorated by himself a chapel at the    
,traspontina1 another at the            
,consolazione1 and painted also in      
private houses4 ,citta di ,castello1    
where he passed some of the best years  
of his life1 possesses many of his      
pictures1 and amongst the rest1 that of 
the ,conception1 at the ,conventuals1   
which may be called a mixture of        
,barocci and ,roncalli1 from whom he    
probably learned to improve the style he
 had inherited from his father4  ,the   
,cav4 delle ,pomarance instructed the   
,marchese ,gio4 ,batista ,crescenzi1 who
 became a great patron of the fine arts1
 and who was so much skilled in them1   
that ,paul ,v4 appointed him            
superintendent of the works which he was
 carrying on in ,rome2 and ,philip      

,,iii41 the ,catholic1 also availed     
himself of his services in the          
,escurial4 ,he did not execute many     
works1 and his chief talent lay in      
flower painting4 ,his house was         
frequented by literary men1 and         
particularly by ,marino2 he formed in it
 a gallery containing an extensive      
collection of pictures and drawings1 of 
which he himself says1 ,i believe ,i may
 indeed safely affirm that there is not 
a prince in ,europe that does not yield 
to me in this respect4 7,lett4 p4 #hi47 
,there the artists were always to be    
found1 one of whom1 his disciple1 was   
called ,bartolommeo del ,crescenzi1 of  
the family of ,cavarozzi of ,viterbo4   
,he was a most correct artist1 a        
follower first of ,roncalli1 and        
afterwards became the author of a       
captivating natural style4 ,there exist 
many excellent pictures by him in       
collections1 and in the church of ,s4   
,anna1 a picture of that saint1         
executed1 says ,baglione1 in his best   

taste1 and with a vigorous pencil4      
,among the scholars of ,roncalli may    
also be ranked ,giovanni ,antonio1      
father of ,luigi ,scaramuccia1 who also 
saw and imitated the ,caracci4 ,his     
works are often met with in ,perugia4   
,the spirit and freedom of his pencil   
are more commended than his tints1 which
 are too dark1 and which in the churches
 easily distinguish him amidst a crowd  
of other artists4 ,it is probable that  
he used too great a quantity of terra   
d'ombra1 like others of his day4        
,girolamo ,buratti1 of the same school1 
painted in ,ascoli the beautiful picture
 of the ,presepio at the ,carita1 and   
some subjects in fresco1 highly         
commended by ,orsini4 ,of ,alessandro   
,casolani1 who belongs to this master1  
we spoke in the ,sienese ,school4 ,with 
him1 too1 was included ,cristoforo his  
son1 who1 with ,giuseppe ,agellio of    
,sorrento1 may be ranked with the       
inferior artists4  ,francesco ,morelli1 
a ,florentine1 demands our notice only  

as having imparted the rudiments of the 
art to the ,cav4 ,gio4 ,baglione of     
,rome4 ,his pupil1 however1 did not     
remain with him for any length of time1 
but formed a style for himself from a   
close application to the works of the   
best masters1 and was employed by ,paul 
,v41 by the ,duke of ,mantua1 and by    
persons of distinction4 ,he is less     
vigorous in design and expression1 than 
in colour and chiaroscuro4 ,we meet with
 his works1 not only in ,rome1 where he 
painted much1 but also in several       
provincial towns1 as the ,s4 ,stephen in
 the ,duomo of ,perugia1 and the ,s4    
,catherine at the ,basilica ,loretana4  
,in his colours he resembled ,cigoli1   
but was far behind him in other         
respects4 ,the picture which procured   
him great applause in the ,vatican1 the 
,resuscitation of ,tabitha1 is defaced  
by time2 but both there and at the      
,cappella ,paolina in ,s4 ,maria        
,maggiore1 which was the most           
considerable work of ,paul ,v41 his     

pieces in fresco still remain1 and are  
not unworthy of their age4 ,he is not   
often found in collections1 but in that 
of the ,propaganda ,i saw a ,s4 ,rocco  
painted by him with great force of      
colour4 ,he lived to a considerable age1
 and left behind him a compendium of the
 lives of professors of the fine arts1  
who had been his contemporaries in ,rome
 from #aegb to #afdb4 ,he wrote in an   
unostentatious manner1 and free from    
party spirit1 and was on all occasions  
more disposed to commend the good than  
to censure the bad4 ,whenever ,i peruse 
him1 ,i seem to hear the words of a     
venerable teacher1 inclined rather to   
inculcate precepts of morals1 than      
maxims on the fine arts4 ,of the latter1
 indeed1 he is very sparing1 and it     
would almost lead one to suppose that he
 had succeeded in his profession1 more  
from a natural bias1 and a talent of    
imitation1 than from scientific         
principles and sound taste4 ,it was1    
perhaps1 in order that he might not be  

tied to treat of the art theoretically1 
and to write profoundly1 that he        
distributed his work in five dialogues1 
in the course of which we do not meet   
with professors of art1 but are         
introduced to a foreigner and to a      
,roman gentleman1 who act the respective
 parts of master and scholar4           
,dialogues1 indeed1 were never composed 
in a more simple style1 in any language4
 ,the two interlocutors meet in the     
cloisters of the ,minerva1 and after a  
slight salutation1 one of them recounts 
the lives of the masters of the art1 to 
the number of eighty1 which are         
commenced1 continued1 and ended1 in a   
style sufficiently monotonous1 both as  
to manner and language2 the other       
listens to this long narrative1 without 
either interrupting or answering1 or    
adding a word in reply3 and thus the    
dialogue1 or rather soliloquy1          
concludes1 without the slightest        
expression of thanks on the part of the 
auditor1 or even the ceremony of a      

farewell4 ,we shall now return to the   
,tuscan scholars4  ,passignano was at   
,rome many times1 without1 however1     
leaving there any scholars1 at least of 
any name4 ,we may indeed mention ,vanni1
 and he left there1 too1 a ,gio4        
,antonio1 and a ,gio4 ,francesco del    
,vanni1 who are mentioned in the ,guida 
di ,roma4 ,the school of ,cigoli        
produced two ,roman artists of          
considerable reputation2 ,domenico      
,feti1 who distinguished himself in     
,mantua1 and ,gio4 ,antonio ,lelli1 who 
never left his native place4 ,they      
painted more frequently in oil1 and for 
private collections1 than in fresco1 or 
in churches4 ,of the first1 no public   
work remains except the two ,angels at  
,s4 ,lorenzo in ,damaso2 of the second  
some pictures1 and some histories on the
 walls1 among which the ,visitation in  
the choir of the ,minerva is much       
praised4  ,comodi and ,ciarpi are said  
to have been the successive masters of  
,pietro di ,cortona2 and on that        

account1 and from his birthplace1 he has
 by many been placed in the school of   
,florence2 although others have assigned
 him to that of ,rome4 ,it is true1     
indeed1 that he came hither at the age  
of fourteen only1 bringing with him from
 ,tuscany little more than a            
well-disposed genius2 and he here formed
 himself into an excellent architect1   
and as a painter became the head of a   
school distinguished for a free and     
vigorous style1 as we have mentioned in 
our first book4 ,whoever wishes to      
observe how far he carried this style in
 fresco1 and in large compositions1 must
 inspect the ,sala ,barberina in ,rome2 
although the ,palazzo ,pitti1 in        
,florence1 presents us with works more  
elegant1 more beautiful1 and more       
studied in parts4 ,whoever1 too1 wishes 
to see how far he carried it in his     
altarpieces1 must inspect the           
,conversion of ,s4 ,paul at the         
,capucins in ,rome1 which1 placed       
opposite the ,s4 ,michael of ,guido1 is1

 nevertheless1 the admiration of those  
who do not object to a variety of style 
in art3 nor am ,i aware that we should  
reject this principle in what we        
designate the fine arts2 as it is       
invariably acknowledged in eloquence1 in
 poetry1 and history1 where we find     
,demosthenes and ,isocrates1 ,sophocles 
and ,euripides1 and ,thucydides and     
,xenophon1 equally esteemed1 though all 
dissimilar in style4  ,the works of     
,pietro in ,rome1 and in the states of  
the church1 are not at all rare4 ,they  
are to be found also in other states of 
,italy1 and those pieces are the most   
attractive in which he had the greatest 
opportunity of indulging his love of    
architecture4 ,his largest compositions1
 which might dismay the boldest copyist1
 are ,s4 ,ivo at the ,sapienza of ,rome1
 and the ,s4 ,charles in the church of  
that saint1 at ,catinari1 in the act of 
relieving the infected4 ,the ,preaching 
of ,s4 ,james in ,imola1 in the church  
of the ,domenicans1 is also on a vast   

scale4 ,the ,virgin attended by ,s4     
,stephen1 the ,pope1 and other saints in
 ,s4 ,agostino1 in ,cortona1 is a       
picture of great research1 and is       
considered one of his best performances4
 ,there is an enchanting picture of the 
,birth of the ,virgin1 in the ,quirinal 
palace2 and the ,martyrdom of ,s4       
,stephen1 at ,s4 ,ambrogio1 in ,rome1   
and ,daniel in the ,den of ,lions1 in   
the church of that saint1 in ,venice1   
are most beautiful works1 superior to   
those of most of his competitors in this
 school1 in regard to composition1 and  
equal to them in colour4 ,his historical
 subjects are not met with in the       
galleries of the ,roman nobility4 ,in   
that of the ,campidoglio1 is the battle 
between the ,romans and the ,sabines1   
full of picturesque spirit2 and in      
possession of the ,duke ,mattei1 is the 
,adultery1 half figures1 more studied   
and more highly finished than was       
customary with him4 ,this brief notice  
of him may suffice for the present4 ,of 

the scholars whom he formed in the      
,roman ,school1 ,i shall speak more     
opportunely in the subsequent epoch4    
,at this period we find three ,veronese 
artists1 ,ottini1 ,bassetti1 and        
,turchi1 studying in ,rome2 and we shall
 speak of them more at length in the    
,venetian ,school4 ,the first returned  
home without executing any public work4 
,the second left1 in the church         
dell',anima1 in ,rome1 two pictures in  
fresco1 the ,birth1 and the             
,circumcision of ,christ4 ,the third1   
known under the name of ,orbetto1 took  
up his residence1 and died in that      
capital2 but ,i am not aware that he    
left there any disciples of merit1      
except some of his own countrymen1 who  
returned to their native place4 ,this   
engaging and elegant painter1 who       
possessed great originality and beauty  
of colour1 worked still more in ,verona 
than in ,rome1 and we ought to see his  
works in the former city1 in order      
justly to appreciate them4 ,but he is   

not on that account held in the less    
esteem in ,rome for his cabinet         
pictures1 which are highly prized1 as   
the ,sisara de' ,colonnesi1 and for his 
scriptural subjects1 as the ,flight into
 ,egypt1 in the church of ,s4 ,romualdo1
 and the ,s4 ,felice ,cappuccino1 at the
 ,conception1 where1 as we before       
observed1 the ,barberini family employed
 the most eminent artists4  ,many other 
,italians worked in ,rome in the time of
 the ,caracci1 but their schools1 as    
well as the places of their birth1 are  
uncertain2 and of these1 in a city so   
abounding in pictures1 a slight notice  
will suffice4 ,in the ,guida di ,roma1  
we find only a single notice of ,felice 
,santelli1 a ,roman1 in the church of   
the ,p4 ,p4 ,spagnuoli del ,riscatto    
,scalzi1 where he painted in competition
 with ,baglione2 he is a painter full of
 truth1 and one of his pictures in      
,viterbo1 in the church of ,s4 ,rosa1 is
 inscribed with his name4 ,in ,baglione1
 we read of ,orazio ,borgianni1 a       

,roman1 the rival of ,celio1 and we find
 pictures and portraits by him in a good
 natural style4 ,gio4 ,antonio          
,spadarino1 of the family of ,galli1    
painted in ,s4 ,peter's1 a ,s4 ,valeria1
 with such talent1 that ,orlandi        
complains of the silence of biographers 
respecting him4 ,he had a fellow        
disciple in ,matteo ,piccione1 of the   
,march1 and ,titi mentions their        
peculiar style4 ,nor is ,grappelli much 
known1 whose proper name or country ,i  
cannot accurately ascertain2 but his    
,joseph ,recognized1 which is painted in
 fresco1 in the ,casa ,mattei1 commands 
our admiration4 ,mattio ,salvucci1 who  
obtained some reputation in ,perugia1   
came to ,rome1 and although he was      
graciously received by the ,pope1 yet1  
from his inconstant temper1 he did not  
remain there1 nor does ,pascoli1 his    
fellow countrymen and biographer1       
mention any authentic pictures by him4  
,domenico ,rainaldi1 nephew of the      
architect1 ,cav4 ,carlo ,rainaldi1 who  

was employed by ,alexander ,,vii41 is   
mentioned in the ,roman ,guida1 as also 
,giuseppe ,vasconio1 praised too by     
,orlandi4 ,in the same description of   
books1 and particularly in those which  
treat of the pictures of ,perugia1      
mention is made in this epoch of the    
,cav4 ,bernardino ,gagliardi1 who was   
domiciled for many years in that city1  
though born in ,citta di ,castello4     
,although a scholar of ,avanzino ,nucci1
 he adopted a different style1 after    
having seen in his travels the best     
works of every school of ,italy1 from   
,rome to ,turin4 ,in historical         
composition he particularly followed the
 ,caracci and ,guido1 but in what ,i    
have seen of him1 both in his own and   
his adopted city1 he appears exceedingly
 various4 ,the noble house of ,oddi1 in 
,perugia1 amongst some feeble           
productions of his1 have a              
,conversazione of young people1 half    
figures1 and truly beautiful4 ,in the   
,duomo of ,castello is a ,martyrdom of  

,s4 ,crescenziano1 a picture of fine    
effect1 though inferior in other        
respects4 ,he there appears more studied
 and more select in the two pictures of 
the young ,tobias1 which are included   
among his superior works4 ,his best is  
perhaps the picture of ,s4 ,pellegrino1 
with its accompaniments1 in the church  
of ,s4 ,marcello in ,rome4 ,i do not    
recollect any other provincial painters 
of this period whom ,i have not assigned
 to one or other of the various masters4
  ,a more arduous task than recording   
the names of the ,italian artists now   
awaits us in the enumeration of         
strangers4 ,about the beginning of the  
century ,peter ,paul ,rubens came young 
to ,rome1 and left some oil pictures at 
the ,vallicella1 and in ,s4 ,croce in   
,gerusalemme4 ,not many years afterwards
 ,antonio ,vandyck arrived there also1  
with an intention of remaining for a    
long period2 but many of his fellow     
countrymen1 who were there studying1    
became offended at his refusing to join 

them in their convivial tavern parties  
and dissipated mode of life2 he in      
consequence left ,rome4 ,great numbers  
too of that nation who professed the    
lower school of art1 remained in ,italy 
for a considerable period1 and some are 
mentioned in their classes4 ,others were
 employed in the churches of ,rome1 and 
the ecclesiastical state4 ,the master is
 unknown who painted at ,s4 ,pietro in  
,montorio1 the celebrated ,deposition1  
which is recommended to students1 as a  
school of colour in itself2 by some he  
is called ,angiolo ,fiammingo4 ,of      
,vincenzio ,fiammingo there is at the   
,vallicella a picture of the ,pentecost2
 of ,luigi ,gentile1 from ,brussels1 the
 picture of ,s4 ,antonio at ,s4 ,marco1 
and others in various churches in ,rome2
 he painted also at the church of the   
,capucins1 at ,pesaro1 a ,nativity and a
 ,s4 ,stephen1 pictures highly finished 
and of a beautiful relief4 ,he executed 
others at ,ancona1 and in various       
cities1 with his usual taste1 which is  

still more to be admired in his easel   
pictures4 ,he excelled1 says ,passeri1  
who was very sparing in his praise of   
artists1 in small compositions2 since   
besides finishing them with great       
diligence1 he executed them in an       
engaging style1 and he concludes with   
the further encomium1 that he equalled1 
if not surpassed1 most artists in       
portrait painting4  ,about the year     
#afcj1 ,diego ,velasquez1 the chief     
ornament of ,spanish art1 studied in    
,rome and remained there for a year4 ,he
 afterwards returned thither under the  
pontificate of ,innocent ,x41 whose     
portrait he painted1 in a style which   
was said to be derived from ,domenico   
,greco1 instructed by ,titian1 at the   
court of ,spain4 ,velasquez renewed in  
this portrait the wonders which are     
recounted of those of ,leo ,x4 by       
,raffaello1 and of ,paul ,,iii4 by      
,titian2 for this picture so entirely   
deceived the eye as to be taken for the 
,pope himself4 ,at this time too a      

number of excellent ,german artists were
 employed in ,rome1 as ,daniel ,saiter1 
whom ,i shall notice in the school of   
,piedmont1 and the two ,scor1 ,gio4     
,paolo1 called by ,taja1 ,gian4 ,paolo  
,tedesco1 whose ,noah's ,ark1 painted in
 the ,quirinal palace1 has excited the  
most enthusiastic encomiums2 and        
,egidio1 his brother1 who worked there  
for a considerable time in the gallery  
of ,alexander ,,vii4 ,there were also in
 ,rome ,vovet1 as we have observed1 and 
the two ,mignards1 ,nicolas1 an         
excellent artist1 and ,pierre1 who had  
the surname of ,romano1 and who left    
some beautiful works at ,s4 ,carlino and
 other places2 and a master who claims  
more than a brief notice1 ,nicolas      
,poussin1 the ,raffaello of ,france4    
,bellori1 who has written the ,life of  
,poussin1 introduces him to ,rome in    
#afbd1 and informs us that he was       
already a painter1 and had formed his   
style more after the prints of          
,raffaello than the instruction of his  

masters4 ,at ,rome he improved1 or      
rather changed his style1 and acquired  
another totally different1 of which he  
may be considered the chief4 ,poussin   
has left directions for those who come  
to study the art in ,rome3 the remains  
of antiquity afforded him instruction   
which he could not expect from masters4 
,he studied the beautiful in the ,greek 
statues1 and from the ,meleager of the  
,vatican 7now ascertained to be a       
,mercury7 he derived his rule of        
proportions4 ,arches1 columns1 antique  
vases1 and urns1 were rendered tributary
 to the decoration of his pictures4 ,as 
a model of composition1 he attached     
himself to the ,aldobrandine ,marriage2 
and from that1 and from basso-relievos1 
he acquired that elegant contrast1 that 
propriety of attitude1 and that fear of 
crowding his picture1 for which he was  
so remarkable1 being accustomed to say1 
that a half figure more than requisite  
was sufficient to destroy the harmony of
 a whole composition4  ,leonardo da     

,vinci1 from his sober and refined style
 of colour1 could not fail to please    
him2 and he decorated that master's work
 ,su la ,pittura with figures designed  
in his usual fine taste4 ,he followed   
him in theory and emulated him in       
practice4 ,he adopted ,titian's style of
 colour1 and the famous ,dance of ,boys1
 which was formerly in the ,villa       
,lodovisi1 and is now in ,madrid1 taught
 him to invest with superior colours the
 engaging forms of children1 in which he
 so much excelled4 ,it should seem that 
he soon abandoned his application to    
colouring1 and his best coloured        
pictures are those which he painted on  
first coming to ,rome4 ,he was          
apprehensive lest his anxiety on that   
head might distract his attention from  
the more philosophical part of his      
picture1 to which he was singularly     
attentive2 and to this point he directed
 his most serious and assiduous care4   
,raffaello was his model in giving      
animation to his figures1 in expressing 

the passions with truth1 in selecting   
the precise moment of action1 in        
intimating more than was expressed1 and 
in furnishing materials for fresh       
reflection to whoever returns a second  
and a third time to examine his well    
conceived and profound compositions4 ,he
 carried the habit of philosophy in     
painting even further than ,raffaello1  
and often executed pictures1 whose claim
 to our regard is the poetical manner in
 which their moral is inculcated4 ,thus1
 in that at ,versailles1 which is called
 ,memoria della morte1 he has           
represented a group of youths1 and a    
maid visiting the tomb of an ,arcadian  
shepherd1 on which is inscribed the     
simple epitaph1 ,i also was an          
,arcadian4  ,he did not owe this elegant
 expression of sentiment to his genius  
alone1 but was indebted for it1 as well 
to the perusal of the first classic     
authors1 as the conversation of literary
 men1 and his intercourse with scholars4
 ,he deferred much to the ,cav4 ,marini1

 and might do so with advantage where   
poetry was not concerned4 ,in the art of
 modelling1 in which he excelled1 he    
accomplished himself under ,fiammingo2  
he consulted the writings of ,p4        
,zaccolini for perspective2 he studied  
the naked figure in the academy of      
,domenichino and in that of ,sacchi2 he 
made himself acquainted with anatomy2 he
 exercised himself in copying the most  
beautiful landscapes from nature1 in    
which he acquired an exquisite taste1   
which he communicated to his relative   
,gaspar ,dughet1 of whom we shall speak 
in a short time4 ,i think it may be     
asserted without exaggeration1 that the 
,caracci improved the art of landscape  
painting1 and that ,poussin brought it  
to perfection4#ha ,his genius was less  
calculated for large than small figures1
 and he has generally painted them a    
palm and a half1 as in the celebrated   
sacraments1 which were in the ,casa     
,boccapaduli3 sometimes of two or three 
palms size1 as in the picture of the    

,plague in the ,colonna gallery1 and    
elsewhere4 ,other pictures of his are   
seen in ,rome1 as the ,death of         
,germanicus in the ,barberini palace1   
the ,triumph of ,flora in the           
,campidoglio1 the ,martyrdom of ,s4     
,erasmus1 in the ,pope's collection at  
,monte ,cavallo1 afterwards copied in   
mosaic in ,s4 ,peter's4 ,although he had
 established himself in ,rome1 he       
afterwards left that city for ,paris1   
where he was appointed first painter to 
the court2 after two years time1        
however1 he again returned to ,rome1 but
 had his appointment confirmed1 and1    
though absent1 enjoyed the same place   
and stipend4 ,he remained in ,rome for  
twenty three years1 and there closed his
 days4 ,it is not long since his bust in
 marble1 with an appropriate eulogy1 was
 placed in the church of the ,rotonda1  
at the suggestion and generous expense  
of the ,sig4 ,cav4 d',agincourt4  ,in   
the class of portrait painters1 we find 
at the beginning of the seventeenth     

century1 ,antiveduto ,grammatica1 and   
,ottavio ,lioni of ,padua1 who engraved 
the portraits of the painters2 and1 on  
his death1 ,baldassare ,galanino was    
preeminent4 ,it must however be         
remarked1 that these artists were also  
designers2 and that even those who were 
held the first masters in composition   
were employed in portrait painting1 as  
,guido for example1 who executed for the
 ,cardinal ,spada one of the finest     
portraits in ,rome4  ,thus far of       
historical painters4 ,we may now recur  
to landscape and other inferior branches
 of the art1 whose brightest era may be 
said to have been in the reign of ,urban
 ,,viii4 ,landscape1 indeed1 never      
flourished so greatly as at that period4
 ,a little time before this pontificate1
 died in ,rome1 ,adam ,elzheimer1 or    
,adam of ,frankfort1 or ,tedesco1 who   
had already1 under the pontificate of   
,paul ,v41 established a school 7in     
which ,david ,teniers was instructed72  
an artist of an admirable fancy1 who in 

an evening committed to the canvass1    
with singular fidelity1 the scenery     
which he had visited in the early part  
of the day1 and he so refined his style 
in ,rome1 that his pictures1 which      
generally represented night scenes1 were
 there held in the greatest request4    
,only a short time too had elapsed since
 the death of ,giovanni ,batista ,viola 
in ,rome1 one of the first artists who1 
profiting from the instructions of      
,annibal ,caracci1 reformed the old1 dry
 style of the ,flemish1 and introduced a
 richer mode of touching landscape4     
,vincenzio ,armanno had also promoted   
this branch of art1 adding to his       
landscapes a similitude to nature1 which
 without much selection of ground1 or   
trees1 or accompaniments1 charms us by  
its truth1 and a certain stilness of    
colour1 pleasingly chequered with lights
 and shades4 ,he is highly to be        
commended too in his figures1 and is    
copious in his invention4 ,but the three
 celebrated landscape painters1 whose   

works are so much sought after in the   
collections of princes1 appeared under  
,urban2 ,salvator ,rosa1 a ,neapolitan1 
and a poet of talent2 ,claude ,gellee1  
of ,lorraine2 and ,gaspar ,dughet1 also 
called ,poussin1 the relative of        
,niccolas1 as ,i have already mentioned4
 ,that kind of fashion1 which often     
aspires to give a tone to the fine arts1
 alternately exalted one or other of    
these three1 and thus also obliged the  
painters in ,rome to copy in succession1
 and to follow their various styles4    
,rosa was the most celebrated of this   
class at the commencement of this       
century4 ,a scholar of ,spagnoletto1 and
 the son1 as one may say1 of            
,caravaggio1 as in historical           
composition he attached himself to the  
strong natural style and dark colouring 
of that master1 so in landscape he seems
 to have adopted his subject without    
selection1 or rather to have selected   
the least pleasing parts4 ,le selve     
selvagge1 to speak with ,dante1 savage  

scenery1 ,alps1 broken rocks and caves1 
wild thickets1 and desert plains1 are   
the kind of scenery in which he chiefly 
delighted2 his trees are shattered1     
torn1 and dishevelled2 and in the       
atmosphere itself he seldom introduced a
 cheerful hue1 except occasionally a    
solitary sunbeam4 ,he observed the same 
manner too in his sea views4 ,his style 
was original1 and may be said to have   
been conducted on a principle of savage 
beauty1 as the palate of some persons is
 gratified with austere wines4 ,his     
pictures too were rendered more         
acceptable from the small figures of    
shepherds1 mariners1 or banditti1 which 
he has introduced in almost all his     
compositions2 and he was reproached by  
his rivals with having continually      
repeated the same ideas1 and in a manner
 copied himself4  ,owing to his frequent
 practice1 he had more merit in his     
small than in his large figures4 ,he was
 accustomed to insert them in his       
landscapes1 and composed his historical 

pictures in the same style as the       
,regulus1 so highly praised in the      
,colonna palace1 or fancy subjects1 as  
the ,witchcrafts1 which we see in the   
,campidoglio1 and in many private       
collections4 ,in these he is never      
select1 nor always correct1 but displays
 great spirit1 freedom of execution1 and
 skill and harmony of colour4 ,in other 
respects he has proved1 more than once1 
that his genius was not confined to     
small compositions1 as there are some   
altarpieces well conceived1 and of      
powerful effect1 particularly where the 
subject demands an expression of terror1
 as in a ,martyrdom of ,saints at ,s4   
,gio4 de' ,fiorentini at ,rome2 and in  
the ,purgatory1 which ,i saw at ,s4     
,giovanni delle ,case ,rotte in ,milan1 
and at the church del ,suffragio in     
,matelica4 ,we have also some profane   
subjects by him1 finely executed on a   
large scale2 such is the ,conspiracy of 
,catiline1 in the possession of the     
noble family of ,martelli1 in ,florence1

 mentioned also by ,bottari1 as one of  
his best works4 ,rosa left ,naples at   
the age of twenty1 and established      
himself in ,rome1 where he died at the  
age of about sixty4 ,his remains were   
placed in the church degli ,angeli1 with
 his portrait and eulogy2 and another   
portrait of him is to be seen in the    
,chigi gallery1 which does not seem to  
have been recognised by ,pascoli2 the   
picture represents a savage scene2 a    
poet is represented in a sitting        
attitude1 7the features those of        
,salvator17 and before him stands a     
satyr1 allusive to his satiric style of 
poetry1 but the picture is described by 
the biographer as the god ,pan appearing
 to the poet ,pindar4 ,he had a scholar 
in ,bartol4 ,torregiani1 who died young1
 and who excelled in landscape1 but was 
not accomplished enough to add the      
figures4 ,giovanni ,ghisolfi1 of ,milan1
 a master of perspective1 adopted in his
 figures the style of ,salvator4        
,gaspar ,dughet1 or ,poussin1 of ,rome1 

or of the ,roman ,school1 did not much  
resemble ,rosa1 except in despatch4     
,both these artists were accustomed to  
commence and finish a landscape and     
decorate it with figures on the same    
day4 ,poussin1 contrary to ,salvator1   
selected the most enchanting scenes1 and
 the most beautiful aspects of nature2  
the graceful poplar1 the spreading plane
 trees1 limpid fountains1 verdant meads1
 gently undulating hills1 villas        
delightfully situated1 calculated to    
dispel the cares of state1 and to add to
 the delights of retirement4 ,all the   
enchanting scenery of the ,tusculan or  
,tiburtine territory1 and of ,rome1     
where1 as ,martial observes1 nature has 
combined the many beauties which she has
 scattered singly in other places1 was  
copied by this artist4 ,he composed also
 ideal landscapes1 in the same way that 
,torquato ,tasso1 in describing the     
garden of ,armida1 concentrated in his  
verses all the recollections of the     
beautiful which he had observed in      

nature4  ,notwithstanding this extreme  
passion for grace and beauty1 it is the 
opinion of many1 that there is not a    
greater name amongst landscape painters4
 ,his genius had a natural fervour1 and 
as we may say1 a language1 that suggests
 more than it expresses4 ,to give an    
example1 in some of his larger          
landscapes1 similar to those in the     
,panfili palace1 we may occasionally    
observe an artful winding of the road1  
which in part discovers itself to the   
eye1 but in other parts1 leaves itself  
to be followed by the mind4 ,every thing
 that ,gaspar expresses1 is founded in  
nature4 ,in his leaves he is as varied  
as the trees themselves1 and is only    
accused of not having sufficiently      
diversified his tints1 and of adhering  
too much to a green hue4 ,he not only   
succeeded in representing the rosy tint 
of morning1 the splendour of noon1      
evening twilight1 or a sky tempestuous  
or serene2 but the passing breeze that  
whispers through the leaves1 storms that

 tear and uproot the trees of the       
forest1 lowering skies1 and clouds      
surcharged with thunder and rent with   
lightning1 are represented by him with  
equal success4 ,niccolas1 who had taught
 him to select the beauties of nature1  
instructed him also in the figures1 and 
the accessary parts of the composition4 
,thus in ,gaspar every thing displays   
elegance and erudition1 the edifices    
have all the beautiful proportions of   
the antique2 and to these may be added  
arches and broken columns1 when the     
scene lay in the plains of ,greece or   
,rome2 or1 if in ,egypt1 pyramids1      
obelisks1 and the idols of the country4 
,the figures which he introduces are not
 in general shepherds and their flocks1 
as in the ,flemish pictures1 but are    
derived from history1 or classic fables1
 hawking parties1 poets crowned with    
laurel1 and other similar decorations1  
generally novel1 and finished in a style
 almost as fine as miniature4 ,his      
school gave birth to but few followers4 

,by some ,crescenzio di ,onofrio is     
alone considered his true imitator1 of  
whom little remains in ,rome2 nor indeed
 is he much known in ,florence1 although
 he resided there many years in the     
service of the ducal house4 ,it is said 
that he executed many works for the     
ducal villas2 and that he painted for   
individuals may be conjectured from some
 beautiful landscapes which the ,sig4   
,cancelliere ,scrilli possesses1        
together with the portrait of ,sig4     
,angelo1 his ancestor1 on which the     
artist has inscribed his name and the   
year #agab1 the date of his work4 ,after
 him we may record ,gio4 ,domenico      
,ferracuti1 of ,macerata1 in which city1
 and in others of ,piceno1 are to be    
found many landscapes painted by him1   
chiefly snow pieces1 in which kind of   
landscape he was singularly             
distinguished4  ,claude ,lorraine is    
generally esteemed the prince of        
landscape painters1 and his compositions
 are indeed1 of all others1 the richest 

and the most studied4 ,a short time     
suffices to run through a landscape of  
,poussin or ,rosa from one end to the   
other1 when compared with ,claude1      
though on a much smaller surface4 ,his  
landscapes present to the spectator an  
endless variety2 so many views of land  
and water1 so many interesting objects1 
that like an astonished traveller1 the  
eye is obliged to pause to measure the  
extent of the prospect1 and his         
distances of mountains or of sea are so 
illusive1 that the spectator feels1 as  
it were1 fatigued by gazing4 ,the       
edifices and temples1 which so finely   
round off his compositions1 the lakes   
peopled with aquatic birds1 the foliage 
diversified in conformity to the        
different kinds of trees1#hb all is     
nature in him2 every object arrests the 
attention of an amateur1 every thing    
furnishes instruction to a professor2   
particularly when he painted with care1 
as in the pictures of the ,altieri1     
,colonna1 and other palaces of ,rome4   

,there is not an effect of light1 or a  
reflection in the water1 or in the sky  
itself1 which he has not imitated2 and  
the various changes of the day are no   
where better represented than in        
,claude4 ,in a word1 he is truly the    
painter1 who in depicting the three     
regions of air1 earth1 and water1 has   
embraced the whole universe4 ,his       
atmosphere almost always bears the      
impress of the sky of ,rome1 whose      
horizon is1 from its situation1 rosy1   
dewy1 and warm4 ,he did not possess any 
peculiar merit in his figures1 which are
 insipid1 and generally too much        
attenuated2 hence he was accustomed to  
observe to the purchasers of his        
pictures1 that he sold them the         
landscape1 and presented them with the  
figures gratis4 ,the figures indeed were
 generally added by another hand1       
frequently by ,lauri4 ,a painter of the 
name of ,angiolo1 who died young1       
deserves to be mentioned as the scholar 
of ,claude1 as well as ,vandervert4     

,claude also contributed to the         
instruction of ,gaspar ,poussin4  ,to   
the preceding may be added those artists
 who particularly distinguished         
themselves by sea views and shipping4   
,enrico ,cornelio ,vroom is called      
,enrico di ,spagna1 as he came to ,rome 
immediately from ,seville1 although born
 in ,haerlem in ,holland4 ,he was a     
pupil of the ,brills1 and seems rather  
to have aimed at imitating the national 
art of shipbuilding1 than the varying   
appearances of the sea and sky4 ,no one 
is more diligent1 or more minute in     
fitting up the vessels with every       
requisite for sailing2 and some persons 
have purchased his pictures1 for the    
sole purpose of instructing themselves  
in the knowledge of ships1 and the mode 
of arming them4 ,sandrart relates that  
he returned to ,spain1 and there painted
 landscapes1 views of cities1 fishing   
boats1 and seafights4 ,he places his    
birth in #aeff1 whence he must have     
flourished about the year #afjj4        

,guarienti makes a separate article of  
,enrico ,vron of ,haerlem1 as if he had 
been a different artist4 ,another       
article is occupied upon ,enrico delle  
,marine1 and on the authority of        
,palomino1 he says1 that that artist was
 born in ,cadiz1 and coming to ,rome1   
there acquired that name2 and that1     
without wishing ever to return to       
,spain1 he employed himself in painting 
in that city shipping and sea views     
until his death1 at the age of sixty in 
#afhj4 ,i have named three writers1     
whose contradictions ,i have frequently 
adverted to in this work1 and whose     
discordant notices require much         
examination to reconcile or refute4     
,what ,i have advanced respecting       
,enrico was the result of my            
observations on several pictures in the 
,colonna gallery1 six in number1 and    
which1 as far as ,i could judge1 all    
partake of a hard and early style1 and  
generally of a peculiar reddish tone1   
often observed in the landscapes of     

,brill4 ,any other ,enrico di ,spagna1 a
 marine painter1 or of a style          
corresponding with that of him who died 
in #afhj1 ,i have not met with in any   
collection1 nor is any such artist to be
 found in the works of ,sig4 ,conca1 as 
any one may ascertain by referring to   
the index of his work4 ,hence1 at       
present1 ,i can recognize the ,dutch    
artist alone1 and shall be ready to     
admit the claims of the ,cadiz painter  
whenever ,i am furnished with proofs of 
his having really existed4  ,agostino   
,tassi1 of ,perugia1 whose real name was
 ,buonamici1 a man of infamous          
character1 but an excellent painter1 was
 the scholar of ,paul ,brill1 though he 
was ambitious of being thought a pupil  
of the ,caracci4 ,he had already        
distinguished himself as a landscape    
painter1 when he was condemned to the   
galleys at ,leghorn1 where through      
interest the laborious part of his      
sentence was remitted1 and in this      
situation he prosecuted his art with    

such ardour1 that he soon obtained the  
first rank as a painter of sea views1   
representing ships1 storms1 fishing     
parties1 and the dresses of mariners of 
various countries with great spirit and 
propriety4 ,he excelled too in          
perspective1 and in the papal palace of 
the ,quirinal and in the palace de'     
,lancellotti displayed an excellent     
style of decoration1 which his followers
 very much overcharged4 ,he painted many
 pictures in ,genoa1 in conjunction with
 ,salimbeni and ,gentileschi1 and was   
assisted by a scholar of his born in    
,rome1 and domiciled in ,genoa1 where he
 died4 ,this scholar is called by       
,raffaello ,soprani1 ,gio4 ,batista     
,primi1 and he eulogizes him as an      
esteemed painter of sea views4  ,equal  
to ,tassi in talent1 and still more     
infamous in his life1 was ,pietro       
,mulier1 or ,pietro de ,mulieribus1 of  
,holland1 who1 from his surprising      
pictures of storms1 was called ,il      
,tempesta4 ,his compositions inspire a  

real terror1 presenting to our eyes     
death1 devoted ships overtaken by       
tempests and darkness1 fired by         
lightning1 or driving helpless before   
the demons of the storm2 now rising on  
the mountain waves1 and again submerged 
in the abyss of ocean4 ,his works are   
more frequently met with than those of  
,tassi1 as he almost always painted in  
oil4 ,he was assisted in ,rome by a     
young man1 who in consequence obtained  
the name of ,tempestino1 though he often
 exercised his genius in landscape in   
the style of ,poussin4 ,he afterwards   
married a sister of this young artist1  
and subsequently procured her           
assassination1 for which he was         
sentenced to death in ,genoa1 but his   
sentence was commuted for five years    
imprisonment4 ,his pictures of storms1  
which he painted in his dungeon1 seem to
 have acquired an additional gloom from 
the horrors of his prison1 his merited  
punishment1 and his guilty conscience4  
,these works were very numerous1 and    

were considered his best performances4  
,he excelled also in the painting of    
animals1 for which purpose he kept a    
great variety of them in his house4     
,lastly1 he acquired celebrity from his 
landscapes1 in some of which he has     
shewn himself not an unworthy follower  
of ,claude in invention1 enriching them 
with a great variety of scenery1 hills1 
lakes1 and beautiful edifices1 but he is
 still far behind that master in regard 
to tone of colour and finishing4 ,he was
 however superior to ,claude in his     
figures1 to which he gave a mixed       
,italian and ,flemish character1 with   
lively1 varied1 and expressive          
countenances4 ,there are more specimens 
of his talents in ,milan than in any    
other place1 as he passed his latter    
years in that and the neighbouring      
cities1 as in ,bergamo1 and particularly
 in ,piacenza4 ,his epitaph is given in 
the ,guida di ,milano1 page #abi4  ,il  
,montagna1 another artist from ,holland1
 was also a painter of sea views1 which 

may almost indeed be called the         
landscapes of the ,dutch4 ,he left many 
works in ,italy1 more particularly in   
,florence and in ,rome1 where he is     
sometimes mistaken for ,tempesta in the 
galleries and in picture sales2 but     
,montagna1 as far as ,i can judge1 is   
more serene in his skies1 and darker in 
his waves and the appearance of the sea4
 ,a large picture of the ,deluge1 which 
is at ,s4 ,maria ,maggiore in ,bergamo1 
placed there in #affh1 in which the     
figures are by the ,cav4 ,liberi1 is    
supposed to be by ,montagna1 from the   
tone of the water4 ,this however is an  
error1 for the ,montagna of whom we     
speak1 called by ,felibien 7tom4 iii4 p4
 #cci17 ,montagna di ,venezia1 certainly
 died in ,padua2 and in a ,,ms4 by a    
contemporary author1 where he is        
mentioned as a distinguished sea        
painter1 he is said to have died in     
#afdd4 ,i apprehend this is the same    
artist whom ,malvasia 7tom4 ii4 p4 #gh17
 calls ,mons4 ,rinaldo della ,montagna1 

and states that he was held in esteem by
 ,guido for his excellence in sea views4
 ,i also find a ,niccolo de ,plate      
,montagna1 favourably mentioned by      
,felibien1 also a marine painter1 who   
died about #affe2 and ,i formerly       
imagined that this might be the artist  
who painted so much in ,italy1 but ,i   
now retract that opinion4  ,tempesti was
 the first to introduce the custom of   
decorating landscapes with battles and  
skirmishes4 ,a ,flemish artist of the   
name of ,jacopo succeeded to him in this
 branch1 but his fame was eclipsed by   
his own scholar ,cerquozzi1 a ,roman1   
who from his singular talent in this    
respect1 was called ,michelangiolo delle
 ,battaglie4 ,he was superior to        
,tempesti in colouring1 but inferior to 
him in designing horses4 ,in the human  
figure1 too1 he is less correct1 and    
more daring in the style of his master  
,cesari4 ,it must however be remembered1
 that when ,cerquozzi painted battles he
 was not in his prime1 and that his     

chief merit lay in subjects on which ,i 
shall presently make some remarks4      
,padre ,jacopo ,cortese1 a ,jesuit1     
called from his native country ,il      
,borgognone1 carried this branch of the 
art to a height unknown before or since4
 ,m4 ,a4 ,cerquozzi discovered his      
genius for this department1 and         
persuaded him to abandon the other      
branches of painting which he           
cultivated1 and to confine himself to   
this alone4 ,the ,battle of             
,constantine1 by ,giulio ,romano in the 
,vatican1 was the model on which he     
founded his style4 ,his youth had been  
dedicated to arms1 and his military     
spirit was not to be extinguished by the
 luxury of ,rome1 or the indolence of   
the cloister4 ,he imparted a wonderful  
air of reality to his compositions4 ,his
 combatants appear before us            
courageously contending for honour or   
for life1 and we seem to hear the cries 
of the wounded1 the blast of the        
trumpet1 and the neighing of the horses4

 ,he was indeed an inimitable artist in 
his line1 and his scholars were         
accustomed to say that their own figures
 seemed to fight only in jest1 while    
those of ,borgognone were the real      
occupants of the field of battle4 ,he   
painted with great despatch1 and his    
battle pieces are in consequence very   
frequent in collections2 his touch was  
rapid1 in strokes1 and his pencil       
flowing1 so that the effect is          
heightened by distance2 and this style  
was probably the result of his study of 
,paolo at ,venice1 and of ,guido in     
,bologna4 ,from whatever cause it may   
be1 his colouring is very different from
 that of ,guglielmo ,baur1 who is       
considered his master1 and of whom there
 are some works in the ,colonna gallery4
 ,there also may be seen several        
specimens of his scholars1 ,bruni1      
,graziano1 and ,giannizero1 who adopted 
from ,borgognone their colouring1 and   
the selection of a distant point of view
 for their subject4 ,others of his      

scholars occur in various schools4  ,it 
was also during the pontificate of      
,urban1 about the year #afbf1 that the  
burlesque style was first brought into  
notice in ,rome4 ,it had been practised 
by ,ludius in the time of ,augustus1 and
 was not wholly unknown to our early    
artists2 but ,i am not aware that any   
one had exercised this branch as a      
profession1 or on so small a scale as   
was practised by ,pietro ,laar1 who was 
called ,bamboccio1 from his deformity1  
as well as from the subjects of his     
pencil2 and the appellation of          
bambocciate is generally applied to     
these small pictures1 which represent   
the festivities of the vintage1 dances1 
fights1 and carnival masquerades4 ,his  
figures are usually of a span in size1  
and the accompanying landscape and the  
animals are so vividly coloured1 that we
 seem1 says ,passeri1 to see the very   
objects themselves from an open window1 
rather than the representation on       
canvass4 ,the great painters frequently 

purchased the pictures of ,pietro1 in   
order to study his natural style of     
colour1 though at the same time they    
lamented that so much talent should be  
misapplied to such low subjects4#hc ,he 
resided many years in ,rome1 and then   
retired to ,holland1 where he died at an
 advanced age1 and not a young man1 as  
,passeri has imagined4  ,his place and  
his employ in ,rome were soon filled up 
by ,cerquozzi1 who had for some time    
past exchanged the name of ,m4 ,a4 delle
 ,battaglie1 for that of ,m4 ,a4 delle  
,bambocciate4 ,although the subjects    
which he represents are humourous1 like 
those of ,laar1 the incidents and the   
characters are for the most part        
different4 ,the first adopted the       
,flemish boors1 the other the peasantry 
of ,italy4 ,they had both great force of
 colour1 but ,bamboccio excels          
,cerquozzi in landscape1 while the      
latter discovers more spirit in his     
figures4 ,one of ,cerquozzi's largest   
compositions is in the ,spada palace at 

,rome1 in which he represented a band of
 insurgent ,lazzaroni applauding ,maso  
,aniello4  ,laar had another excellent  
imitator in ,gio4 ,miel1 of ,antwerp1   
who having imbibed a good style of      
colouring from ,vandyke1 came to ,rome  
and frequented the school of ,sacchi4   
,from thence1 however1 he was soon      
dismissed1 as his master wished him to  
attempt serious subjects1 but he was led
 both by interest and genius to the     
burlesque4 ,his pictures pleased from   
their spirited representations and their
 excellent management of light and      
shade1 and brought high prices from     
collectors4 ,he afterwards painted on a 
larger scale1 and besides some          
altarpieces in ,rome1 he left some      
considerable works in ,piedmont1 where  
we shall notice him again4 ,theodore    
,hembreker1 of ,haerlem1 also employed  
himself on humourous subjects1 and      
scenes of common life1 although there   
are some religious pieces attributed to 
him in the church della ,pace in ,rome1 

and a number of landscapes in private   
collections4 ,he passed many years in   
,italy1 and visited most of the great   
cities1 so that his works are frequently
 found not only in ,rome1 where he had  
established himself1 but in ,florence1  
,naples1 ,venice1 and elsewhere4 ,his   
style is a pleasing union of the        
,flemish and ,italian4  ,many artists of
 this period attached themselves to the 
painting of animals4 ,castiglione       
distinguished himself in this line1 but 
he resided for the most part of his time
 in another country4 ,m4 ,gio4 ,rosa1 of
 ,flanders1 is the most known in ,rome  
and the ,state1 for the great number of 
his paintings of animals1 in which he   
possessed a rare talent4 ,it is told of 
him1 that dogs were deceived by the     
hares he painted1 thus reviving the     
wonderful story of ,zeuxis1 so much     
boasted of by ,pliny4 ,two of his       
largest and finest pictures are in the  
,bolognetti collection1 and there is    
attached to them a portrait1 but whether

 of the painter himself1 or some other  
person1 is not known4 ,we must not      
confound this artist with ,rosa da      
,tivoli1 who was also an excellent      
animal painter1 but not so celebrated in
 ,italy1 and flourished at a later      
period1 and whose real name was ,philip 
,peter ,roos4 ,he was son-in-law of     
,brandi1 and his scholar in ,rome1 and  
rivalled his hasty method in many       
pictures which ,i have seen in ,rome and
 the states of the church2 but we ought 
not to rest our decision of his merits  
on these works1 but should view the     
animals painted by him at his leisure1  
particularly for the galleries of       
princes4 ,these are to be found in      
,vienna1 ,dresden1 ,monaco1 and other   
capital cities of ,germany2 and ,london 
possesses not a few of the first value  
in their way4#hd  ,after ,caravaggio had
 given the best examples of flowers in  
his pictures1 the ,cav4 ,tommaso        
,salini1 of ,rome1 an excellent artist1 
as may be seen in a ,s4 ,niccola at ,s4 

,agostino1 was the first that composed  
vases of flowers1 accompanying them with
 beautiful groups of corresponding      
foliage1 and other elegant designs4     
,others too pursued this branch1 and the
 most celebrated of all1 was ,mario     
,nuzzi della ,penna1 better known by the
 name of ,mario da' ,fiori2 whose       
productions during his life were        
emulously sought after1 and purchased at
 great prices2 but after the lapse of   
some years1 not retaining their original
 freshness1 and acquiring1 from a       
vicious mode of colouring1 a black and  
squalid appearance1 they became much    
depreciated in value4 ,the same thing   
happened to the flower pieces of ,laura 
,bernasconi1 who was his best imitator1 
and whose works are still to be seen in 
many collections4  ,orsini informs us1  
that he found in ,ascoli some paintings 
of flowers by another of the fair sex1  
to whose memory the ,academy of ,s4     
,luke in ,rome erected a marble monument
 in their church1 not so much in        

compliment to her talents in painting1  
as in consequence of her having         
bequeathed to that society all her      
property1 which was considerable4 ,in   
her epitaph she is commemorated only as 
a miniature painter1 and ,orlandi       
describes her as such1 adding1 that she 
resided for a long time in ,florence1   
where she left a large number of        
portraits in miniature of the ,medici1  
and other princes of that time1 about   
the year #afcj4 ,she also painted in    
other capitals of ,italy1 and died at an
 advanced age in ,rome1 in #afgc4       
,michelangiolo di ,campidoglio of ,rome1
 was greatly distinguished for his      
masterly grouping of fruits4 ,though    
almost fallen into oblivion from the    
lapse of years1 his pictures are still  
to be met with in ,rome1 and in other   
places4 ,the noble family of            
,fossombroni in ,arezzo1 possess one of 
the finest specimens of him that ,i have
 ever seen4 ,more generally known is    
,pietro ,paolo ,bonzi1 called by        

,baglione1 ,il ,gobbo di ,cortona1 which
 was his native place2 by others1 ,il   
,gobbo de' ,caracci1 from his having    
been employed in their school2 and by   
the vulgar1 ,il ,gobbo da' ,frutti1 from
 the natural manner of his painting     
fruit4 ,he did not pass the bounds of   
mediocrity in historical design1 as we  
may see from his ,s4 ,thomas1 in the    
church of the ,rotonda1 nor in          
landscapes2 but he was unrivalled in    
painting fruits1 and designing festoons1
 as in the ceiling of the ,palazzo      
,mattei2 and in his elegant grouping of 
fruit in dishes and baskets1 as ,i have 
seen in ,cortona1 in the house of the   
noble family of ,velluti1 in the        
,olivieri gallery in ,pesaro1 and       
elsewhere4 ,the ,marchesi ,venuti1 in   
,cortona1 have a portrait of him        
painted1 it is believed1 by one of the  
,caracci1 or some one of their school1  
and it is well known1 that the drawing  
of caricatures was a favourite amusement
 of that academy4  ,at this brilliant   

epoch1 the art of perspective too was   
carried to a high degree of perfection  
in deceiving the eye of the spectator4  
,from the beginning of the seventeenth  
century1 it had made great advances by  
the aid of ,p4 ,zaccolini1 a ,theatine  
monk of ,cesena1 in whose praise it is  
sufficient to observe1 that ,domenichino
 and ,poussin were instructed by him in 
this art4 ,s4 ,silvestro1 in            
,montecavallo1 possesses the finest     
specimen of this power of illusion1 in a
 picture of feigned columns1 and        
cornices and other architectural        
decorations4 ,his original drawings     
remain in the ,barberini library4       
,gianfrancesco ,niceron de' ,p4 ,p4     
,minimi added to this science by his    
work entitled ,thaumaturgus opticus1    
#afdc2 and in a gallery of his convent  
at ,trinita de' ,monti1 he painted some 
landscapes1 which1 on being viewed in a 
different aspect1 are converted into    
figures4 ,but the most practised artist 
in the academy of ,rome1 was ,viviano   

,codagora1 who drew from the ruins of   
ancient ,rome1 and also painted         
compositions of his own invention in    
perspective4 ,he engaged ,cerquozzi and 
,miel1 and others in ,rome1 to insert   
the figures for him1 but he was most    
partial to ,gargiuoli of ,naples1 as we 
shall mention in our account of that    
school4 ,viviano may he called the      
,vitruvius of this class of painters4   
,he was correct in his linear           
perspective1 and an accurate observer of
 the style of the ancients4 ,he gave his
 representations of marble the peculiar 
tint it acquires by the lapse of years1 
and his general tone of colour was      
vigorous4 ,what subtracts the most from 
his excellence is a certain hardness1   
and too great a quantity of black1 by   
which his pictures are easily           
distinguished from others in            
collections1 and which in the course of 
time renders them dark and almost       
worthless4 ,his true name is unknown to 
the greater number of the lovers of art1

 by whom he is called ,il ,viviani2 and 
who seem to have confounded him with    
,ottavio ,viviani of ,brescia1 who is   
mentioned by the ,dictionaries2 a       
perspective painter also1 but in another
 branch1 and in a different style1 as we
 shall hereafter see4  ,footnote #ga3   
,he excelled chiefly in architecture1   
although he had given a proof of his    
talents in painting1 in some subjects in
 the gallery1 executed under ,gregory   
,,xiii4  ,footnote #gb3 ,in the1 not    
very accurate1 catalogue of the pictures
 in ,fabriano1 besides the above        
mentioned fourteen1 seven more are      
mentioned by the same master4  ,footnote
 #gc3 ,mention is also made of one      
,basilio ,maggieri1 an excellent painter
 of portraits4  ,footnote #gd3 ,v4 ,le  
,pitture pubbliche di ,piacenza1 p4 #ha4
  ,footnote #ge3 ,in a letter of the    
,oretti correspondence1 written in      
#aggg1 from ,andrea ,zanoni to the      
,prince ,ercolani1 ,i find ,marini      
classed in the school of ,ferrau da     

,faenza1 and there still remain many    
pictures by him in the style of that    
master4  ,footnote #gf3 ,pascoli has    
restored to him the picture of ,s4      
,rosalia at the ,maddalena1 which ,titi 
had ascribed to ,michele ,rocca1 called 
,il ,parmigianino1 an artist of repute1 
and proper to be mentioned1 as by those 
who are not acquainted with his name and
 style1 he might be mistaken for        
,mazzuola1 or perhaps ,scaglia4 ,the    
same author1 soon afterwards1 mentions  
,grecolini1 and thereby renders any     
further notice of that artist on my part
 unnecessary4  ,footnote #gg3 ,we ought 
to judge of him from the ,visitation1 at
 the church of the ,orfanelli1 rather   
than from the picture of various        
,saints1 in ,ara ,coeli4 ,this kind of  
observation may be extended to many     
other artists1 who are commemorated for 
the sake of some superior work4         
,footnote #gh3 ,memoirs of this painter 
have been long a desideratum1 as may be 
seen from the ,lett4 ,pitt4 tom4 v4 p4  

#beg4 ,i give such information as ,i    
have been able to procure in his native 
place1 assisted by the researches of the
 very obliging ,monsignore ,massajuoli1 
,bishop of ,nocera4 ,gio4 ,batista was  
born in ,sassoferrato on the #aath      
,july1 #afje1 and died in ,rome on the  
#hth ,august1 #afhe4 ,and ,i may here   
correct an error of my first edition1   
where it is printed #afce4  ,footnote   
#gi3 ,there is a picture of the ,rosario
 in the church of the ,eremitani1 with  
his name1 and the year #aegc4 ,it is a  
large composition4  ,footnote #hj3 ,in  
the ,oretti ,correspondence there is a  
letter from an anonymous writer to      
,malvasia respecting this painter1 who  
is there called ,francesco1 and is      
declared to be ,pittore di molta stima4 
,he then painted in ,ancona1 as appears 
from letters under his own hand to      
,malvasia1 where he invariably          
subscribes himself ,francesco4          
,footnote #ha3 ,passeri1 ,vite de'      
,pittori1 page #cfc4 ,he was remarkable 

for being the first to adopt a new style
 in trees in landscapes1 where by a     
strong character of truth and attention 
to the forms of the trunk1 foliage1 and 
branches1 he denoted the particular     
species he wished to express4  ,footnote
 #hb3 ,he painted for his studio a      
landscape enriched with views from the  
,villa ,madama1 in which a wonderful    
variety of trees was introduced4 ,this  
he preserved for the purpose of         
supplying himself1 as from nature1 with 
subjects for his various pictures1 and  
refused to sell it to the munificent    
pontiff1 ,clement ,,ix41 although that  
prince offered to cover it with pieces  
of gold4  ,footnote #hc3 ,v4 ,salvator  
,rosa1 sat4 iii4 p4 #gi1 where he       
reprehends not only the artists1 but    
also the great1 for affording such      
pictures a place in their collections4  
,footnote #hd3 ,he was the ancestor of  
the ,sig4 ,giuseppe ,rosa1 director of  
the imperial gallery in ,vienna1 who has
 given us a catalogue of the ,italian   

and ,flemish pictures of that           
collection1 and who will1 we hope1 add  
the ,german4 ,of this deserving artist  
he possesses a portrait1 engraved in    
#aghi1 where we find a list of the      
various academies that had elected him a
 member1 and these are numerous1 and of 
the first class in ,europe4 ,we find him
 also amongst those masters whose       
drawings were collected by ,mariette2   
and he is also mentioned in the ,lessico
 ,universale delle ,belle ,arti1 edited 
in ,zurich1 in #agfc4       ,,roman     
,,school4    ,,fifth ,,epoch4    ,the   
,scholars of ,pietro da ,cortona1 from  
an injudicious   imitation of their     
,master1 deteriorate the art4 ,maratta  
and others support it4   ,it may with   
equal justice be asserted of the fine   
arts1 as of the belles lettres1 that    
they never long remain in the same      
state1 and that they experience often   
great changes even in the common period 
assigned to the life of man4 ,many      
causes contribute to this2 public       

calamities1 such as ,i mentioned to have
 occurred after the death of ,raffaello2
 the instability of the human mind1     
which in the arts as in dress is guided 
by fashion and the love of novelty2 the 
influence of particular artists2 the    
taste of the great1 who from their      
selection or patronage of particular    
masters1 silently indicate the path to  
those artists who seek the gifts of     
fortune4 ,these and other causes tended 
to produce the decline of painting in   
,rome towards the close of the          
seventeenth century1 at a time too when 
literature began to revive2 a clear     
proof that they are not mutually        
progressive4 ,this was in a great       
measure occasioned by the calamitous    
events which afflicted ,rome and the    
state1 about the middle of that century2
 by the feuds of the nobles1 the flight 
of the ,barberini family1 and other     
unfortunate circumstances1 which1 during
 the pontificate of ,innocent ,x41 as we
 are informed by ,passeri1 7p4 #cba17   

rendered the employment of artists very 
precarious2 but more than all the       
dreadful plague of #afee1 under         
,alexander ,,vii4 ,to this state of     
decay too the evil passions of mankind  
contributed in no small degree1 and     
these indeed in all revolutions are     
among the most active and predominant   
sources of evil1 and often even in a    
prosperous state of things sow the seeds
 of future calamities4  ,the ,cav4      
,bernini1 a man of more talents as an   
architect than as a sculptor1 was under 
,urban ,,viii4 and ,innocent ,x41 and   
also until the year #afhj1 in which he  
died1 the arbiter of the public taste in
 ,rome4 ,the enemy of ,sacchi and the   
benefactor of ,cortona1 he obtained more
 employ for his friend than for his     
rival2 and this was easily accomplished1
 as ,cortona was rapid as well as       
laborious1 while ,sacchi was slow and   
irresolute1 qualities which rendered him
 unacceptable even to his own patrons4  
,in course of time ,bernini began to    

favour ,romanelli1 to the prejudice of  
,pietro2 and1 instructing that artist   
and ,baciccio in his principles1 he     
influenced them to the adoption of his  
own style1 which1 though it possessed   
considerable beauty1 was nevertheless   
mannered1 particularly in the folds of  
the drapery4 ,the way being thus opened 
to caprice1 they abandoned the true1 and
 substituted false precepts of art1 and 
many years had not elapsed before       
pernicious principles appeared in the   
schools of the painters1 and            
particularly in that of ,cortona4 ,some 
went so far as to censure the imitation 
of ,raffaello1 as ,bellori attests in   
the ,life of ,carlo ,maratta1 7p4 #ajb17
 and others ridiculed1 as useless1 the  
study of nature1 preferring to copy1 in 
a servile manner1 the works of other    
artists4 ,these effects are visible in  
the pictures of the time4 ,all the      
countenances1 although by different     
artists1 have a fulness in the lips and 
nose like those of ,pietro1 and have all

 a sort of family resemblance1 so much  
are they alike2 a defect which ,bottari 
says is the only fault of ,pietro1 but  
it is not the only fault of his school4 
,every one was anxious to avoid the     
labour of study1 and to promote facility
 at the expense of correct design2 the  
errors in which they endeavoured to     
conceal by overcharging rather than     
discriminating the contours4 ,no one can
 be desirous that ,i should enter into  
further particulars1 when we are        
treating of matters so very near our own
 times1 and whoever is free from        
prejudice may judge for himself4 ,i now 
return to the state of the ,roman       
,school about one hundred and twenty    
years back4  ,the schools most in       
repute1 after the death of ,sacchi1 in  
#affa1 and of ,berrettini1 in #afgj1    
when the best scholars of the ,caracci  
were dead1 were reduced to two1 that of 
,cortona supported by ,ciro1 and that of
 ,sacchi1 by ,maratta4 ,the first of    
these expanded the ideas1 but induced   

negligence2 the second enforced         
correctness1 but fettered the ideas4    
,each adopted something from the other1 
and not always the best part2 an        
affected contrast pleased some of the   
scholars of ,maratta1 and the drapery of
 ,maratta was adopted by some of the    
followers of ,ciro4#he ,the school of   
,cortona exhibited a grand style in     
fresco2 the other school was restricted 
to oils4 ,they became rivals1 each      
supported by its own party1 and were    
impartially employed by the pontiffs    
until the death of ,ciro1 that is1 until
 #afhi4 ,from that time a new tone was  
given to art by ,maratta1 who1 under    
,clement ,,xi41 was appointed director  
of the numerous works which that pontiff
 was carrying on in ,rome and in        
,urbino4 ,although this master had many 
able rivals1 as we shall see1 he still  
maintained his superiority1 and on his  
death1 his school continued to flourish 
until the pontificate of ,benedict      
,,xiv41 ultimately yielding to the more 

novel style of ,subleyras1 ,batoni1 and 
,mengs4 ,thus far of the two schools in 
general3 we shall now notice their      
followers4  ,besides the scholars whom  
,pietro formed in ,tuscany1 as ,dandini 
of ,florence1 ,castellucci of ,arezzo1  
,palladino of ,cortona1 and those whom  
he formed in other schools1 where we    
shall see them as masters1 he educated  
others in the ,roman state1 of whom it  
is now time to speak4 ,the number of his
 scholars is beyond belief4 ,they were  
enumerated by ,sig4 ,cav4 ,luzi1 a      
nobleman of ,cortona1 who composed a    
life of ,berrettini with more accuracy  
than had been before done1 but his death
 prevented the publication of it4       
,pietro continued to teach to the close 
of his life1 and the picture of ,s4     
,ivo1 which he left imperfect1 was      
finished by ,gio4 ,ventura ,borghesi1 of
 ,citta di ,castello4 ,of this artist   
there are also at ,s4 ,niccola1 two     
pictures1 the ,nativity1 and the        
,assumption of the ,virgin1 and ,i am   

not acquainted with any other public    
specimens of his pencil in ,rome4 ,his  
native place possesses many of his      
performances1 and the most esteemed are 
four circles of the ,history of ,s4     
,caterina1 ,v4 ,m41 in the church of    
that saint4 ,many of his works are to be
 found also in ,prague1 and the cities  
of ,germany4 ,he follows ,pietro with   
sufficient fidelity in design1 but does 
not display so much vigour of colour4   
,carlo ,cesi1 of ,rieti1 or rather of   
,antrodoco1 in that neighbourhood1 was  
also a distinguished scholar of ,pietro4
 ,he lived in ,rome1 and in the         
,quirinal gallery1 where the best       
artists of the age painted under        
,alexander ,,vii41 he has left a large  
picture of the ,judgment of ,solomon4   
,he worked also in other places2 as at  
,s4 ,m4 ,maggiore1 at the ,rotunda1 and 
was patronized by several cardinals4 ,he
 was correct in his design1 and opposed1
 both in person and by his precepts and 
example1 the fatal and prevailing       

facility of his time4 ,pascoli has      
preserved some of his axioms1 and this  
among others1 that the beautiful should 
not be crowded1 but distributed with    
judgment in the composition of pictures2
 otherwise they resemble a written      
style1 which by the redundancy of       
brilliant and sententious remarks fails 
in its effect4 ,francesco ,bonifazio was
 of ,viterbo1 and from the various      
pictures by him1 which ,orlandi saw in  
that city1 ,i do not hesitate to rank   
him among the successful followers of   
,pietro4 ,we may mention ,michelangiolo 
,ricciolini1 a ,roman by birth1 although
 called of ,todi1 whose portrait is in  
the ,medici gallery1 where is also that 
of ,niccolo ,ricciolini1 respecting whom
 ,orlandi is silent4 ,both were employed
 in decorating the churches of ,rome2   
the second had the reputation of a      
better designer than the first1 and in  
the cartoons painted for some mosaics   
for the ,vatican church1 he competed    
with the ,cav4 ,franceschini4 ,paolo    

,gismondi1 called also ,paolo ,perugino1
 became a good fresco painter1 and there
 are works remaining by him in the ,s4  
,agata1 in the ,piazza ,nova1 and at ,s4
 ,agnes1 in the ,piazza ,navona4 ,pietro
 ,paolo ,baldini1 of whose native place 
,i am ignorant1 is stated by ,titi to   
have been of the school of ,cortona4    
,ten pictures by him are counted in the 
churches of ,rome1 and in some of them1 
as in the ,crucifixion of ,s4 ,eustace1 
a precision of style derived from       
another school is observable4           
,bartolommeo ,palombo has only two      
pictures in the capital4 ,that of ,s4   
,maria ,maddelena de' ,pazzi1 which is  
placed at ,s4 ,martino a' ,monti1       
entitles him to rank with the best of   
his fellow scholars1 the picture        
possesses so strong a colouring1 and the
 figures are so graceful and well       
designed4 ,pietro ,lucatelli1 of ,rome1 
was a distinguished painter1 and is     
named in the catalogue of the ,colonna  
gallery1 as the scholar of ,ciro1 and in

 ,titi1 as the disciple of ,cortona4 ,he
 is a different artist from ,andrea     
,lucatelli1 of whom we shall shortly    
speak4 ,gio4 ,batista ,lenardi1 whom1 in
 a former edition1 ,i hesitated to place
 in the list of the pupils of ,pietro1  
,i now consider as belonging to that    
school1 though he was instructed also by
 ,baldi4 ,in the chapel of the ,b4      
,rita1 at ,s4 ,agostino1 he painted two 
lateral pictures as well as the vault2  
he also ornamented other churches with  
his works1 and particularly that of     
,buonfratelli1 at ,trastevere1 where he 
painted the picture of ,s4 ,gio4        
,calibita4 ,that of the great altar was 
ascribed to him1 probably from a        
similarity of style2 but is by ,andrea  
,generoli1 called ,il ,sabinese1 a pupil
 either of ,pietro himself1 or of one of
 his followers4  ,thus far of the less  
celebrated of this school4 ,the three   
superior artists1 whose works still     
attract us in the galleries of princes1 
are ,cortesi1 and the two elder scholars

 of the academy of ,pietro1 ,romanelli  
and ,ferri4 ,nor is it improbable that  
having competitors in some of his first 
scholars1 he became indisposed to       
instruct others with the same degree of 
good will1 as those noble minds are few1
 in whom the zeal of advancing the art  
exceeds the regret at having produced an
 ingrate or a rival4  ,guglielmo        
,cortesi1 the brother of ,p4 ,giacomo1  
like him named ,il ,borgognone1 was one 
of the best artists of this period2 and 
a scholar rather than an imitator of    
,pietro4 ,his admiration was fixed on   
,maratta1 whom he followed in the       
studied variety of his heads1 and in the
 sobriety of the composition1 more than 
in the division of the folds of his     
drapery or in colour2 in which latter he
 manifested a clearness partaking of the
 ,flemish4 ,his style was somewhat      
influenced by that of his brother1 whose
 assistant he was1 and by his study of  
the ,caracci4 ,he often appears to have 
imitated the strong relief and azure    

grounds of ,guercino4 ,his ,crucifixion 
of ,s4 ,andrea1 in the church of ,monte 
,cavallo1 the ,fight of ,joshua in the  
,quirinal palace1 and a ,madonna        
attended by ,saints1 in the ,trinita de'
 ,pellegrini1 merit our attention4 ,in  
these works there is a happy union of   
various styles1 exempt from mannerism4  
,francesco ,romanelli was born at       
,viterbo1 and1 as well as ,testa1       
studied some time under ,domenichino4   
,he afterwards placed himself with      
,pietro1 whose manner he imitated so    
successfully1 that on ,pietro going on a
 journey into ,lombardy1 he left him1   
together with ,bottalla 7called         
,bortelli by ,baldinucci7 to supply his 
place in decorating the ,barberini      
palace4 ,it is reported that the two    
scholars1 in the absence of their       
master1 endeavoured to have the work    
transferred to themselves1 and were on  
that account dismissed4 ,it was at this 
time that ,romanelli1 assisted by       
,bernini1 changed his style1 and adopted

 by degrees a more elegant and a        
seductive manner in his figures1 but    
possessing less grandeur and science    
than that of ,pietro4 ,he used more     
slender proportions1 clearer tints1 and 
a more minute taste in folding his      
drapery4 ,his ,deposition in ,s4        
,ambrogio1 which was extolled as a      
prodigy1 stimulated ,pietro to paint    
opposite to it that wonderful picture of
 ,s4 ,stephen1 on seeing which ,bernini 
exclaimed1 that he then perceived the   
difference between the master and the   
scholar4 ,romanelli was twice in        
,france1 having found a patron in the   
,cardinal ,barberini1 who had fled to   
,paris2 and he participated in the      
spirited manner of that country1 which  
gave an animation before unknown to his 
figures4 ,this at least is the opinion  
of ,pascoli4 ,he decorated a portico of 
,cardinal ,mazarine with subjects from  
the metamorphoses of ,ovid1 and         
afterwards adorned some of the royal    
saloons with passages from the ,a,eneid4

 ,he was preparing to return to ,france 
with his family for the third time1 when
 he was intercepted by death at         
,viterbo4 ,he left in that city1 at the 
grand altar of the ,duomo1 the picture  
of ,s4 ,lorenzo1 and in ,rome1 and in   
other cities of ,italy1 numerous works  
both public and private1 although he    
died at about forty-five years of age4  
,he had the honour of painting in the   
church of the ,vatican4 ,the            
presentation which he placed there is   
now in the church of the ,certosa1 the  
mosaic in ,s4 ,peter4 ,he did not leave 
behind him any scholars who inherited   
his reputation4 ,urbano1 his son1 was   
educated by ,ciro after the death of his
 father4 ,he is known for his works in  
the cathedral churches of ,velletri and 
,viterbo3 those in ,viterbo are from the
 life of ,s4 ,lorenzo1 the patron saint 
of the church1 and prove him to have    
been a young man of considerable        
promise1 but he was cut off prematurely4
  ,ciro ,ferri1 a ,roman by birth1 was1 

of all the disciples of ,cortona1 the   
one the most attached in person1 and    
similar to him in style2 and not a few  
of the works of ,pietro were given to   
him to complete1 both in ,florence and  
in ,rome4 ,there are indeed some        
pictures so dubious1 that the           
experienced are in doubt whether to     
assign them to the master or the        
scholar4 ,he displays generally less    
grace in design1 a less expansive       
genius1 and shuns that breadth of       
drapery which his master affected4 ,the 
number of his works in ,rome is not     
proportioned to his residence there1    
because he lent much assistance to his  
master4 ,there is a ,s4 ,ambrogio in the
 church of that saint just mentioned1   
and it is a touchstone of merit for     
whoever wishes to compare him with the  
best of his fellow scholars1 or with his
 master himself4 ,his works in the      
,pitti palace have been already         
mentioned in another place1 and we ought
 not to forget another grand composition

 by him in ,s4 ,m4 ,maggiore in         
,bergamo1 consisting of various         
scriptural histories painted in fresco4 
,he speaks of them himself in some      
letters inserted in the ,pittoriche1    
7tom4 ii4 p4 #ch17 from which we gather1
 that he had been reprehended for his   
colouring1 and contemplated visiting    
,venice in order to improve himself4 ,he
 did not leave any scholar of celebrity 
in ,rome4 ,corbellini1 who finished the 
,cupola of ,s4 ,agnes1 the last work of 
,ciro1 which has been engraved1 would   
not have found a place in ,titi and     
,pascoli1 if it had not been to afford  
those writers an opportunity of         
expressing their regret at so fine a    
composition being injured by the hand   
that attempted to finish it4  ,but      
another scion of the same stock sprung  
up to support the name and credit of the
 school of ,ciro1 transferred from      
,florence to ,rome4 ,we mentioned in the
 first book1 that when ,ciro was in     
,florence he formed a scholar in        

,gabbiani1 who became the master of     
,benedetto ,luti4 ,ciro was only just   
dead when ,luti arrived in ,rome1 who   
not being able to become his scholar1 as
 he had designed when he left his native
 place1 applied himself to studying the 
works of ,ciro1 and those of other good 
masters1 as ,i have elsewhere remarked4 
,he thus formed for himself an original 
style1 and enjoyed in ,rome the         
reputation of an excellent artist in the
 time of ,clement ,,xi41 who honoured   
him with commissions1 and decorated him 
with the cross4 ,it is to be regretted  
that he attached himself so much to     
crayons1 with which he is said to have  
inundated all ,europe4 ,he was intended 
by nature for nobler things4 ,he painted
 well in fresco1 and still better in    
oils4 ,his ,s4 ,anthony in the church of
 the ,apostles1 and the ,magdalen in    
that of the ,sisters of ,magnanapoli1   
which is engraved1 are highly esteemed4 
,nor would it add a little to his       
reputation1 if we had engravings of his 

two pictures in the ,duomo of ,piacenza1
 ,s4 ,conrad penitent1 and ,s4 ,alexius 
recognised after death2 where1 amidst   
other excellences1 a fine expression of 
the pathetic predominates4 ,of his      
profane pieces1 his ,psyche in the      
,capitoline gallery1 is the most        
remarkable1 and breathes an elegant and 
refined taste4 ,of the few productions  
which ,tuscany possesses by him1 we have
 written in the school of ,gabbiani4 ,we
 shall here mention a few of his        
scholars1 who remained in ,rome1        
noticing others in various schools4     
,placido ,costanzi is often mentioned   
with approbation in the collections of  
,rome for the elegant figures he        
inserted in the landscapes of           
,orizzonte2 he also painted some        
altarpieces in a refined style4 ,in the 
church of the ,magdalen is a picture of 
,s4 ,camillo attended by ,angels1 so    
gracefully painted1 that he seems to    
have aspired to rival ,domenichino4 ,he 
also distinguished himself in fresco1 as

 may be seen in the ,s4 ,maria in ,campo
 ,marzio1 where the ceiling in the      
greater tribune is the work of          
,costanzi4  ,pietro ,bianchi resembled  
,luti more than any of his scholars in  
elegance of manner1 and excelled him in 
large compositions1 which he derived    
from his other master1 ,baciccio4 ,his  
extreme fastidiousness and his early    
death prevented him from leaving many   
works4 ,a very few of his pictures are  
found in the churches of ,rome4 ,at     
,gubbio is his picture of ,s4 ,chiara1  
with the ,angel appearing1 a piece of   
grand effect1 from the distribution of  
the light4 ,the sketch of this picture  
was purchased by the ,king of ,sardinia 
at a high price4 ,he painted for the    
church of ,s4 ,peter a picture1 which   
was executed in mosaic in the altar of  
the choir3 the original is in the       
,certosa1 in which the ,cav4 ,mancini   
had the greatest share1 as ,bianchi did 
little more than furnish the sketch4    
,francesco ,michelangeli1 called        

l',aquilano1 is known to posterity from 
a letter written by ,luti himself1      
7,lett4 ,pitt4 tom4 vi4 p4 #bgh17 where 
the annotator informs us1 that his      
master frequently employed him in       
copying his works1 and that he died     
young4 ,this notice is not without its  
use1 as it acquaints us with the origin 
of the beautiful copies of ,luti which  
are so frequently met with4  ,we may    
lastly notice an artist of mediocrity of
 this school1 who is nevertheless said  
to be the painter of some beautiful     
pictures2 the two pictures of ,s4       
,margaret1 in ,araceli2 ,s4 ,gallicano1 
in the church of that saint2 and the    
,nativity1 in the church of the ,infant 
,jesus4 ,his name was ,filippo          
,evangelisti1 and he was chamberlain to 
the ,cardinal ,corradini1 through whose 
influence he obtained many commissions4 
,being himself incapable of executing   
these well1 7if we may rely on a letter 
in the ,pittoriche7 he engaged          
,benefial1 whom we shall shortly notice1

 to assist him4 ,they thus painted in   
partnership1 the gain was divided       
between them1 but the celebrity was the 
portion of the principal2 and if any    
piece came out under the name of the    
assistant1 it was rather censured than  
praised4 ,the poor artist at last became
 impatient of this treatment1 and       
disdaining any longer to support a      
character which did him no honour1 he   
left his companion to work by himself2  
and it was then that ,evangelisti1 in   
his picture of ,s4 ,gregory1 in the     
church of the ,saints ,peter and        
,marcellino1 appeared in his true       
colours1 and the public thus discovered 
that he was indebted to ,benefial for   
genius as well as labour4  ,the school  
of ,sacchi may boast of one of the first
 artists of the age in ,francesco       
,lauri1 of ,rome1 in whom his master    
flattered himself he had found a second 
,raffaello4 ,the disciple himself1 in   
order to justify the high expectation   
which the public had conceived of him1  

before opening a school in ,rome1       
travelled through ,italy1 and from      
thence visited ,germany1 ,holland1 and  
,flanders1 and resided for the space of 
a year in ,paris2 thus adding greatly to
 the funds of knowledge and experience  
already obtained by him in his native   
place4 ,he was1 however1 cut off very   
early in life1 leaving behind him1 in   
the ,sala de' ,crescenzi1 three figures 
of ,goddesses painted in the vault in   
fresco2 but no other considerable work1 
as far as my knowledge extends4 ,this   
artist must not be confounded with      
,filippo1 his brother1 and scholar in   
his early years1 who was afterwards     
instructed by ,caroselli1 who espoused  
his sister4 ,he was not accustomed to   
paint large compositions2 and the ,adam 
and ,eve1 which are seen in the ,pace1  
it should seem1 he represented on so    
much larger a scale1 lest any one should
 despise his talent1 as only capable of 
small works1 on which he was always     
profitably employed4 ,we meet with      

cabinet pictures by him in the ,flemish 
style1 touched with great spirit1 and   
coloured in good taste1 evincing a fund 
of lively and humorous invention4 ,he   
sometimes painted sacred subjects1 and  
at ,s4 ,saverio1 in the collection of   
the late ,monsignor ,goltz1 ,i saw an   
enchanting picture by him1 a perfect    
gem1 and greatly admired by ,mengs4 ,he 
painted in the ,palazzo ,borghese some  
beautiful landscapes in fresco1 in which
 branch his family was already          
celebrated1 as his father1 ,baldassare1 
of ,flanders1 who had been a scholar of 
,brill1 and lived in ,rome in the time  
of ,sacchi1 was ranked among the eminent
 landscape painters1 and is commemorated
 by ,baldinucci4  ,the immature death of
 ,lauri was compensated for by the      
lengthened term of years accorded to    
,luigi ,garzi and ,carlo ,maratta1 who  
continued to paint to the commencement  
of the eighteenth century2 enemies to   
despatch1 correct in their style1 and   
free from the corrupt prejudices which  

afterwards usurped the place of the     
genuine rules of art4 ,the first1 who is
 called a ,roman by ,orlandi1 was born  
in ,pistoja1 but came while yet young to
 ,rome4 ,he studied landscape for       
fifteen years under ,boccali1 but being 
instructed afterwards by ,sacchi1 he    
discovered such remarkable talents1 that
 he became highly celebrated in ,naples 
and in ,rome in every class of painting4
 ,in the former city1 his decoration of 
two chambers of the royal palace is     
greatly extolled2 and in the latter1    
where he ornamented many churches1 he   
seemed to surpass himself in the        
,prophet of ,s4 ,giovanni ,laterano4 ,he
 is praised in general for his forms and
 attitudes1 and for his fertile         
invention and his composition4 ,he      
understood perspective1 and was a good  
machinist1 though in refinement of taste
 he is somewhat behind ,maratta4 ,in his
 adherence to the school of ,sacchi we  
may still perceive some imitation of    
,cortona1 to whom some have given him as

 a scholar1 as well in many pictures    
remaining in ,rome1 as in others sent to
 various parts2 among which is his ,s4  
,filippo ,neri1 in the church of that   
saint at ,fano1 which is a gallery of   
beautiful productions4 ,but on no       
occasion does he seem more a follower of
 ,cortona1 or rather of ,lanfranco1 than
 in the ,assumption in the ,duomo of    
,pescia1 an immense composition1 and    
which is considered his masterpiece4 ,it
 is mentioned in the ,catalogo delle    
migliori ,pitture di ,valdinievole1     
drawn up by ,sig4 ,innocenzio ,ansaldi1 
and inserted in the recent ,history of  
,pescia4 ,mario1 the son of ,luigi      
,garzi who is mentioned twice in the    
,guida di ,roma1 died young4 ,we may    
here also mention the name of ,agostino 
,scilla of ,messina1 whom we shall      
hereafter notice more at length4  ,carlo
 ,maratta was born in ,camurano1 in the 
district of ,ancona1 and enjoyed1 during
 his life1 the reputation of one of the 
first painters in ,europe4 ,mengs1 in a 

letter ,on the ,rise1 ,progress1 and    
,decline of the ,art of ,design1 assigns
 to ,maratta the enviable distinction of
 having sustained the art in ,rome1     
where it did not degenerate as in other 
places4 ,the early part of his life was 
devoted to copying the works of         
,raffaello1 which always excited his    
admiration1 and his indefatigable       
industry was employed in restoring the  
frescos of that great master in the     
,vatican and the ,farnesina1 and        
preserving them for the eyes of         
posterity2 a task requiring both        
infinite care and judgment1 and         
described by ,bellori4 ,he was not a    
machinist1 and in consequence neither he
 nor his scholars distinguished         
themselves in frescos1 or in large      
compositions4 ,at the same time he had  
no fear of engaging in works of that    
kind1 and willingly undertook the       
decoration of the ,duomo of ,urbino1    
which he peopled with figures4 ,this    
work1 with the ,cupola itself1 was      

destroyed by an earthquake in #aghb2 but
 the sketches for it are preserved in   
,urbino1 in four pictures1 in the       
,albani palace4 ,he was most attached by
 inclination to the painting of cabinet 
pictures and altarpieces4 ,his ,madonnas
 possess a modest1 lively1 and dignified
 air2 his angels are graceful2 and his  
saints are distinguished by their fine  
heads1 a character of devotion1 and are 
clothed in the sumptuous costume of the 
church4 ,in ,rome his pictures are the  
more prized the nearer they approach to 
the style of ,sacchi1 as the ,s4        
,saverio in the ,gesu1 a ,madonna in the
 ,panfili palace1 and several others4   
,some are found beyond the territories  
of the church1 and in ,genoa is his     
,martyrdom of ,s4 ,biagio1 a picture as 
to the date of which ,i do not inquire1 
but only assert that it is worthy of the
 greatest rival of ,sacchi4 ,he         
afterwards adopted a less dignified     
style1 but which for its correctness is 
worthy of imitation4 ,though he had     

devoted the early part of his life to   
the acquisition of a pure style of      
design1 he did not think himself        
sufficiently accomplished in it1 and    
again returned1 when advanced in years1 
to the study of ,raffaello1 of whose    
excellences he possessed himself1       
without losing sight of the ,caracci and
 ,guido4 ,but many are of opinion that  
he fell into a style too elaborate1 and 
sacrificed the spirit of his            
compositions to minute care4 ,his       
principal fault lay in the folding of   
his drapery1 when through a desire of   
copying nature he too frequently        
separates its masses1 and neglects too  
much the naked parts1 which takes away  
from the elegance of his figures4 ,he   
endeavoured to fix his principal light  
on the most important part of his       
composition1 subduing rather more than  
was right1 the light in other parts of  
his picture1 and his scholars carried   
this principle afterwards so far as to  
produce an indistinctness which became  

the characteristic mark of his school4  
,though not often1 he yet painted some  
few pictures of an extraordinary        
magnitude1 as the ,s4 ,carlo in the     
church of that saint at the ,corso1 and 
the ,baptism of ,christ in the ,certosa1
 copied in mosaic in the ,basilica of   
,s4 ,peter4 ,his other pictures are for 
the most part on a smaller scale2 many  
are in ,rome1 and amongst them the      
charming composition of ,s4 ,stanislaus 
,kostka1 at the altar where his ashes   
repose2 not a few others in other       
cities1 as the ,s4 ,andrea ,corsini in  
the chapel of that noble family in      
,florence1 and the ,s4 ,francesco di    
,sales at the ,filippini di ,forli1     
which is one of his most studied works4 
,he contributed largely1 also1 to the   
galleries of sovereigns and private     
individuals4 ,there is not a            
considerable collection in ,rome without
 a specimen of his pencil1 particularly 
that of the ,albani1 to which family he 
was extremely attached4 ,his works are  

frequently met with in the state4 ,there
 is a valuable copy of the ,battle of   
,constantine1 in possession of the      
,mancinforti family in ,ancona4 ,it is  
related1 that1 being requested to copy  
that picture1 he proposed the task to   
one of his best scholars1 who disdained 
the commission4 ,he therefore undertook 
the work himself1 and on finishing it1  
took occasion to intimate to his pupils1
 that the copying such productions might
 not be without benefit to the most     
accomplished masters4 ,he had a daughter
 whom he instructed in his own art2 and 
her portrait1 executed by herself1 in a 
painting attitude1 is to be seen in the 
,corsini gallery at ,rome4  ,maratta1 in
 his capacity of an instructor1 is      
extolled by his biographer1 ,bellori 7p4
 #bjh72 but is by ,pascoli accused of   
jealousy1 and of having condemned a     
youth of the most promising talents in  
his school1 ,niccolo ,berrettoni di     
,montefeltro1 to the preparation of     
colours4 ,this artist1 however1 from the

 principles which he imbibed from       
,cantarini1 and from his imitation of   
,guido and ,coreggio1 formed for himself
 a mixed style1 delicate1 free1 and     
unconstrained1 and the more studied1 as 
that study was concealed under the      
semblance of nature4 ,he died young1    
leaving very few works behind him1      
almost all of which were engraved1 in   
consequence of his high reputation4 ,the
 ,marriage of the ,virgin ,mary1 which  
he executed for ,s4 ,lorenzo in ,borgo1 
was engraved by ,pier ,santi ,bartoli1 a
 very distinguished engraver of those   
times1 an excellent copyist1 and himself
 a painter of some merit4#hf ,another of
 his pictures1 a ,madonna1 attended by  
saints at ,s4 ,maria di ,monte ,santo1  
and the lunettes of the same chapel1    
were engraved by ,frezza4 ,an account of
 this artist may be found in the        
,lettere ,pitt4 tom4 v4 p4 #bgg4        
,giuseppe ,chiari of ,rome1 who finished
 some pictures of ,berrettoni and of    
,maratta himself1 was one of the best   

painters of easel pictures of that      
school4 ,many of his works found their  
way to ,england4 ,he painted some       
pictures for the churches of ,rome1 and 
probably the best is the ,adoration of  
the ,magi in the church of the          
,suffragio1 of which there is an        
engraving4 ,he also succeeded in fresco4
 ,those works in particular1 which he   
executed in the ,barberini palace1 under
 the direction of the celebrated        
,bellori1 and those also of the ,colonna
 gallery1 will always do him credit2 he 
was sober in his colours1 careful and   
judicious2 rare qualities in a fresco   
painter4 ,he did not inherit great      
talents from nature1 but by force of    
application became one of the first     
artists of his age4 ,tommaso ,chiari1 a 
pupil also of ,maratta1 and whose       
designs he sometimes executed1 did not  
pass the bounds of mediocrity4 ,the same
 may be observed of ,sigismond ,rosa1 a 
scholar of ,giuseppe ,chiari4  ,to      
,giuseppe ,chiari1 who was the intimate 

friend of ,maratta1 we may add two      
others1 who were1 according to ,pascoli1
 the only scholars whom he took a       
pleasure in instructing2 ,giuseppe      
,passeri1 the nephew of ,giambatista1   
and ,giacinto ,calandrucci of ,palermo4 
,both were distinguished as excellent   
imitators of their master4 ,passeri     
worked also in the state4 ,in ,pesaro is
 a ,s4 ,jerome by him1 meditating on the
 ,last ,judgment1 which may be          
enumerated among his best works4 ,in the
 church of the ,vatican1 he painted a   
pendant to the ,baptism of ,maratta1 ,s4
 ,peter baptizing the centurion1 which  
after being copied in mosaic1 was sent  
to the church of the ,conventuals in    
,urbino4 ,this picture1 which was       
executed under the direction of         
,maratta1 is well coloured2 but in many 
of his works his colouring is feeble1 as
 in the ,conception at the church of ,s4
 ,thomas in ,parione1 and in other      
places in ,rome4 ,calandrucci1 after    
having given proof of his talents in the

 churches of ,s4 ,antonio de'           
,portoghesi1 and ,s4 ,paolino della     
,regola1 and in other churches of ,rome1
 and after having been creditably       
employed by many noble persons1 and by  
two pontiffs1 returned to ,palermo1 and 
there1 in the church del ,salvatore1    
placed his large composition of the     
,madonnas1 attended by ,s4 ,basil and   
other saints1 which work he did not long
 survive4 ,he left behind him in ,rome a
 nephew1 who was his scholar1 called    
,giambatista2 and he had also a brother 
there of the name of ,domenico1 a       
disciple of ,maratta and himself2 but   
there are no traces of their works      
remaining4  ,andrea ,procaccini and     
,pietro de' ,petri1 also hold a         
distinguished place in this school1     
although their fortunes were very       
dissimilar4 ,procaccini1 who painted in 
,s4 ,giovanni ,laterano1 the ,daniel1   
one of the twelve prophets which        
,clement ,,xi4 commanded to be painted  
as a trial of skill by the artists of   

his day1 obtained great fame1 and       
ultimately became painter to the court  
of ,spain1 where he remained fourteen   
years1 and left some celebrated works4  
,petri on the contrary continued to     
reside in ,rome1 and died there at a not
 very advanced age4 ,he was employed    
there in the tribune of ,s4 ,clement1   
and in some other works4 ,he did not1   
however1 obtain the reputation and      
success that he deserved1 in consequence
 of his infirm health and his extreme   
modesty4 ,he is one of those who        
engrafted on the style of ,maratta1 a   
portion of the manner of ,cortona4      
,orlandi calls him a ,roman1 others a   
,spaniard1 but his native place in fact 
was ,premia1 a district of ,novara4     
,paolo ,albertoni and ,gio4 ,paolo      
,melchiorri1 both ,romans1 flourished   
about the same time2 less esteemed1     
indeed1 than the foregoing1 but         
possessing the reputation of good       
masters1 particularly the second4  ,at a
 somewhat later period1 the last scholar

 of ,maratta1 ,agostino ,masucci        
presents himself to our notice4 ,this   
artist did not exhibit any peculiar     
spirit1 confining himself to pleasing   
and devout subjects4 ,in his            
representations of the ,virgin he       
emulated his master1 who from his great 
number of subjects of that kind1 was at 
one time called ,carlo dalle ,madonne2  
as he himself has commemorated in his   
own epitaph4 ,like ,maratta he imparted 
to them an expression of serene majesty1
 rather than loveliness and affability4 
,in some of his cabinet pictures ,i am  
aware that he occasionally renounced    
this manner1 but it was only through    
intercession and expostulation4 ,he was 
a good fresco painter1 and decorated for
 pope ,benedict ,,xiv4 an apartment in a
 casino1 erected in the garden of the   
,quirinal4 ,he painted many altarpieces1
 and his angels and children are        
designed with great elegance and nature1
 and in a novel and original style4 ,his
 ,s4 ,anna at the ,nome ,s4 ,s4 di      

,maria1 is one of the best pictures he  
left in ,rome2 there is also a ,s4      
,francis in the church of the           
,osservanti di ,macerata1 a ,conception 
at ,s4 ,benedetto di ,gubbio1 in ,urbino
 a ,s4 ,bonaventura1 which is perhaps   
his noblest composition1 full of        
portraits 7in which he was long         
considered the most celebrated painter  
in ,rome71 and finished with exquisite  
care4 ,lorenzo1 his son and scholar1 was
 very inferior to him4  ,stefano ,pozzi 
received his first instructions from    
,maratta1 and afterwards became a       
scholar of ,masucci4 ,he had a younger  
brother1 ,giuseppe1 who died before him1
 ere his fame was matured4 ,stefano     
lived long1 painting in ,rome with the  
reputation of one of the best masters of
 his day2 more noble in his style of    
design than ,masucci1 and if ,i err not1
 more vigorous1 and more natural in his 
colouring4 ,we may easily estimate their
 merits in ,rome in the church just     
mentioned1 where we find the ,transito  

di ,s4 ,giuseppe of ,pozzi1 near the ,s4
 ,anna of ,masucci4 ,of the ,cav4       
,girolamo ,troppa1 ,i have heard from   
oral tradition that he was the scholar  
of ,maratta4 ,he was certainly his      
imitator1 and a successful one too1     
although he did not live long4 ,he left 
works both in oil and fresco in the     
capital1 and in the church of ,s4       
,giacomo delle ,penitenti1 he painted in
 competition with ,romanelli4 ,i have   
found pictures by him in the state2 and 
in ,s4 ,severino is a church picture    
very well conducted4 ,girolamo ,odam1 a 
,roman of a ,lorena family1 is reckoned 
among the disciples of the ,cav4 ,carlo1
 and is eulogized in a long and pompous 
article by ,orlandi1 or perhaps by some 
friend of ,odam1 who supplied ,orlandi  
with the information4 ,he is there      
described as a painter1 sculptor1       
architect1 engraver1 philosopher1       
mathematician1 and poet1 and            
accomplished in every art and science4  
,in all these ,i should imagine he was  

superficial1 as nothing remains of him  
except some engravings and a very       
slender reputation1 not at all          
corresponding to such unqualified       
commendation4  ,of other artists who are
 little known in ,rome and its          
territories1 such as ,jacopo ,fiammingo1
 ,francesco ,pavesi1 ,michele ,semini1  
there is little information that can be 
relied on4 ,respecting ,subissati1      
,conca is silent1 though information    
might possibly be obtained of him in    
,madrid1 at which court he died4 ,in    
,urbino1 which was his native place1 ,i 
find no picture of him remaining1 except
 the head of a sybil3 ,antonio ,balestra
 of ,verona and ,raffaellino ,bottalla  
will be found in their native schools1  
but ,i must not here omit one1 a native 
of the state1 who after being educated  
in the academy1 returned to his native  
country1 and there introduced the style 
of ,carlo1 at that time so much in      
vogue4 ,orlandi mentions with applause  
,gioseffo ,laudati of ,perugia1 as      

having contributed to restore the art1  
which after the support it had found in 
,bassotti and others1 had fallen into   
decay4  ,lodovico ,trasi1 of ,ascoli1 is
 deserving of particular notice4 ,he was
 for several years a fellow disciple of 
,maratta in the school of ,sacchi1 and  
was afterwards desirous of becoming his 
scholar4 ,after studying some time in   
his academy1 he returned to ,ascoli1    
where he has left a great number of     
works both public and private1 in       
various styles4 ,in some of his smaller 
pictures he discovers a good            
,marattesque style2 but in his fresco   
and altarpieces he is negligent1 and    
adheres much to ,sacchi1 yet in a manner
 that discovers traces of ,cortona4 ,his
 picture of ,s4 ,niccolo at the church  
of ,s4 ,cristoforo is beautiful1 and is 
one of the pieces which he finished with
 more than usual care4 ,he has there    
represented the enfranchisement of a    
slave1 at the moment the pious youth is 
serving at his master's table4 ,there   

are some remarkable pictures of this    
artist in the cathedral1 painted in     
distemper1 particularly that of the     
martyrdom of ,s4 ,emidio4 ,trasi was the
 instructor of ,d4 ,tommaso ,nardini1   
who continued on his master's death the 
decoration of the churches of the city1 
and his best work is perhaps in ,s4     
,angelo ,magno1 a church of the         
,olivetani4 ,the perspective was by     
,agostino ,collaceroni of ,bologna1 a   
scholar of ,pozzi4 ,nardini supplied the
 figures1 representing the mysteries of 
the ,apocalypse and other scriptural    
events4 ,it displays great spirit and   
harmony1 richness of colouring and      
facility1 which are the distinguishing  
characteristics of this master1 and are 
perhaps better expressed in this picture
 than in any other4 ,we may add to the  
two before mentioned painters1          
,silvestro ,mattei1 who studied under   
,maratta1 ,giuseppe ,angelini1 the      
scholar of ,trasi1 and ,biagio ,miniera1
 also of ,ascoli1 whom ,orsini has      

noticed in his ,guida4  ,there          
flourished about the same time in the   
neighbouring city of ,fermo1 two ,ricci1
 scholars of ,maratta1 who were probably
 instructed before going to ,rome by    
,lorenzino di ,fermo1 a good artist1    
though doubtful of what school1 and who 
is said to have painted the picture of  
,s4 ,catharine at the church of the     
,conventuals1 and other pictures in the 
adjoining territories4 ,the one was     
named ,natale1 the other ,ubaldo2 the   
latter was superior to the former1 and  
is much extolled for his ,s4 ,felice1   
which he painted for the church of the  
,capucins1 in his native place4 ,he did 
not often pass the bounds of mediocrity1
 which is frequently the case with      
artists residing at a distance from a   
capital1 and who have not the incitement
 to emulation and an opportunity of     
studying good examples4 ,the same       
observation is1 ,i think1 applicable    
also to another scholar of ,maratta1    
,giuseppe ,oddi1 of ,pesaro1 where one  

of his pictures remains in the church   
della ,carita4 ,we shall now return to  
the metropolis4  ,a fresh reinforcement 
to support the style of the ,caracci in 
,rome1 was received from the school of  
,bologna4 ,i speak only of those who    
established themselves there4 ,domenico 
,muratori had been the scholar of       
,pasinelli1 and painted the great       
picture in the church of the ,apostles1 
which is probably the largest altarpiece
 in ,rome1 and represents the martyrdom 
of ,s4 ,philip and ,s4 ,james4 ,the     
grandeur of this composition1 its       
judicious disposition and felicity of   
chiaroscuro1 though its colouring was   
not entirely perfect1 gave him          
considerable celebrity4 ,he was also    
employed in many smaller works1 in which
 he always evinced an equally correct   
design1 and perhaps better colouring4   
,he was chosen to paint one of the      
prophets in the ,basilica ,lateranense1 
and was employed also in other cities4  
,in the cathedral of ,pisa1 he painted a

 large picture of ,s4 ,ranieri1 in the  
act of exorcising a demon1 which is     
esteemed one of his most finished works4
 ,francesco ,mancini di ,s4 ,angiolo in 
,vado1 and ,bonaventura ,lamberti di    
,carpi1 had better fortune in ,bologna1 
in having for their master ,carlo       
,cignani4 ,mancini1 when he came to     
,rome1 did not adhere exclusively to his
 master's manner1 as he was rather more 
attached to the facility and freedom of 
,franceschini1 his fellow scholar1 whom 
he somewhat resembles in style4 ,he     
seems1 however1 to have had less        
despatch1 and certainly painted less4   
,he was chaste in his invention1 and    
followed the example of ,lazzarini2 he  
designed well1 coloured in a charming   
manner1 and was numbered among the first
 artists of his age in ,rome4 ,he       
painted the ,miracle of ,s4 ,peter at   
the beautiful gate of the temple1 a     
picture which is preserved in the palace
 of ,monte ,cavallo1 and is copied in   
mosaic in ,s4 ,peter's4 ,this picture1  

which is a spirited composition1 and    
well arranged in the perspective1 is his
 principal work1 and does not suffer    
from a comparison with those mentioned  
in the ,guida di ,roma1 and others      
scattered through the dominions of the  
church4 ,such are pictures with various 
saints in the church of the ,conventuals
 of ,urbino1 and in that of the         
,camaldolesi of ,fabriano2 the appearing
 of ,christ to ,s4 ,peter in that of the
 ,filippini1 in ,citta di ,castello1 and
 the various works executed in oil and  
in fresco at ,forli and at ,macerata4   
,he painted many pictures for foreign   
collections1 and was commended for his  
large compositions4 ,from his studio    
issued the ,canonico ,lazzarini before  
named1 whom1 as he lived amongst other  
followers of ,cignani1 ,i shall reserve 
with them to the close of the ,bolognese
 school4 ,niccola ,lapiccola1 of        
,crotone1 in ,calabria ,ultra1 remained 
in ,rome2 and a cupola of a chapel in   
the ,vatican painted by him1 was copied 

in mosaic4 ,there are some pictures by  
him in other churches2 the best are1    
perhaps1 in the state1 particularly in  
,velletri4 ,i have heard that he was a  
disciple of ,mancini1 though in his     
colouring he somewhat adhered to his    
native school4  ,bonaventura ,lamberti  
is numbered by ,mengs among the latest  
of the successful followers of the      
school of ,cignani1 whose style he      
preserved more carefully than ,mancini  
himself4 ,he did not give many works to 
the world4 ,he had1 however1 the honour 
of having his designs copied in mosaic  
by ,giuseppe ,ottaviani1 in ,s4         
,peter's1 and one of his pictures       
engraved by ,frey4 ,it is in the church 
of the ,spirito ,santo de' ,napolitani1 
and represents a miracle of ,s4         
,francesco di ,paola4 ,the ,gabrieli    
family1 which patronised him in an      
extraordinary manner1 possesses a great 
number of historical pictures by him1   
which are in themselves sufficient to   
engage the attention of an amateur for  

several hours4 ,lamberti had the honour 
of giving to the ,roman ,school the     
,cav4 ,marco ,benefial1 born and        
resident in ,rome1 a painter of great   
genius1 though not always equal to      
himself1 rather perhaps from negligence1
 than deficiency of powers4  ,the       
,marchese ,venuti#hg extols this master 
above all others of his time for his    
accurate design1 and his ,caracciesque  
colouring4 ,his monument is placed in   
the ,pantheon1 among those of the most  
celebrated painters1 and to his bust is 
attached the eulogy bestowed on him by  
the ,abate ,giovenazzo1 where he is     
particularly commended for his power of 
expression4 ,the factions to which he   
gave rise still subsist1 as if he were  
yet living4 ,his admirers not being able
 to defend all his works1 have fixed on 
the ,flagellation at the ,stimmate1     
painted in competition with             
,muratori1#hh and ,s4 ,secondino at the 
,passionisti1 as the subjects of their  
unqualified approbation2 pictures       

indeed1 of such science1 that they may  
challenge any comparison4 ,to these may 
be added his ,s4 ,lorenzo and ,s4       
,stefano1 in the ,duomo of ,viterbo1 and
 a few others of similar merit1 in which
 he evidently imitated ,domenichino and 
his school4 ,his enemies have designated
 him as an inferior artist1 and adduce  
several works feeble in expression and  
effect4 ,the impartial consider him an  
eminent artist1 but his productions     
vary1 being occasionally in a grand     
style1 and at other times not passing   
the bounds of mediocrity4 ,this is a    
character which has been ascribed to    
many poets also1 and even to ,petrarch  
himself4  ,our obligations are due to   
the ,sig4 ,batista ,ponfredi1 his       
scholar1 for the memoirs of this eminent
 man4 ,they were addressed to the ,count
 ,niccola ,soderini1 a great benefactor 
of ,benefial1 and more rich in his works
 than any other ,roman collector4 ,his  
letter is in the fifth volume of the    
,pittoriche1 and is one of the most     

instructive in the collection1 although 
altered by the editor in some points4 ,i
 shall transcribe a passage from it1 as 
it may be satisfactory to see the actual
 state of the art at that time1 and the 
way in which ,marco contributed to its  
support4 ,he was so anxious to revive   
the art1 and so grieved to see it fall  
into decay1 that he frequently consumed 
several hours in the day in declaiming  
against the prevailing conception of    
style1 and urging the necessity of      
shunning mannerism1 and adopting a style
 founded in truth1 which few did1 or if 
they did1 attempted not to imitate its  
simplicity1 but adapted it to their own 
manner4 ,he directed the particular     
attention of his pupils to the          
difference between the production of a  
mannerist1 and one which was studied and
 simple1 and founded in nature2 that the
 first1 if it were well designed1 and   
had a good chiaroscuro1 had at first    
sight a striking effect from the        
brilliancy of its colours1 but gradually

 lost ground at every succeeding view1  
while the other appeared the more       
excellent the longer it was             
inspected4--,these and other precepts of
 the same kind he delivered in terms    
perhaps too cynical2 not only in        
private1 but in the school of design at 
the ,campidoglio1 at the time that he   
presided there2 the consequence was that
 the inferior artists combined against  
him1 deprived him of his employment1 and
 suspended him from the academy4 ,some  
further information respecting ,benefial
 was communicated to the public in the  
,risposta alle ,lett4 ,perugine1 p4 #dh4
  ,from a scholar also of ,cignani1     
7,franceschini17 ,francesco ,caccianiga 
received instructions in ,bologna1      
whence he came to ,rome1 where he       
perfected his style and established     
himself4 ,he was a painter to whom      
nothing was wanting1 except that natural
 spirit and vigour which are not to be  
supplied by industry4 ,he was employed  
by several potentates1 and two of his   

works executed for the king of ,sardinia
 were engraved by himself4 ,ancona      
possesses four of his altarpieces1 among
 which are the ,institution of the      
,eucharist1 and the ,espousals of the   
,virgin2 pictures coloured in a clear1  
animated1 and engaging style1 and easily
 distinguished among a thousand4 ,rome  
has few public works by him4 ,in the    
,gavotti palace is a good fresco1 and   
there are others in the palace and villa
 of the ,borghesi1 who generously       
extended to him a permanent and suitable
 provision1 when overtaken by poverty   
and age4#hi  ,from the school of        
,guercino came ,sebastiano ,ghezzi of   
,comunanza1 not far from ,ascoli4 ,he   
was eminent both in design and          
colouring1 and at the church of the     
,agostiniani ,scalzi di ,monsammartino  
is a ,s4 ,francesco by him1 which is    
esteemed an exquisite picture1 and wants
 only the finishing hand of the artist4 
,he was the father and teacher of       
,giuseppe ,ghezzi1 who studied in ,rome1

 and was also a tolerable writer1       
considering the period at which he      
wrote4 ,in his painting he seemed to    
adopt the style of ,cortona4 ,his name  
is frequently mentioned in the ,guida di
 ,roma1 and more than once in the       
,antichita ,picene1 where it is stated  
that he was held in great esteem by     
,clement ,,xi41 and that he died        
secretary to the academy of ,s4 ,luke1  
7tom4 xxv4 p4 #aa74 ,pascoli1 who has   
written his life1 extols him for his    
skill in restoring pictures1 in which   
capacity the queen of ,sweden employed  
him exclusively on all occasions4       
,pierleone1 his son and scholar1        
possessed a style similar to that of his
 father1 but less hurried1 and became a 
more distinguished artist4 ,he was      
selected with ,luti and ,trevisani1 and 
other eminent masters1 to paint the     
prophets of the ,lateran1 as well as    
other commissions4 ,but for his chief   
reputation he is indebted to the        
singular talent he possessed in         

designing caricatures1 which are to be  
found in the cabinets of ,rome and other
 places4 ,in these he humourously       
introduced persons of quality1 a        
circumstance particularly gratifying in 
a country where the freedom of the      
pencil was thought a desirable addition 
to the licence of the tongue4  ,other   
schools of ,italy also contributed      
artists to the ,roman ,school1 who      
however did not produce any new manner1 
except that in respect of the two       
principal masters then in vogue1        
,cortona and ,maratta1 they have        
afforded an occasional modification of  
those two styles4  ,gio4 ,maria ,morandi
 came whilst yet a youth from ,florence1
 and forsaking the manner of ,bilivert1 
his first instructor1 formed for himself
 a new style4 ,this was a mixture of    
,roman design and ,venetian colouring   
7for in travelling through ,italy1 he   
resided some time at ,venice1 and copied
 much there71 while some part of it     
partakes of the manner of ,cortona1 and 

was esteemed in ,rome4 ,he established  
himself in this latter city1 in the     
,guida of which he is often mentioned1  
and his works are not unfrequently found
 in collections4 ,his ,visitation at the
 ,madonna del ,popolo is a fine         
composition2 and still more highly      
finished1 and full of grand effect1 is  
his picture of the death of the ,virgin 
,mary1 in the church della ,pace4 ,this 
may indeed be considered his            
masterpiece1 and it has been engraved by
 ,pietro ,aquila4 ,he was also          
celebrated for his historical pictures1 
which he sometimes sent into foreign    
countries1 and more than in any other   
branch1 he acquired a reputation in     
portraits1 in which he was constantly   
employed by persons of quality in ,rome 
and ,florence1 and was also called to   
,vienna by the emperor4 ,there1 besides 
the imperial family1 he painted also the
 portraits of many of the lesser princes
 of ,germany4 ,odoardo ,vicinelli1 a    
painter of considerable merit in these  

latter times1 in vol4 vi4 of the ,lett4 
,pitt4 is said to have been a scholar of
 ,morandi1 and ,pascoli does not        
hesitate to assert that he conferred    
greater honour than any other of his    
scholars on his master2 ,i believe1 in  
,rome1 where ,pietro ,nelli alone could 
dispute precedence with him4  ,francesco
 ,trevisani1 a native of ,trevigi1 was  
educated by ,zanchi in ,venice1 where1  
in order to distinguish him from        
,angiolo ,trevisani1 he was called ,il  
,trevisani ,romano4 ,in ,rome1 he       
abandoned his first principles1 and     
regulated his taste by the best manner  
then in vogue4 ,he possessed a happy    
talent of imitating every manner1 and at
 one time appears a follower of         
,cignani1 at another of ,guido2 alike   
successful whichever style he adopted4  
,the ,albiccini family1 in ,forli1      
possess many of his pictures in various 
styles1 and amongst them a small        
,crucifixion1 most spirited and highly  
finished1 which the master esteemed his 

best work1 and offered a large sum to   
obtain back again4 ,his pictures abound 
in ,rome1 and in general exhibit an     
elegance of design1 a fine pencil1 and a
 vigorous tone of colour4 ,his ,s4      
,joseph dying1 in the church of the     
,collegio ,r41 is a remarkably noble    
production4 ,a subject painted by him to
 accompany one by ,guido in the ,spada  
palace is also highly esteemed4 ,he     
enjoyed the patronage of ,clement ,,xi4 
by whom he was not only commissioned to 
paint one of the prophets of the        
,lateran1 but was also employed in the  
cupola of the ,duomo in ,urbino1 in     
which he painted the four quarters of   
the world2 a work truly estimable for   
design1 fancy1 and colouring4 ,in other 
cities of the state we find pictures by 
him painted with more or less care1 in  
,foligno1 at ,camerino1 in ,perugia1 at 
,forli1 and one of ,s4 ,antonio at ,s4  
,rocco in ,venice1 of a form more       
elegant than robust4  ,pasquale ,rossi1 
better known by the name of ,pasqualino1

 was born in ,vicenza1 and from long    
copying the best ,venetian and ,roman   
pictures1 attained without the          
instruction of a master1 a natural mode 
of colour1 and a good style of design4  
,few of his public works remain in      
,rome2 ,christ praying in the garden in 
the church of ,s4 ,carlo al ,corso1 the 
,baptism also of our ,saviour at the    
,madonna del ,popolo4 ,the ,silvestrini 
of ,fabriano have several pictures by   
him1 and among them a ,madonna truly    
beautiful4 ,his ,s4 ,gregory1 in the    
,duomo of ,matelica1 in the act of      
liberating souls from purgatory1 is in  
the style of ,guercino1 and is one of   
his best works4 ,in private collections 
we find his cabinet pictures            
representing gaming parties1            
conversations1 concerts1 and similar    
subjects1 carefully finished on a small 
scale1 and little inferior to ,flemish  
pictures4 ,i have met with numerous     
specimens of them in various places2 but
 in no place have ,i admired this artist

 so much as in the royal gallery at     
,turin1 in which are some ornaments over
 doors1 and pictures of considerable    
size by him1 chiefly scriptural         
subjects1 executed in an animated and   
vigorous style1 and with so much        
imitation of the ,roman ,school1 that we
 should think them to be by some other  
master4  ,giambatista ,gaulli1 commonly 
called ,baciccio1 studied first in      
,genoa4 ,whilst still young he went to  
,rome1 where under the direction of a   
,frenchman1 and by the more valuable aid
 of ,bernino1 he formed himself on the  
style of the great machinists4 ,as he   
was endowed by nature with a ready      
genius and a dexterity of hand1 he could
 not have chosen any branch of the art  
more adapted to his talent4 ,the vault  
of the ,gesu is his most conspicuous    
work4 ,the knowledge of the sotto in su1
 the unity1 harmony1 and correct        
perspective of its objects1 the         
brilliancy and skilful gradation of the 
light1 rank it among the best1 if indeed

 it be not his best picture in ,rome4   
,it must1 however1 be confessed1 that we
 must inspect it with an eye to the     
general effect1 rather than to the local
 tints1 or the drawing of the figures1  
in which he is not always correct4 ,his 
faults in his easel pictures1 which are 
very numerous in ,italy and in foreign  
countries1 are less obtrusive1 and are  
abundantly atoned for by their spirit1  
freshness of tints1 and engaging        
countenances4 ,he varies his manner with
 his subject1 assigning to each a       
peculiar style4 ,there is a delightful  
picture in his best manner1 gracefully  
painted in the church of ,s4 ,francesco 
a ,ripa1 representing the ,madonna with 
the divine ,infant in her arms1 and at  
her feet ,s4 ,anna kneeling1 surrounded 
by ,angels4 ,in a grave and pathetic    
style on the contrary1 is the           
representation of ,s4 ,saverio dying in 
the desert island of ,sanciano1 which is
 placed near the altar of ,s4 ,andrea at
 ,monte ,cavallo4 ,his figures of       

children are very engaging and highly   
finished1 though after the manner of    
,fiammingo1 more fleshy and less elegant
 than those of ,titian or the ,greeks4  
,he painted seven pontiffs1 and many    
persons of rank of his day1 and was     
considered the first portrait painter in
 ,rome4 ,in this branch of his art he   
followed a custom of ,bernino1 that of  
engaging the person he painted in an    
animated conversation1 in order to      
obtain the most striking expression of  
which the subject was susceptible4      
,giovanni ,odazzi1 his first scholar1   
was ambitious of emulating him in       
celerity1 but not possessing equal      
talent1 he did not attain the same      
distinction4 ,he is the most feeble1 or 
at all events1 the least eminent of the 
painters of the prophets of the         
,lateran1 where his ,hosea is to be     
seen2 and indeed1 in every corner of    
,rome1 his pictures are to be met with1 
as he never refused any commission4     
,pascoli has preserved the memory of    

another of his scholars1 a native of    
,perugia1 in the lives of the painters  
of his native country4 ,this was        
,francesco ,civalli1 initiated in the   
art by ,andrea ,carlone2 he was a youth 
of talent1 but impatient of instruction4
 ,he painted in ,rome and other places1 
but did not pass the bounds of          
mediocrity4 ,the ,cav4 ,lodovico        
,mazzanti1 was the scholar of ,gaulli1  
and emulated his manner to the best of  
his ability2 but his talents were not   
commanding1 nor were his powers equal to
 his ambition4 ,gio4 ,batista ,brughi1 a
 worker in mosaic1 rather than a        
painter1 left notwithstanding some      
public pictures in ,rome4 ,he is called 
in the ,guida sometimes ,brughi1 and    
sometimes ,gio4 ,batista1 the disciple  
of ,baciccio1 which makes it there      
appear as if they had been distinct     
individuals4 ,i do not recollect any    
other artist contributed by ,gaulli to  
the ,roman ,school4  ,the ,neapolitan   
,school1 which was in the beginning of  

this age supported by ,solimene1 sent   
some scholars to ,rome1 who adopted a   
,roman style4 ,sebastiano ,conca was the
 first that arrived there with an       
intention of seeing it1 but he          
established himself there1 together with
 ,giovanni1 his brother1 to meliorate   
his style of design4 ,resigning the     
brush1 he returned at forty years of age
 to the pencil1 and spent five years in 
drawing after the antique1 and after the
 best modern productions4 ,his hand1    
however1 had become the slave of habit  
in ,naples1 and would not answer to his 
own wishes2 and he was kept in constant 
vexation1 as he could appreciate        
excellence1 but found himself incapable 
of attaining it4 ,the celebrated        
sculptor1 ,le ,gros1 advised him to     
return to his original style1 and he    
then became in ,rome an eminent painter1
 in the manner of ,pietro da ,cortona1  
with considerable improvements on his   
early manner4 ,he possessed a fertile   
invention1 great facility of execution1 

and a colour which enchanted by its     
lucidness1 its contrast1 and the        
delicacy of the flesh tints4 ,it is     
true1 that on examination we find that  
he was not in reality a profound        
colourist1 and that to obtain a grandeur
 of tone1 he adopted in the shadows a   
green tint1 which produced a mannerism4 
,he distinguished himself in frescos1   
and also in pictures in the churches1   
decorating them with choirs of angels1  
happily disposed in a style of          
composition that may be called his own1 
and which served as an example to many  
of the machinists4 ,he was indefatigable
 too in painting for private            
individuals1 and in the states of the   
church there is scarcely a collection   
without its ,conca4 ,his most studied1  
finished1 and beautiful work is the     
,probatica at the hospital of ,siena4   
,of great merit in ,rome is the         
,assumption at ,s4 ,martina1 and the    
,jonah among the prophets in the ,s4    
,giovanni ,laterano4 ,his works were in 

high esteem in the ecclesiastical state2
 his best appear to be the ,s4 ,niccolo 
at ,loreto1 ,s4 ,saverio in ,ancona1 ,s4
 ,agostino at ,foligno1 ,s4 ,filippo in 
,fabriano1 and ,s4 ,girolamo ,emiliano  
at ,velletri4 ,giovanni1 his brother1   
assisted ,sebastiano in his commissions1
 had an equal facility1 a similar taste1
 though less beautiful in his heads1 and
 of not so fine a pencil4 ,he shewed    
great talent in copying the pictures of 
the best masters4 ,in the church of the 
,domenicans of ,urbino are the copies   
which he made of four pictures to be    
executed in mosaic2 they were by        
,muziani1 ,guercino1 ,lanfranco1 and    
,romanelli4 ,conca is eulogized by      
,rossi with his usual intelligence and  
discrimination 7v4 tom4 ii4 of his      
,memorie1 p4 #ha47  ,mengs perhaps      
censures him too severely1 where he     
says1 that by his precepts he           
contributed to the decay of the art4 ,he
 had his followers1 but they were not so
 numerous as to corrupt all the other   

schools of ,italy4 ,every school1 as we 
have seen1 had within itself the seeds  
of its own destruction1 without seeking 
for it elsewhere4 ,it is true1 indeed1  
that some of his scholars inherited his 
facility and his colouring1 and left    
many injurious examples in ,italy4 ,nor 
shall ,i give myself much trouble to    
enumerate his disciples1 but shall      
content myself with the names of the    
most celebrated4 ,gaetano ,lapis di     
,cagli was one of these1 and brought    
with him good principles of design when 
he came to study under ,conca4 ,he was a
 painter of an original taste1 as ,rossi
 describes1 not very spirited1 but      
correct4 ,many of his works are found in
 the churches of his native place1 and  
in the ,duomo are two highly prized     
pieces on each side the altar1 a ,supper
 of our ,lord1 and a ,nativity4 ,in the 
various pictures ,i have seen of him at 
,s4 ,pietro1 ,s4 ,niccolo1 and ,s4      
,francesco1 ,i generally found the same 
composition of a ,madonna of a graceful 

form1 attended by ,saints in the act of 
adoring her and the ,holy ,infant4 ,we  
find some of his works also in ,perugia 
and elsewhere4 ,the ,prince ,borghese1  
in ,rome1 has a ,birth of ,venus by him1
 painted on a ceiling1 with a           
correctness of design1 and a grace      
superior to any thing that remains of   
him1 and no one can justly appreciate   
his talents1 who has not seen this work4
 ,it should seem1 that a timidity and   
diffidence of his own powers1 prevented 
his attaining that high station which   
his genius seemed to have intended for  
him4 ,salvator ,monosilio1 who resided  
much in ,rome1 was of ,messina1 and trod
 closely in the footsteps of his master4
 ,in a chapel of ,s4 ,paolino della     
,regola1 where ,calandrucci furnished   
the altarpiece1 he painted the vault in 
fresco2 and others of his works are to  
be seen at the ,s4 ,s4 ,quaranta1 and at
 the church of the ,polacchi4 ,in       
,piceno1 where ,conca was in great      
reputation1 ,monosilio was held in high 

esteem1 and was employed both in public 
and in private4 ,at ,s4 ,ginesio is a   
,s4 ,barnabas by him1 in the church of  
that saint1 which in the ,memorie so    
often quoted by us1 is designated as an 
excellent work4 ,conca educated another 
,sicilian student1 the ,abbate ,gaspero 
,serenari1 of ,palermo1 who was         
considered a young man of talents in    
,rome1 and painted in the church of ,s4 
,teresa1 in competition with the ,abate 
,peroni of ,parma4 ,on his return to    
,palermo he became a celebrated master1 
and besides his oil pictures he executed
 some vast works in fresco1 particularly
 the cupola of the ,gesu1 and the chapel
 of the monastery of ,carita4  ,gregorio
 ,guglielmi1 a ,roman1 is not much known
 in his native place1 although his      
fresco pictures in the hospital of the  
,s4 ,spirito in ,sassia1 intitle him to 
be numbered amongst the most eminent    
young artists who painted in ,rome in   
the pontificate of ,benedict ,,xiv4 ,he 
left ,rome early and went to ,turin1    

where1 in the church of ,s4 ,s4         
,solutore e ,comp4 is a small picture of
 the ,tutelar ,saints4 ,he was          
afterwards in ,dresden1 ,vienna1 and    
,st4 ,petersburgh1 where he painted in  
fresco with much applause1 for the      
respective sovereigns of those cities4  
,he was facile in composition1 pleasing 
in his colour1 and attached to the      
,roman style of design1 which1 like     
,lapis1 he seemed to have carried from  
some other school into that of ,conca4  
,among his most esteemed works is a     
ceiling1 painted in the university of   
,vienna1 and another in the imperial    
palace at ,schoenbrunn4 ,he did not     
succeed so well in oils1 in which his   
efforts are mostly feeble2 a proof that 
he belongs more to the school of ,conca 
than that of ,trevisani1 to which some  
have assigned him4  ,corrado ,giaquinto 
was another scholar of ,solimene4 ,he   
came from ,naples to ,rome1 where he    
attached himself to ,conca to learn     
colouring1 in which he chiefly followed 

his master's principles1 though he was  
less correct and more of a mannerist1   
and was accustomed to repeat himself in 
the countenances of his children1 which 
resemble the natives of his own country4
 ,he was not1 however1 without merit1 as
 he possessed facility as well as       
vigour1 and was known in the            
ecclesiastical state for various works  
executed in ,rome1 ,macerata1 and other 
places4 ,he went afterwards to          
,piedmont1 as we shall mention at the   
proper time2 then to ,spain1 where he   
was engaged in the service of the court1
 and gave satisfaction to the greater   
part of the native artists4 ,the public 
taste in ,spain1 which had for a long   
time retained the principles of the     
school founded by ,titian1 had been     
changed within a few years4 ,luca       
,giordano was become the favorite1 and  
they admired his spirit1 his freedom1   
and his despatch2 qualities which were  
combined in ,corrado4 ,this partiality  
lasted even after ,mengs had introduced 

his style1 which in consequence appeared
 at first meagre and cold to many of the
 masters and connoisseurs of the day1   
when compared with that of ,luca        
,giordano2 until prejudice there1 as in 
,italy1 ultimately yielded to truth4    
,some other artists flourished in ,rome 
at the commencement1 and as far as the  
middle of the century1 and somewhat     
beyond1 who may perhaps have a claim to 
be remembered4 ,of ,francesco ,fernandi1
 called ,l',imperiali1 the ,martyrdom of
 ,s4 ,eustachio in the church of the    
saint of that name1 is well conceived   
and scientifically coloured4 ,antonio   
,bicchierai1 a fresco painter1 is more  
particularly known at ,s4 ,lorenzo in   
,panisperna1 in which church he painted 
a sfondo which did him honour4          
,michelangiolo ,cerruti1 and ,biagio    
,puccini1 a ,roman1 about the time of   
,clement ,,xi4 and ,benedict ,,xiii41   
were esteemed artists of good execution4
 ,of others who acquired some reputation
 in the following pontificate1 ,i shall 

write in other schools1 or if ,i should 
not mention them1 they may be found in  
the ,guida of the city4  ,i shall now   
pass from native to foreign artists1 and
 shall take a brief notice of them1     
since my work has grown upon me with so 
many new ,italian names1 which are its  
proper object1 that ,i have not much    
spare room for foreigners1 and a        
sufficient notice of them may be found  
in their own country4 ,not a few        
oltremonti painted at this period in    
,rome1 celebrated for the most part in  
the inferior branches of painting1 where
 they deserve commemoration4 ,some of   
them were employed in the churches1 as  
,gio4 ,batista ,vanloo di ,aix1 a       
favorite scholar of ,luti1 who painted  
the picture of the ,flagellation at ,s4 
,maria in ,monticelli4 ,but he did not  
remain in ,rome1 but passed to          
,piedmont1 and from thence to ,paris and
 ,london1 and was celebrated for his    
historical compositions1 and highly     
esteemed in portrait4 ,some years after 

,vanloo1 ,pietro ,subleyras di ,gilles  
settled in ,rome1 and conferred great   
benefit on the ,roman ,school2 for      
whilst it produced only followers of the
 old manner1 and thus fell gradually    
into decay1 he very opportunely appeared
 and introduced an entirely new style4  
,an academy had been founded in ,rome by
 ,louis ,,xiv41 about the year #afff4   
,le ,brun had there cooperated1 the     
,giulio ,romano of ,france1 and the most
 celebrated of the four ,carli1 who were
 at that time considered the supporters 
of the art2 the others were ,cignani1   
,maratta1 and ,loth4 ,it had already    
produced some artists of celebrity1 as  
,stefano ,parocel1 ,gio4 ,troy1 ,carlo  
,natoire1 by whom many pictures are to  
be found in the public edifices in      
,rome4 ,there prevailed1 however1 in the
 style of this school a mannerism1 which
 in a few years brought it into         
disrepute4 ,mengs designated it by the  
epithet of spiritoso1 and it consisted1 
according to him1 in overstepping the   

limits of beauty and propriety1         
overcharging both the one and the other1
 and aiming at fascinating the eyes     
rather than conciliating the judgment4  
,subleyras1 educated in this academy1   
reformed this taste1 retaining the good1
 and rejecting the feeble part1 and     
adding from his own genius what was     
wanting to form a truly original manner4
 ,there was an engaging variety in the  
air of his heads1 and in his attitudes1 
and he had great merit in the           
distribution of his chiaroscuro1 which  
gives his pictures a fine general       
effect4 ,he painted with great truth2   
but the figures and the drapery1 under  
his pencil1 took a certain fulness which
 in him appears easy1 because it is     
natural2 it remained his own1 for       
although he left some scholars1 none of 
them ever emulated the grandeur of style
 which distinguished their master4  ,he 
was mature in talent when he left the   
academy1 and the portrait which he in   
preference to ,masucci1 painted of      

,benedict ,,xiv41 established his       
reputation as the first painter in      
,rome4 ,he was soon afterwards chosen to
 paint the history of ,s4 ,basil1 for   
the purpose of being copied in mosaic   
for the church of the ,vatican4 ,the    
original is in the church of the        
,carthusians1 and astonishes1 by the    
august representation of the ,sacrifice 
solemnly celebrated by the saint in the 
presence of the emperor1 who offers     
bread at the altar4 ,the countenances   
are very animated1 and there is great   
truth in the drapery and accompaniments1
 and the silks in their lucid and light 
folds appear absolutely real4 ,from this
 production1 and others of smaller size1
 and particularly the ,saint ,benedict  
at the church of the ,olivetani di      
,perugia1 which is perhaps his          
masterpiece1 he deserves a place in the 
first collections1 where1 indeed1 his   
pictures are rare and highly prized4    
,further notices of this artist may he  
found in the second volume of the       

,giornale delle belle ,arti4  ,egidio   
,ale1 of ,liege1 studied in ,rome1 and  
became a spirited1 pleasing1 and elegant
 painter4 ,his works in the sacristy    
dell',anima1 in fresco and oil1 painted 
in competition with ,morandi1 ,bonatti1 
and ,romanelli1 do him honour4 ,ignazio 
,stern was a ,bavarian1 who was         
instructed by ,cignani in ,bologna1 and 
worked in ,lombardy4 ,an ,annunciation  
in ,piacenza1 in the church of the      
,nunziata1 exhibits a certain grace and 
elegance1 which is peculiar to him1 as  
is observed in the description of the   
public pictures in that city4 ,stern    
afterwards established himself in ,rome1
 where he painted in fresco the sacristy
 of ,s4 ,paolino1 and left some oil     
pictures in the church of ,s4           
,elisabetta1 and in other churches4 ,he 
was more particularly attached to       
profane history1 conversations1 and     
similar subjects1 which have a place    
even in royal collections4 ,spain       
possessed a disciple of the school of   

,maratta1 in ,sebastiano ,mugnoz1 but   
dying young he left few works behind    
him4  ,in this place ,i ought to notice 
an establishment designed to revive the 
art in that quarter1 where it seemed to 
have so much declined1 as ,d4 ,francesco
 ,preziado1 of that country1 says1 in a 
letter which we shall shortly have      
occasion to mention with commendation4  
,the royal academy of ,s4 ,ferdinand1 in
 ,madrid1 which owed its origin to      
,philip ,v41 and was completed and      
endowed by ,ferdinand ,,vi41 sent       
several students to ,rome1 and provided 
for their maintenance4 ,they there      
selected the master the most agreeable  
to their genius1 and had1 in addition1 a
 director1 who was employed to          
superintend their studies2 as ,i am     
informed by ,sig4 ,bonaventura ,benucci1
 a ,roman painter1 educated in that     
academy4 ,bottari and all ,rome called  
it the ,spanish academy1 and ,i myself1 
in a former edition1 followed the common
 report1 and the two above named        

sovereigns ,i described as the founders 
of the academy4 ,having been censured   
for this statement1 ,i have here thought
 proper to specify my authorities4 ,it  
may without dispute be asserted1 that   
the ,spanish students have left in ,rome
 many noble specimens of their talents  
and taste4 ,d4 ,francesco ,preziado was 
for many years the director of this     
academy1 and painted a ,holy ,family at 
the ,s4 ,s4 ,quaranta1 in a good style4 
,he made also a valuable communication  
to the ,lettere ,pittoriche 7tom4 vi4 p4
 #cjh71 on the artists of ,spain1 very  
useful to any one desiring information  
respecting this school1 which is less   
known than it deserves to be4  ,an      
institution very much on the plan of the
 ,french academy was founded in ,rome a 
few years ago1 by his most faithful     
majesty1 for ,portuguese students1 to   
the promotion of which1 two celebrated  
,portuguese1 the ,cav4 de ,manique1     
intendant general of the police in      
,lisbon1 and the ,count de ,souza1      

minister of that court in ,rome1 had the
 merit of contributing their assistance2
 the one having projected1 and the other
 executed1 the plan in the year #agia4  
,the government of the academy was      
entrusted to the ,sig4 ,gio4 ,gherardo  
de' ,rossi1 known for his very numerous 
and able writings1 to which he has      
recently added an ingenious little work1
 intitled1 ,scherzi poetici e pittorici1
 with engravings by a celebrated        
academician4 ,these establishments are  
of too recent a date to allow me to     
speak further respecting their          
productions4  ,the provincial painters  
have been occasionally noticed in       
connexion with their masters4 ,i here   
add a supplement1 which may be useful in
 the way of completion4 ,foligno        
possessed a ,fra ,umile ,francescano1 a 
good fresco painter1 engaged in ,rome by
 ,cardinal ,castaldi1 to ornament the   
tribune of ,s4 ,margaret1 while ,gaulli 
and ,garzi were commanded to paint the  
pictures for it4 ,the ,abbate ,dondoli  

lived at ,spello at the beginning of    
this century4 ,he was more to be        
commended for his design than for his   
colouring4 ,marini has some celebrity in
 ,s4 ,severino1 his native place4 ,he   
was the scholar of ,cipriano ,divini1   
whom he surpassed in his art4 ,marco    
,vanetti1 of ,loreto1 is known to me    
more from his life of ,cignani1 who was 
his master1 than from his own works4    
,antonio ,caldana1 of ,ancona1 painted a
 very large composition in ,rome1 in the
 sacristy of ,s4 ,niccola da ,tolentino1
 from the life of that saint4 ,i do not 
know whether there remain any works of  
his in his native place2 but there are a
 great number by a respectable artist1  
one ,magatta1 whose name was ,domenico  
,simonetti1 and who painted the gallery 
of the ,marchesi ,trionfi2 he furnished 
many churches with his paintings1 and   
distinguished himself in that of the    
church of the ,suffragio1 which is his  
most finished production4 ,anastasi di  
,sinigaglia was a painter less elegant  

and finished1 but free and spirited4    
,his works are not scarce in that city1 
and his best are the two historical     
subjects in the church della ,croce4    
,three pictures by him also in ,s4      
,lucia di ,monte ,alboddo1 are highly   
prized1 and are called by the writer of 
the ,guida1 ,capi d'opera               
dell',anastasi4 ,camillo ,scacciani1 of 
,pesaro1 called ,carbone1 flourished at 
the beginning of the age we are writing 
on1 and had a ,caracciesque style allied
 to the modern4 ,there is a ,s4 ,andrea 
,avellino by him in the ,duomo of       
,pesaro2 his other works are in private 
collections4 ,this notice ,i deem       
sufficient1 always excepting the living 
artists1 whom ,i of course omit4#ij     
,three masters who died successively in 
the pontificate of ,pius ,,vi4 seem to  
require from me more than a transient   
notice1 and with them ,i shall conclude 
the series of historical painters of the
 fifth epoch4 ,i shall first commemorate
 the ,cav4 ,raffaello ,mengs1 from whom 

our posterity may perhaps date a new and
 more happy era of the art4 ,he was born
 in ,saxony1 and brought to ,rome by his
 father while yet a boy1 and was at that
 time skilled in miniature1 and was a   
careful and correct draughtsman4 ,on his
 arrival in ,rome1 his father employed  
him in copying the works of ,raffaello1 
and chastised the young artist for every
 fault in his work1 with an incredible  
severity1 or rather inhumanity1         
inflicting on him even corporeal        
punishment1 and reducing his allowance  
of food4 ,being thus compelled to study 
perfection1 and endowed with a genius to
 appreciate it and perceive it1 he      
acquired a consummate taste in art2 he  
communicated to ,winckelmann very       
important materials for his ,storia     
delle belle arti1 and was himself the   
author of many profound and valuable    
essays on the fine arts1 which have     
materially contributed to improve the   
taste of the present age4 ,they have    
different titles1 but all the same aim1 

the discrimination of the real          
perfection of art4#ia  ,the artist1 as  
characterized by ,mengs1 may be compared
 to the orator of ,cicero1 and both are 
endued by their authors with an ideal   
perfection1 such as the world has never 
seen1 and will probably never see2 and  
it is the real duty of an instructor to 
recommend excellence1 that in striving  
to attain it1 we may at least acquire a 
commendable portion of it4 ,considered  
in this point of view1 ,i should defend 
several of his writings1 where in the   
opinion of others he seems to assume a  
dictatorial tone1 in the judgment he    
passes on ,guido1 ,domenichino1 and the 
,caracci2 the very triumvirate whom he  
proposes as models in the art4 ,mengs   
assuredly was not so infatuated as to   
hope to surpass these great men1 but    
because he knew that no one does so well
 but that it might be done still better1
 he shews where they attained the summit
 of art1 and where they failed4 ,the    
artist1 therefore1 described by ,mengs1 

and to whose qualifications he also     
aspired1 and was anxious that all should
 do the same1 ought to unite in himself 
the design and beauty of the ,greeks1   
the expression and composition of       
,raffaello1 the chiaroscuro and grace of
 ,coreggio1 and1 to complete all1 the   
colouring of ,titian4 ,this union of    
qualities ,mengs has analyzed with equal
 elegance and perspicuity1 teaching the 
artist how to form himself on that ideal
 beauty1 which is itself never realised4
 ,if1 on some occasions1 he appears too 
enthusiastic1 or in some degree obscure1
 it cannot excite our surprise1 as he   
wrote in a foreign language1 and was not
 much accustomed to composition4 ,his   
ideas therefore stood in need of a      
refined scholar to render them clear and
 intelligible2 and this advantage he    
would have procured1 had he been        
resolved to publish them2 but his works 
are all posthumous1 and were given to   
the world by his excellency the ,sig4   
,cav4 ,azara4 ,hence it frequently      

happens in his works1 that one treatise 
destroys another1 as ,tiraboschi has    
observed in regard to his notice of     
,coreggio1 in his ,notizie degli        
,artefici ,modenesi2 and hence concludes
 that the ,riflessioni di ,mengs su i   
tre gran ,pittori1 where he finds much  
to censure in ,coreggio1 were written by
 him before he saw the works of that    
master2 and that his ,memorie on the    
life of the same master1 where he extols
 ,coreggio to the skies1 and calls him  
the ,apelles of modern painting1 were   
written after having seen and studied   
him4#ib ,in spite however of all        
objections1 he will retain a            
distinguished place1 as well among the  
theorists or writers1 as among          
professors themselves1 as long as the   
art endures4  ,we perhaps should not say
 that ,mengs was a whetstone which gave 
a new quality to the steel1 which it    
could not otherwise have acquired2 but  
that he was the steel itself1 which     
becomes brighter and finer the more it  

is used4 ,he became painter to the court
 of ,dresden2 every fresh work gave     
proof of his progress in the art4 ,he   
went afterwards to ,madrid1 where in the
 chambers of the royal palace he painted
 the assembly of the ,gods1 the         
,seasons1 and the various parts of the  
day1 in an enchanting manner4 ,after    
repairing a second time to ,rome to     
renew his studies1 he again returned to 
,madrid1 where he painted in one of the 
saloons the ,apotheosis of ,trajan1 and 
in a theatre1 ,time subduing ,pleasure2 
pictures much superior to his former    
pieces4 ,in ,rome there are three large 
works by him2 the painting in the vault 
of ,s4 ,eusebio2 the ,parnassus in the  
saloon of the ,villa ,albani1 far       
superior to the preceding one2#ic and   
lastly1 the cabinet of manuscripts in   
the ,vatican was painted by him1 where  
the celestial forms of the angels1 the  
majesty of ,moses1 and the dignified    
character of ,s4 ,peter1 the enchanting 
colour1 the relief1 and the harmony1    

contribute to render this chamber one of
 the most remarkable in ,rome for its   
beautiful decorations4 ,this constant   
endeavour to surpass himself1 would be  
evident also from his easel pictures1 if
 they were not so rare in ,italy2 as he 
painted many of this description for    
,london and the other capitals of       
,europe4 ,in ,rome itself1 where he     
studied young1 where he long resided1 to
 which he always returned1 and where at 
last he died1 there are few of his works
 to be found4 ,we may enumerate the     
portrait of ,clement ,,xiii4 and his    
nephew ,carlo1 in the collection of the 
prince ,rezzonico2 that of ,cardinal    
,zelada1 secretary of state2 and a few  
other pieces1 in the possession of      
private gentlemen1 more particularly the
 ,sig4 ,cav4 ,azara4 ,florence has some 
large compositions by him in the        
,palazzo ,pitti1 and his own portrait in
 the cabinet of painters1 besides the   
great ,deposition from the ,cross in    
chiaroscuro1 for the ,marchese          

,rinuccini1 which he was prevented by   
death from colouring2 and a beautiful   
,genius in fresco in a chamber of the   
,sig4 ,conte ,senatore ,orlando         
,malevolti del ,benino4  ,returning from
 the consideration of his works to      
,mengs himself1 ,i leave to others to   
estimate his merit1 and to determine how
 far his principles are just4#id ,as far
 as regards myself1 ,i cannot but extol 
that inextinguishable ardour of         
improving himself by which he was       
particularly distinguished1 and which   
prompted him1 even while he enjoyed the 
reputation of a first rate master1 to   
proceed in every work as if he were only
 commencing his career4 ,truth was his  
great aim1 and he diligently studied the
 works of the first luminaries of the   
art1 analysed their colours1 and        
examined them in detail1 till he entered
 fully into the spirit and design of    
those great models4 ,whilst employed in 
the ducal gallery in ,florence1 he did  
not touch a pencil1 until he had        

attentively studied the best pieces     
there1 and particularly the ,venus of   
,titian in the tribune4 ,in his hours of
 leisure he employed himself in         
carefully studying the fresco pictures  
of the best masters of that school1     
which is so distinguished in this art4  
,he was accustomed to do the same by    
every work of celebrity which fell in   
his way1 whether ancient or modern2 all 
contributed to his improvement1 and to  
carry him nearer to perfection2 he was  
in short a man of a most aspiring mind1 
and may be compared to the ancient1 who 
declared that he wished to die learning4
 ,if maxims like these were enforced1   
what rapid strides in the art might we  
not expect6  ,but the greater part of   
artists form for themselves a manner    
which may attract popularity1 and then  
relax their efforts1 satisfied with the 
applause of the crowd2 and if they feel 
the necessity of improving1 it is not   
with a design of acquiring a just       
reputation1 but of adding to the price  

of their works4  ,notwithstanding the   
considerable space which ,mengs has     
occupied in our time1 he has            
nevertheless left room for the celebrity
 of ,pompeo ,batoni1 of ,luca4 ,the     
,cav4 ,boni1 who has honoured this      
artist with an elegant eulogium1 thus   
expresses himself in comparing him with 
,mengs4 ,the latter1 he says1 was the   
painter of philosophy1 the former of    
nature4 ,batoni had a natural taste     
which led him to the beautiful without  
effort2 ,mengs attained the same object 
by reflection and study4 ,grace was the 
gift of nature in ,batoni1 as it had    
formerly been in ,apelles2 while the    
higher attributes of the art were       
allotted to ,mengs1 as they were in     
former days to ,protogenes4 ,perhaps the
 first was more painter than            
philosopher1 the second more philosopher
 than painter4 ,the latter1 perhaps1 was
 more sublime1 but more studied2 ,batoni
 less profound1 but more natural4 ,not  
that ,i would insinuate that nature was 

sparing to ,mengs1 or that ,batoni was  
devoid of the necessary science of the  
art1 c4 ,if it were ever said with truth
 of any artist1 that he was born a      
painter1 this distinction must be       
allowed to ,batoni4 ,he learned only the
 principles of the art in his native    
country1 and of the two correspondents  
from whom ,i have received my           
information1 the one considers him to   
have been the scholar of ,brugieri1 the 
other of ,lombardi1 as already          
mentioned1 vol4 i4 p4 #cfj1 and probably
 he was instructed by both4 ,he came    
young to ,rome1 and did not frequent any
 particular school1 but studied and     
copied ,raffaello and the old masters   
with unceasing assiduity1 and thus      
learnt the great secret of copying      
nature with truth and judgment4  ,that  
boundless and instructive volume1 open  
to all1 but cultivated by few1 was      
rightly appreciated by ,batoni1 and it  
was hence that he derived that beautiful
 variety in his heads and contours1     

which are sometimes wanting even in the 
great masters1 who were occasionally too
 much addicted to the ideal4 ,hence1    
too1 he derived the gestures and        
expressions most appropriate to each    
subject4 ,persuaded that a vivid        
imagination was not alone sufficient to 
depict those fine traits in which the   
sublimity of the art consists1 he did   
not adopt any attitudes which were not  
found in nature4 ,he took from nature   
the first ideas1 copied from her every  
part of the figure1 and adapted the     
drapery and folds from models4 ,he      
afterwards embellished and perfected his
 work with a natural taste1 and         
enlivened all with a style of colour    
peculiarly his own2 clear1 engaging1    
lucid1 and preserving after the lapse of
 many years1 as in the picture of       
various saints at ,s4 ,gregorio1 all its
 original freshness4 ,this was in him   
not so much an art as the natural       
ebullition of his genius4 ,he sported   
with his pencil4 ,every path was open to

 him2 painting in various ways1 now with
 great force1 now with a touch1 and now 
finishing all by strokes4 ,sometimes he 
destroyed the whole work1 and gave it   
the requisite force by a line4#ie       
,although he was not a man of letters1  
he yet shows himself a poet in          
conception1 both in a sublime and       
playful style4 ,one example from a      
picture in the possession of his heirs1 
will suffice4 ,wishing to express the   
dreams of an enamoured girl1 he has     
represented her wrapped in soft         
slumbers1 and surrounded by loves1 two  
of whom present to her splendid robes   
and jewels1 and a third approaches her  
with arrows in his hand1 while she1     
captivated by the vision1 smiles in her 
sleep4 ,many of these poetical designs1 
and many historical subjects1 are in    
private collections1 and in the courts  
of ,europe1 from which he had constant  
commissions4  ,batoni possessed an      
extraordinary talent for portrait       
painting1 and had the honour of being   

employed by three pontiffs in that      
branch of the art1 ,benedict ,,xiv41    
,clement ,,xiii41 and ,pius ,,vi42 to   
whom may be added1 the emperor ,joseph  
,,ii4 and his august brother and        
successor1 ,leopold ,,ii41 the ,grand   
,duke of ,muscovy1 and the ,grand       
,duchess1 besides numerous private      
individuals4 ,he for some time painted  
miniatures1 and transferred that care   
and precision which is essential in that
 branch to his larger productions1      
without attenuating his style by        
hardness4 ,we find an extraordinary     
proof of this in his altarpieces1 spread
 over ,italy1 and mentioned by us in    
many cities1 particularly in ,lucca4 ,of
 those that remain in ,rome1 ,mengs gave
 the preference to ,s4 ,celso1 which is 
over the great altar of that church4    
,another picture1 the ,fall of ,simon   
,magus1 is in the church of the         
,certosa4 ,it was intended to have been 
copied in mosaic for the ,vatican1 and  
to have been substituted for a picture  

of the same subject by ,vanni1 the only 
one in that church on stone4 ,but the   
mosaic1 from some cause or other1 was   
not executed4 ,perhaps the subject      
displeased1 from not being evangelical1 
and the idea of removing the picture of 
,vanni not being resumed1 the subject   
was changed1 and a commission given to  
,mengs to paint the ,government of the  
church conferred on ,s4 ,peter4 ,he made
 a sketch for it in chiaroscuro with    
great care1 which is in the ,palazzo    
,chigi1 but did not live to finish it in
 colours4 ,this sketch evinces a design 
and composition superior to the picture 
of ,batoni1 but the subject of the      
latter was more vigorously conceived4   
,at all events1 however1 ,batoni must   
henceforth be considered the restorer of
 the ,roman ,school1 in which he lived  
until his #gith year1 and educated many 
pupils in his profession4  ,the example 
of the two last eminent artists was not 
lost on ,antonio ,cavallucci da         
,sermoneta1 whose name when ,i began to 

print this volume1 ,i did not expect    
would here have found a place4 ,but     
having recently died1 some notice is due
 to his celebrity1 as he is already     
ranked with the first artists of his    
day4 ,he was highly esteemed both in    
,rome and elsewhere4 ,the ,primaziale of
 ,pisa1 who in the choice of their      
artists consulted no recommendation but 
that of character1 employed him on a    
considerable work1 representing ,s4     
,bona of that city taking the religious 
habit4 ,it breathes a sacred piety1     
which he himself both felt and expressed
 in a striking manner4 ,in this picture 
he wished to shew that the examples of  
christian humility1 such as burying in a
 cloister the gifts of nature and       
fortune1 are susceptible of the gayest  
decoration4 ,this he effected by        
introducing a train of noble men and    
women1 who1 according to custom1        
assisted in the solemnity4 ,in this     
composition1 in which he follows the    
principles of ,batoni rather than those 

of ,mengs1 we may perceive both his     
study of nature1 and his judgment and   
facility in imitating her4 ,another     
large picture of the saints ,placido and
 ,mauro1 he sent into ,catania1 and     
another of ,s4 ,francesco di ,paola1 he 
executed for the church of ,loreto1 and 
which was copied in mosaic4 ,in ,rome   
are his ,s4 ,elias and the ,purgatorio1 
two pictures placed at ,s4 ,martino a'  
,monti1 and many works in the possession
 of the noble family of ,gaetani1 who   
were the first to encourage and support 
this artist4 ,his last work was the     
,venus and ,ascanius1 in the ,palazzo   
,cesarini1 which has been described to  
me as a beautiful production by the     
,sig4 ,gio4 ,gherardo de' ,rossi1 who   
has declared his intention of publishing
 the life of ,cavallucci1 which will no 
doubt be done in his usual masterly     
manner4  ,the ,roman ,school has        
recently had to regret the loss of two  
accomplished masters2 ,domenico ,corvi  
of ,viterbo1 and ,giuseppe ,cades of    

,rome1 who although younger than ,corvi1
 and for some years his scholar1 died   
before him4 ,in my notice of them1 ,i   
shall begin with the master who has been
 honoured and eulogized more than once  
in the respectable ,memorie delle belle 
,arti1 as well as his scholar1 and also 
some other disciples2 as there was not  
in ,rome in the latter times any school 
more productive in talent4 ,he was truly
 an accomplished artist1 and there were 
few to compare with him in anatomy1     
perspective1 and design2 and from       
,mancini his instructor1 he acquired    
something of the style of the ,caracci4 
,hence1 his academy drawings are highly 
prized1 and ,i may say1 more sought     
after than his pictures1 which indeed   
want that fascination of grace and      
colour which attracts the admiration    
alike of the learned and the vulgar4 ,he
 maintained an universal delicacy of    
colour1 and was accustomed to defend the
 practice by asserting1 with what       
justice ,i cannot say1 that pictures    

painted in that manner were less liable 
to become black4 ,his most esteemed     
works are his night pieces1 as the      
,birth of our ,saviour in the church of 
the ,osservanti at ,macerata1 which is  
perhaps the summit of his efforts4 ,some
 amateurs went thither express towards  
the close of day2 a lofty window        
opposite favoured the illusion of the   
perspective of the picture2 and ,corvi1 
who in other pictures is inferior to    
,gherardo delle ,notti1 viewed in this  
manner1 here excels him1 by an          
originality of perspective and general  
effect4 ,he worked much both for his own
 countrymen and foreigners1 besides the 
pictures which he kept ready by him1 to 
supply the daily calls of purchasers1   
and many of which are still on sale in  
the house of his widow4  ,cades         
recommends himself to our notice1       
principally by a facility of imitation1 
dangerous to the art when it is not     
governed by correct principles4 ,no     
simulator of the character of another   

handwriting1 could ever rival him in the
 dexterity with which at a moment's call
 he could imitate the physiognomy1 the  
naked figure1 the drapery1 and the      
entire character of every celebrated    
designer4 ,the most experienced persons 
would sometimes request from him a      
design after ,michelangiolo or          
,raffaello1 or some other great master1 
which he instantly complied with1 and   
when confronted with an indisputable    
specimen of the master1 and these       
persons were requested to point out the 
original1 as ,buonaruoti for example1   
they often hesitated1 and frequently    
fixed on the design of ,cades4 ,he was  
notwithstanding1 extremely honourable4  
,he made on one occasion1 a large design
 in the style of ,sanzio1 to deceive the
 director of a foreign cabinet1 who     
boasted an infallible knowledge of the  
touch of ,raffaello2 and employing a    
person to shew it to him1 with some     
fictitious history attached to it1 the  
director purchased it at #ejj zecchins4 

,cades wishing to return the money1 the 
other refused to receive it1 insisting  
on retaining the drawing1 and           
disregarding all the protestations of   
the artist1 and his request to be       
remunerated by a smaller sum2 and this  
drawing is at this moment probably      
considered as an original1 in one of the
 finest cabinets of ,europe4 ,he was    
confident in his talents from his early 
years1 and on a public occasion1 he made
 a drawing after the bent of his own    
genius1 regardless of the directions of 
,corvi1 who wished it to be done in     
another style1 and he was in consequence
 dismissed from that school4 ,this      
drawing obtained the first premium1 and 
now exists in the academy of ,s4 ,luke1 
where it is much admired4 ,in the art of
 colouring1 too1 he owed little to the  
instruction of masters1 and much to his 
native talent of imitation4 ,i have seen
 exhibited in the church of the ,holy   
,apostles1 a picture by him1 which in   
the upper part represents the ,madonna  

with the ,holy ,infant1 and in the      
inferior part five saints1 an           
allegorical picture1 as ,i have heard   
suggested1 relating to the election of  
,clement ,,xiv4 ,that ,pope was elected 
by the suffrages of the ,cardinal ,carlo
 ,rezzonico and his friends1 and        
contrary to the expectation of ,p4      
,innocenzio ,buontempi1 who ordered the 
picture1 and who after this election was
 promoted by the ,pope to the eminent   
station of ,maestro nel ,s4 ,ordine     
,serafico1 and afterwards to that of the
 ,pope's confessor4 ,hence this piece   
represents in the centre ,s4 ,clement   
reading the sacred volume2 on his right 
is ,s4 ,carlo1 who appears to admire his
 learning1 and by his attitude seems to 
say1 ,this is a man justly entitled to  
the pontificate2 and in the last place  
,s4 ,innocent the ,pope1 which          
representing the person of the ,p4      
,maestro1 must here for the sake of     
propriety yield the place to the        
,cardinal ,s4 ,carlo4 ,in the background

 are ,s4 ,francis and ,s4 ,anthony1 half
 figures4 ,cades here took for his model
 the picture of ,titian in the          
,quirinal1 which he imitated as well in 
the composition as in the colour4 ,and  
in this1 indeed1 he proceeded too far1  
giving it that obscure tone which the   
works of ,titian have acquired only by  
the lapse of time4 ,cades here defended 
himself by saying that this piece was   
intended to be placed in the church of  
,s4 ,francesco di ,fabriano in a very   
strong light1 where if the colours had  
not been kept low1 they would have been 
displeasing to the spectator4 ,there is 
an error in the perspective which cannot
 be overlooked4 ,the allegorical figure 
of ,p4 ,m4 ,innocenzio1 who stands      
amazed at the sudden phenomenon1 appears
 to be out of equilibrium1 and would    
fall in real life4 ,other faults of     
colour1 of costume1 or of vulgarity of  
form1 are noticed in others of his      
pictures by the author of the ,memorie1 
in tom4 i4 and iii4 ,but as he advanced 

in life he improved his style from      
study1 and attending to the criticisms  
of the public4 ,in tom4 iii4 just       
referred to1 we find the description of 
one of his works executed for the ,villa
 ,pinciana1 the subject of which is     
taken from ,boccaccio2 ,walter ,conte di
 ,anguersa recognized in ,london4 ,let  
us weigh the opinion which this eminent 
author gives of this most beautiful     
composition1 or let us compare it with  
the picture of ,s4 ,joseph of           
,copertino1 which he painted at         
twenty-one years of age1 as an          
altarpiece in the church of the         
,apostles1 and we shall perceive the    
rapid strides which are made by genius4 
,other princely families1 besides the   
,borghesi1 availed themselves of his    
talents to ornament their palaces and   
villas2 as the ,ruspoli and the ,chigi1 
and he executed several works for the   
empress of ,russia4 ,he died before he  
had attained his fiftieth year1 and not 
long after he had so much improved his  

style4 ,in the opinion of some1 his     
execution still required to be rendered 
more uniform1 since he sometimes        
displayed as many different manners in a
 picture1 as there were figures4 ,but in
 that he might plead the example of     
,caracci1 as we shall notice on a proper
 opportunity4  ,we shall now pass to    
other branches of the art1 and shall    
commence with landscapes4 ,in this      
period flourished the scholars of the   
three famous landscape painters1        
described in their proper place1 besides
 ,grimaldi1 mentioned in the ,bolognese 
,school1 who resided a considerable time
 in ,rome2 and ,paolo ,anesi1 of whom we
 made mention in speaking of            
,zuccherelli4 ,with ,anesi lived ,andrea
 ,lucatelli1 a ,roman1 whose talents are
 highly celebrated in every inferior    
branch of the art4 ,in the archbishop's 
gallery in ,milan are a number of his   
pictures1 historical1 architectural1 and
 landscapes4 ,in these he often appears 
original in composition1 and in the     

disposition of the masses2 he is varied 
in his touch1 delicate in his colouring1
 and elegant in his figures1 which1 as  
we shall see1 he was also accustomed to 
paint in the ,flemish style1 separate   
from his landscapes4  ,francis ,van     
,blomen was a less finished artist1 and 
from the hot and vaporous air of his    
pictures1 obtained the name of          
,orizzonte4 ,the palaces of the ,pope   
and the nobility in ,rome1 abound with  
his landscapes in fresco and oil4 ,in   
the character of his trees1 and in the  
composition of his landscapes1 he       
commonly imitated ,poussin4 ,in his     
general tone there predominates a       
greenish hue mixed with red4 ,his       
pictures are not all equally finished1  
but they rise in value as those of older
 artists become injured by time1 or rare
 from being purchased by foreigners4 ,at
 the side of ,van ,blomen we often find 
the works of some of his best scholars1 
as ,giacciuoli and ,francis ,ignazio1 a 
,bavarian4  ,at the same time lived in  

,rome ,francesco ,wallint1 called ,m4   
,studio1 who painted small landscapes   
and sea views1 ornamented with very     
beautiful figures2 devoid however of    
that sentiment which is the gift of     
nature1 and that delicacy which charms  
in the ,italian ,school4 ,he imitated   
,claude3 ,wallint the younger1 his son1 
attached himself to the same manner with
 success1 but did not equal his father4 
,at the beginning of this epoch1 or     
thereabouts1 there flourished two       
artists in ,perugia in the same line2   
,ercolano ,ercolanetti1 and ,pietro     
,montanini1 the scholar of ,ciro ,ferri 
and of ,rosa4 ,the last was ambitious of
 the higher walks of art1 and attempted 
the decoration of a church1 but failed  
in the attempt1 as his talent was       
restricted to landscape2 and even when  
he added figures to these1 they were not
 very correct1 and possessed more spirit
 than accuracy of design4 ,he was       
nevertheless a pleasing painter1 and his
 pictures were sought after by          

foreigners4 ,in ,perugia there is an    
abundance of his works1 and some are to 
be seen in the sacristy of the          
,eremitani1 which might be said to      
discover a ,flemish style4  ,alessio de 
,marchis1 a ,neapolitan1 is not much    
known in ,rome1 although in the ,ruspoli
 and ,albani palaces1 some pleasing     
pieces by him are pointed out4 ,he is   
better known in ,perugia and ,urbino1   
and the adjacent cities4 ,it is said    
that1 in order to obtain a study for a  
picture from nature1 he set fire to a   
barn4 ,for this act he was condemned to 
the galleys for several years1 and was  
liberated under the pontificate of      
,clement ,,xi4 whose palace in ,urbino  
he decorated with architectural         
ornaments1 distant views1 and beautiful 
seapieces1 more in the style of ,rosa   
than any other artist4 ,there is an     
extraordinarily fine picture by him of  
the ,burning of ,troy1 in the collection
 of the ,semproni family1 and some      
landscapes in other houses in ,urbino1  

in which he has displayed all his       
genius1 and extended it also to figures4
 ,but in general there is little more to
 praise in him than his spirit1 his     
happy touch1 and natural colouring1     
particularly in fires1 and the loaded   
and murky air1 and the general tone of  
the piece1 as the detached parts are    
negligent and imperfect4 ,he left a son1
 also a landscape painter1 but not of   
much celebrity4  ,at the beginning of   
the century ,bernardino ,fergioni       
displayed in ,rome an extraordinary     
talent in sea views1 and harbours1 to   
which he added a variety of humourous   
figures4 ,he was first a painter of     
animals1 and afterwards tried this line 
with better success2 but his fame was a 
few years afterwards eclipsed by two    
,frenchmen1 ,adrian ,manglard1 of a     
solid1 natural1 and correct taste2 and  
his scholar1 ,joseph ,vernet1 who       
surpassed his master by his spirit and  
his charming colouring4 ,the first      
seemed to paint with a degree of        

timidity and care1 the latter in the    
full confidence of genius2 the one      
seemed to aim at truth1 the other at    
beauty4 ,manglard was many years in     
,rome1 and his works are to be seen in  
the ,villa ,albani1 and in many other   
palaces4 ,vernet is to be seen in the   
,rondanini mansion1 and in a few other  
collections4  ,there were not many      
painters of battles during this epoch1  
except the scholars of ,borgognone4     
,christiano ,reder1 called also ,m4     
,leandro1 who came to ,rome about #afhf1
 the year of the taking of ,buda1       
devoted himself1 in conformity with the 
feelings of the times1 to painting      
battles between the ,christians and the 
,turks2 but his pictures1 though well   
touched1 were soon depreciated from the 
great number of them4 ,the best in the  
opinion of ,pascoli1 was that in the    
gallery de' ,minimi2 and he left many   
also in the palaces of the nobility4 ,he
 was also expert in landscape and       
humourous subjects1 and was assisted by 

,peter ,van ,blomen1 called also        
,stendardo1 the brother of ,francis     
,orizzonte4 ,stendardo also painted     
battle pieces1 but he was more attached 
to ,bambocciate1 in the ,flemish style1 
wherein he delights to introduce        
animals1 and particularly horses1 in    
designing which he was very expert1 and 
almost unrivalled4 ,his distances are   
very clear1 and afford a fine relief to 
his figures4  ,in ,rome1 and throughout 
the ecclesiastical state1 we find many  
pictures of this sort by that ,lucatelli
 who has been mentioned among the       
landscape painters4 ,the connoisseurs   
attribute to him two different manners2 
the first good1 the second still better1
 and exhibiting great taste1 both in    
colouring and invention4 ,in some       
collections we find ,monaldi near him1  
who although of a similar taste1 yielded
 to him in correctness of design1 in    
colour1 and in that natural grace which 
may be called the ,attic salt of this   
mute poetry4  ,i have not ascertained   

who was the instructor of ,antonio      
,amorosi1 a native of ,comunanza1 and a 
fellow countryman of ,ghezzi1 and his   
co-disciple also in the school of the   
,cav4 ,giuseppe 7,vernet74 ,i only know 
that he is in his way equally facetious1
 and sometimes satirical4 ,like ,ghezzi 
he painted pictures in the churches1    
which are to be found in the ,guida di  
,roma2 he did not1 however1 succeed so  
well in them as in his bambocciate1     
which would appear really ,flemish if   
the colours were more lucid4 ,he is less
 known in the metropolis than in        
,piceno1 where he is to be seen in many 
collections1 and is mentioned in the    
,guida d',ascoli4 ,he pleased also in   
foreign countries1 and represented      
subjects from common life1 as drinking  
parties in taverns in town and country1 
on which occasion he discovered no      
common talent in architecture1          
landscape1 and the painting of animals4 
,arcangelo ,resani1 of ,rome1 the       
scholar of ,boncuore1 painted animals in

 a sufficiently good taste1 accompanying
 them with large and small figures1 in  
which he had an equal talent4 ,in the   
,medici gallery is his portrait1 with a 
specimen attached of the art in which he
 most excelled1 the representation of   
still life4 ,in the same way ,nuzzi     
added flowers1 and other artists        
landscapes1 to their portraits4  ,carlo 
,voglar1 or ,carlo da' ,fiori1 was a    
painter of fruit and flowers in a very  
natural style1 and was also             
distinguished in painting dead game4 ,he
 had a rival in this style in ,francesco
 ,varnetam1 called ,deprait1 who was    
still more ingenious in adding glass and
 portraits1 and composed his pieces in  
the manner of a good figurist4 ,this    
artist after residing several years in  
,rome1 was appointed painter to the     
,imperial ,court1 and died in ,vienna1  
after having spread his works and his   
fame through all ,germany4 ,in the time 
of the two preceding artists1 ,christian
 ,bernetz was celebrated1 who on the    

death of the first1 and the departure of
 the second artist1 remained in ,rome   
the chief painter in this style4 ,all   
the three were known to ,maratta1 and   
employed by him in ornamenting his      
pictures2 and he enriched theirs in     
return with children and other figures1 
which have rendered them invaluable4    
,the last was also a friend of ,garzi1  
in conjunction with whom he painted     
pictures1 each taking the department in 
which they most excelled4 ,scipione     
,angelini1 of ,perugia1 improperly      
called ,angeli by ,guarienti1 was       
celebrated by ,pascoli for similar      
talents4 ,his flowers appear newly      
plucked and sparkling with dew drops4   
,in the ,memorie ,messinesi1 ,i find    
that ,agostino ,scilla when he was      
exiled from ,sicily1 repaired to ,rome1 
where he died4 ,whilst in ,rome1 he     
seemed to shun all competition with the 
historical painters1 and occupied       
himself 7with a certainty of not being  
much celebrated71 in designing animals1 

and in other inferior branches of the   
art4 ,in this line both he and          
,giacinto1 his younger brother1 had     
great merit4 ,saverio1 the son of       
,agostino1 who1 on the death of them    
both1 continued to reside and to paint  
in ,rome1 did not equal them in         
reputation4  ,during this period of the 
decline of the art1 one branch of       
painting1 perspective1 made an          
extraordinary progress by the talents of
 ,p4 ,andrea ,pozzo1 a ,jesuit1 and a   
native of ,trent4 ,he became a painter  
and architect from his native genius1   
rather than from the instruction of any 
master4 ,his habit of copying the best  
,venetian and ,lombard pictures1 had    
given him a good style of colour1 and a 
sufficiently correct design1 which he   
improved in ,rome1 where he resided many
 years4 ,he painted also in ,genoa and  
,turin1 and in these cities and in both 
the states1 we find some beautiful      
works1 the more so as they resemble     
,rubens in tone1 to whose style of      

colour he aspired4 ,there are not many  
of his oil paintings in ,italy1 and few 
of them are finished1 as ,s4 ,venanzio  
in ,ascoli1 and ,s4 ,borgia at ,s4      
,remo4 ,even the picture of ,s4         
,ignatius at the ,gesu in ,rome1 is not 
equally rendered in every part4         
,nevertheless1 he appears on the whole a
 fine painter1 his design well          
conceived1 his forms beautiful1 his     
colours fascinating1 and the touch of   
his pencil free and ready4 ,even his    
less finished performances evince his   
genius2 and of the last mentioned       
picture1 ,i heard from ,p4 ,giulio      
,cordara1 an eminent writer in verse and
 prose1 an anecdote which deserves      
preservation4 ,a painter of celebrity   
being directed to substitute another in 
its place1 declared that neither himself
 nor any other living artist could      
execute a superior work4 ,his despatch  
was such1 that in four hours he began   
and finished the portrait of a cardinal1
 who was departing the same day for     

,germany4  ,he occupies a conspicuous   
place among the ornamental painters1 but
 his works in this way would be more    
perfect if there was not so great a     
redundance of decoration1 as vases1     
festoons1 and figures of boys in the    
cornices1 though this indeed was the    
taste of the age4 ,the ceiling of the   
church of ,s4 ,ignatius is his greatest 
work1 and which would serve to show his 
powers1 if he had left nothing else1 as 
it exhibits a novelty of images1 an     
amenity of colour1 and a picturesque    
spirit1 which attracted even the        
admiration of ,maratta and ,ciro ,ferri2
 the last of whom1 amazed that ,andrea  
had in so few years1 and in so masterly 
a manner1 peopled1 as he called it1 this
 ,piazza ,navona1 concluded that the    
horses of other artists went at a common
 pace1 but those of ,pozzo on the       
gallop4 ,he is the most eminent of      
perspective painters1 and even in the   
concaves has given a convex appearance  
to the pieces of architecture           

represented1 as in the ,tribune of      
,frascati1 where he painted the         
,circumcision of ,jesus ,christ1 and in 
a corridor of the ,gesu at ,rome4 ,he   
succeeded too in a surprising manner in 
deceiving the eye with fictitious       
cupolas in many churches of his order2  
in ,turin1 ,modena1 ,mondovi1 ,arezzo1  
,montepulciano1 ,rome1 and ,vienna1 to  
which city he was invited by the emperor
 ,leopold ,i4 ,he also painted scenes   
for the theatres1 and introduced        
colonnades and palaces with such        
inimitable art1 that it renders more    
credible the wonderful accounts handed  
down to us by ,vitruvius and ,pliny of  
the skill of the ancients in this art4  
,although well grounded in the theory of
 optics1 as his two volumes of          
perspective prove1 it was his custom    
never to draw a line without first      
having made a model1 and thus           
ascertained the correct distribution of 
the light and shade4 ,when he painted on
 canvass1 he laid on a light coat of    

gum1 and rejected the use of chalk1     
thinking that when the colours were     
applied1 the latter prevented the       
softening of the lights and shadows1    
when requisite4  ,he had many scholars  
who imitated him in perspective2 some in
 fresco2 others in oil1 taking their    
designs from real buildings1 and at     
other times painting from their own     
inventions4 ,one of these was ,alberto  
,carlieri1 a ,roman1 a painter also of  
small figures1 of whom ,orlandi makes   
mention4 ,antonio ,colli1 another of his
 scholars1 painted the great altar at   
,s4 ,pantaleo1 and decorated it in      
perspective in so beautiful a manner1   
that it was by some taken for the work  
of his master4 ,of ,agostino            
,collaceroni of ,bologna1 considered of 
the same school1 we have before spoken4 
,there were also architectural painters 
in other branches4 ,pierfrancesco       
,garoli1 of ,turin1 painted the interior
 of churches1 and ,garzi supplied the   
figures4 ,tiburzio ,verzelli1 of        

,recanati1 is little known beyond       
,piceno1 his birthplace4 ,the noble     
family of ,calamini of ,recanati1       
possess perhaps his best picture1 the   
elevation of ,s4 ,pietro in ,vaticano1  
one of the most beautiful and largest   
works of this kind that ,i ever saw1    
which occupied the master several years 
in finishing4 ,gaspare ,vanvitelli1 of  
,utrecht1 called ,dagli ,occhiali1 may  
be called the painter of modern ,rome2  
his pictures1 which are to be found in  
all parts of ,europe1 represent the     
magnificent edifices of that city1 to   
which landscapes are added1 when the    
subject admits of it4 ,he also painted  
views of other cities1 seaports1 villas1
 and farm houses1 useful alike to       
painters and to architects4 ,he painted 
some large pictures1 though most of his 
works are of a small size4 ,he was      
correct in his proportions1 lively and  
clear in his tints1 and there is nothing
 left to desire1 except a little more   
spirit and variety in the landscape or  

in the sky1 as the atmosphere is always 
of a pale azure1 or carelessly broken by
 a passing cloud4 ,he was the father of 
,luigi ,vanvitelli1 a painter1 who owed 
his great name to architecture1 as we   
shall see was the case also with the    
celebrated ,serlio4  ,but no painter of 
perspective has found more admirers than
 the ,cav4 ,gio4 ,paolo ,pannini1       
mentioned elsewhere2 not so much for the
 correctness of his perspective1 in     
which he has many equals1 as for his    
charming landscape and spirited figures4
 ,it cannot indeed be denied1 that these
 latter are sometimes too high in       
proportion to the buildings1 and that   
also1 to shun the dryness of ,viviani1  
he has a mannered style of mixing a     
reddish hue in his shadows4 ,for the    
first defect there is no remedy2 but the
 second will be alleviated by time1     
which will gradually subdue the         
predominant colour4  ,lastly1 to this   
epoch the art of mosaic owes the great  
perfection which it attained1 in        

imitating painting1 not only by the     
means of small pieces of marble selected
 and cemented together1 but by a        
composition which could produce every   
colour1 emulate every tint1 represent   
each degree of shade1 and every part1   
equal to the pencil itself4 ,baglione   
attributes the improvement in this art  
to ,muziani1 whom he calls the inventor 
of working mosaics in oil2 and that     
which he executed for the ,cappella     
,gregoriana1 he praises as the most     
beautiful mosaic that has been formed   
since the time of the ancients4 ,paolo  
,rossetti of ,cento was employed there  
under ,muziani1 and instructed ,marcello
 ,provenzale1 his fellow countryman4    
,both left many works beautifully       
painted in mosaic2 and the second1 who  
lived till the time of ,paul ,v4 painted
 the portrait of that ,pope1 and some   
cabinet pictures4 ,an extensive work1 as
 has often been the case1 was the cause 
of improving this art4 ,the humidity of 
the church of ,s4 ,peter was so         

detrimental to oil paintings1 that from 
the time of ,urban ,,viii4 there existed
 an idea of substituting mosaics in     
their place4 ,the first altarpiece was  
executed by a scholar of ,provenzale1   
already mentioned1 ,giambatista         
,calandra1 born in ,vercelli4 ,it       
represents ,s4 ,michael1 and is of a    
small size1 copied from a picture of the
 ,cav4 d',arpino4 ,he afterwards painted
 other subjects in the small cupolas1   
and near some windows of the church1    
from the cartoons of ,romanelli1        
,lanfranco1 ,sacchi1 and ,pellegrini2   
but thinking his talents not            
sufficiently rewarded1 he began to work 
also for individuals1 and painted       
portraits1 or copied the best           
productions of the old masters4 ,among  
these ,pascoli particularly praises a   
,madonna copied from a picture of       
,raffaello1 in possession of the ,queen 
of ,sweden1 and of this and other       
similar works he judged that from their 
harmony of colour and high finishing1   

they were deserving of close and        
repeated inspection4  ,at this time     
great approaches were made towards the  
modern style of mosaic2 but this art was
 afterwards carried to a much higher    
pitch by the two ,cristofori1 ,fabio1   
and his son ,pietro ,paolo4 ,these      
artists painted the ,s4 ,petronilla1    
copied from the great picture of        
,guercino1 the ,s4 ,girolamo of         
,domenichino1 and the ,baptism of       
,christ by ,maratta4 ,for other works by
 him and his successors1 ,i refer the   
reader to the ,descrizione of the       
pictures of ,rome above cited4 ,i will  
only add1 that when the works were      
completed for ,s4 ,peter's1 lest the art
 might decay for want of due            
encouragement1 it was determined to     
decorate the church of ,loreto with     
similar pictures1 which were executed in
 ,rome1 and transferred to that church4 
,before ,i finish this portion of my    
work1 ,i would willingly pay a tribute  
to the numerous living professors1 who  

have been1 or who are now resident in   
,rome2 but it would be difficult to     
notice them all1 and to omit any might  
seem invidious4 ,we may be allowed1     
however1 to observe that the improvement
 which has taken place in the art of    
late years1 has had its origin in ,rome4
 ,that city at no period wholly lost its
 good taste1 and even in the decline of 
the art was not without connoisseurs and
 artists of the first merit4 ,possessing
 in itself the best sources of taste in 
so many specimens of ,grecian sculpture1
 and so many works of ,raffaello1 it is 
there always easy to judge how near the 
artists approach to1 and how far they   
recede from1 their great prototypes of  
art4 ,this criterion too is more certain
 in the present age1 when it is the     
custom to pay less respect to prejudices
 and more to reason2 so that there can  
be no abuse of this useful principle4   
,the works too of ,winckelmann and      
,mengs have contributed to improve the  
general taste2 and if we cannot approve 

every thing we there find1 they still   
possess matter highly valuable1 and are 
excellent guides of genius and talent4  
,this object has also been promoted by  
the discovery of the ancient pictures in
 ,herculaneum1 the ,baths of ,titus1 and
 of the ,villa ,adriana1 and the        
exquisite vases of ,nola1 and similar   
remains of antiquity4 ,these have       
attracted every eye to the antique2     
,mengs and ,winckelmann have admirably  
illustrated the history of ancient      
sculpture1 and the art of painting may  
be more advantageously studied from the 
valuable engravings which have been     
published1 than from any book4 ,from    
these extraordinary advantages the fine 
arts have extended their influence to   
circles where they were before unknown1 
and have received a new tone from       
emulation as well as interest4 ,the     
custom of exhibiting the productions of 
art to a public who can justly          
appreciate them1 and distinguish the    
good from the bad2 the rewards assigned 

to the most meritorious1 of whatever    
nation1 accompanied by the productions  
of literary men1 and public rejoicings  
in the ,campidoglio2 the splendour of   
the sacred edifices peculiar to the     
metropolis of the ,christian world1     
which1 while the art contributes to its 
decoration1 extends its protection in   
return to the professors of that art2   
the lucrative commissions from abroad1  
and in the city itself1 from the        
munificence and unbounded liberality of 
,pius ,,vi4 and that of many private    
individuals2#if the circumstance of     
foreign sovereigns frequently seeking in
 this emporium for masters1 or directors
 for their academies2 all these causes  
maintain both the artists and their     
schools in perpetual motion1 and in a   
generous emulation1 and by degrees we   
may hope to see the art restored to its 
true principles1 the imitation of nature
 and the example of the great masters4  
,there is not a branch1 not only of     
painting1 but even of the arts depending

 on it1 as miniature1 mosaic1 enamel1#ig
 and the weaving of tapestry1 that is   
not followed there in a laudable manner4
 ,whoever desires to be further informed
 of the present state of the ,roman     
,school1 and of the foreign artists     
resident in ,rome1 should peruse the    
four volumes entitled1 ,memorie per le  
belle arti1 published from the year     
#aghe1 and continued to the year #aghh1 
a periodical work deserving a place in  
every library of the fine arts1 and     
which was1 ,i regret to add1 prematurely
 discontinued4  ,footnote #he3 ,with    
regard to drapery1 ,winckelmann         
conjectures1 7,storia delle ,arti del   
,disegno1 tom4 i4 p4 #dej17 that the    
erroneous opinion that the ancients did 
not drape their figures well1 and were  
surpassed in that department by the     
moderns1 was at that time common among  
the artists4 ,this opinion still        
subsists among some sculptors1 who      
disapprove particularly of the ancient  
custom of moistening the drapery1 in    

order to adapt it the better to the form
 of the figure4 ,the ancients1 they say1
 ought to be esteemed1 not idolized4 ,to
 carry nature to the highest degree of  
perfection1 was always allowable1 but   
not so to degrade her by mannerism4     
,footnote #hf3 ,he was the pupil of     
,niccolas ,poussin1 and from him        
acquired his taste for drawing after the
 antique4 ,he employed this talent in   
copying the finest bassirilievi1 and the
 noblest remains of ancient ,rome4      
,these were engraved by him1 and        
circulated through ,europe4 ,he also    
copied a great number of ancient        
pictures from the ,sotterranei1 which   
passed into private hands unpublished4  
,pascoli mentions many more of his works
 in engraving1 the pursuit of which     
branch of the art led him gradually to  
forsake painting4 ,of his pictures we   
find one in the church of ,porto1 and a 
very few more of his own designing4 ,he 
devoted himself to the copying the      
pictures of the best masters1 and       

carried his imitation even to the       
counterfeiting the effects of time on   
the colours2 and he copied some pictures
 of ,poussin with such dexterity1 that  
it was with difficulty the painter      
himself could distinguish them4         
,footnote #hg3 ,in the ,risposta alle   
,riflessioni ,critiche di ,mons4        
,argens4  ,footnote #hh3 ,this artist   
had painted one of the two laterals of  
the chapel1 asserting that there was no 
artist living capable of painting a     
companion to it4 ,benefial painted one  
very superior1 and represented in it an 
executioner with his eyes fixed on and  
deriding the picture of ,muratori4      
,footnote #hi3 ,see ,memorie per le     
,belle ,arti1 tom4 ii4 p4 #ace1 where   
,sig4 ,giangherardo de' ,rossi gives an 
account of this artist1 derived         
principally from information furnished  
by ,sig4 ,cav4 ,puccini1 who has been   
occasionally mentioned with approbation 
in the first volume of this work4       
,footnote #ij3 ,francesco ,appiani1 of  

,ancona1 a scholar of ,magatta1 and not 
long since deceased1 did not find a     
place in my former edition1 but is fully
 entitled to one in this4 ,he studied a 
considerable time in ,rome1 whilst      
,benefial1 ,trevisani1 ,conca1 and      
,mancini1 flourished there2 and through 
the friendship of these masters         
7particularly of the latter71 was       
enabled to form an agreeable style1 of  
which he there left a specimen at ,s4   
,sisto ,vecchio4 ,it is the death of ,s4
 ,domenico1 painted in fresco1 by order 
of ,benedict ,,xiii4 who remunerated him
 with a gold medal4 ,he went afterwards 
to ,perugia1 where he was presented with
 the freedom of the city1 and continued 
his labours there with unabated ardour1 
until ninety years of age1 an instance  
of vigour unexampled1 except in the case
 of ,titian4 ,perugia abounds with his  
paintings of all kinds1 and his best    
works are to be found in the churches of
 ,s4 ,pietro de' ,cassinensi1 ,s4       
,thomas1 and ,monte ,corona4 ,he also   

decorated the church of ,s4 ,francis1   
and the vault of the cathedral1 where he
 rivalled the freedom of style and      
composition of ,carloni4 ,both he       
himself1 and one of his pictures1 placed
 in a church of ,masaccio1 are eulogised
 in the ,antich4 ,picene 7tom4 xx4 p4   
#aei74 ,he painted many pictures also   
for ,england4  ,footnote #ia3 ,for a    
more particular catalogue of these      
works1 see the ,memorie delle belle     
arti1 #aghh1 in which year they were    
republished in ,rome1 with the remarks  
of the ,sig4 ,avvocato ,fea1 in one vol4
 #dto4 and #b vols4 #hvo4 ,the most     
celebrated treatise of ,mengs is the    
,riflessioni sopra i tre gran pittori1  
,raffaello1 ,tiziano1 e ,coreggio1 e    
sopra gli antichi4 ,on the life and     
style of ,coreggio he wrote a separate  
paper1 which was afterwards the subject 
of a controversy2 for as1 at the close  
of the year #agha1 appeared the ,notizie
 storiche del ,coreggio of ,ratti1      
accompanied by a letter from ,mengs1    

dated ,madrid1 #aggd1 in which he       
entreats ,ratti to collect and publish  
them1 ,ratti was by several writers     
accused of plagiarism1 and of having    
endeavoured1 by a change of style and   
the addition of some trifling matter1 to
 appropriate to himself what in reality 
belonged to ,mengs4 ,not long afterwards
 there appeared an anonymous ,defence of
 ,ratti1 without date or place1 for     
which ,i refer to the next note4        
,footnote #ib3 ,in the ,difesa del      
,ratti1 accused de repetundis1 this very
 obvious contradiction is adduced as a  
proof that the ,memorie were really     
composed by that author4 ,it is there   
asserted that he wrote them in a clear  
and simple style1 and then communicated 
them to ,mengs1 on whose death they were
 found among his writings1 and published
 as his4 ,some other things are indeed  
said1 that do not favour the cause of   
,ratti2 as that when he was in ,parma he
 consulted ,mengs on what he should say 
of the works of ,coreggio in that city1 

and as he could not see those in        
,dresden1 he had from him a minute      
account of them2 and also that ,mengs   
was accustomed to add remarks to the    
,,ms4 on which his friends consulted    
him4 ,if1 therefore1 it be conceded that
 ,mengs had such a share in this ,,ms4  
7which would appear to have been drawn  
up by the scholar under the direction of
 the master1 as to opinions on art1 and 
as to a catalogue of the best pictures1 
accompanied too with remarks17 who does 
not perceive that the best part of that 
work1 and the great attraction of its   
matter and style1 is due to ,mengs8     
,footnote #ic3 ,this picture is one of  
the most finished compositions since the
 restoration of art4 ,each muse is there
 represented with her peculiar          
attribute1 as derived from antiquity2   
and the artist is deservedly eulogized  
by the ,sig4 ,ab4 ,visconti1 in the     
celebrated ,museo ,pio ,clementino1 tom4
 i4 p4 #eg4  ,footnote #id3 ,this       
eminent man was not without his enemies 

and calumniators1 excited by his        
criticisms on the great masters1 and    
still more by his animadversions on     
artists of inferior fame1 and some      
recently deceased4 ,cumberland wrote    
against him with manifest prejudice2 and
 the anonymous author of the ,difesa del
 ,cav4 ,ratti1 the work of ,ratti       
himself1 or for which at least he       
furnished the materials1 speaks of him  
in a contemptuous manner4 ,he           
particularly questions his literary     
character and his discernment1 and      
ascribes to his confidential friend1    
,winckelmann1 the merit of his remarks4 
,in point of art he estimates ,mengs as 
an excellent1 but by no means an        
unrivalled painter4 ,descending to      
particulars1 he publishes not a few     
criticisms1 which he received either in 
,,ms4 or from the mouths of different   
professors1 and adds others of his own4 
,of these the experienced must form     
their own judgment4 ,with regard to his 
colouring1 indeed1 with which his rival 

,batoni found great fault1 the most     
inexperienced person may perceive that  
it is not faultless1 as the flesh tints 
are already altered by time1 at least in
 some of his works4 ,lastly1 in the     
,difesa are some personal remarks       
regarding ,mengs1 which1 if ,ratti1 from
 respect to his late deceased friend1   
thought it right to omit them in his    
life of him1 printed in #aggi1 might    
with still greater propriety have been  
spared in this subsequent work4         
,footnote #ie3 ,see the ,elogio di      
,pompeo ,batoni1 page #ff1 where the    
illustrious author1 who1 to his other   
accomplishments1 adds that of painting1 
expatiates at length1 and in the style  
of a professor1 on this wonderful talent
 of ,batoni4  ,footnote #if3 ,the       
decoration of the ,villa ,pinciana1 in  
which the prince ,borghesi has given    
encouragement to so many eminent        
artists1 is an undertaking that deserves
 to be immortalized in the history of   
art4  ,footnote #ig3 ,i refer to what ,i

 have written on the art of enamel1 in  
the school of ,ferrara1 in which city   
the art may be said to have been revived
 by the ,sig4 ,ab4 ,requeno4 ,it was    
also greatly improved in the school of  
,rome1 where in #aghh an entire cabinet 
was painted in enamel for the empress of
 ,russia1 as was publicly noticed in the
 ,giornale di ,roma1 of the month of    
,june4 ,il ,sig4 ,consigl4 ,gio4        
,renfestein1 had the commission of the  
work1 which was executed from the       
designs of ,hunterberger1 by the ,sigg4 
,gio4 and ,vincenzio ,angeloni4 ,they   
were both assisted in their task by the 
,sig4 ,ab4 ,garcia della ,huerta1 who   
greatly facilitated the inventions of   
,requeno1 as well by his experience as  
by his work1 intitled ,commentarj della 
pittura encaustica del pennello1        
published in ,madrid1 a very learned    
work1 and which obtained for the author 
from ,charles ,,iv4 an annuity for life4
       ,,book ,,iv4    ,,neapolitan     
,,school4    ,,first ,,epoch4   ,we are 

now arrived at a school of painting     
which possesses indisputable proofs of  
having1 in ancient times1 ranked among  
the first in ,italy2 as in no part of   
that country do the remains of antiquity
 evince a more refined taste1 no where  
do we find mosaics executed with more   
elegance1#ih nor any thing more         
beautiful than the subterranean chambers
 which are ornamented with historical   
designs and grotesques4 ,the            
circumstance of its deriving its origin 
from ancient ,greece1 and the ancient   
history of design1 in which we read of  
many of its early artists1 have ennobled
 it above all others in ,italy2 and on  
this account we feel a greater regret at
 the barbarism which overwhelmed it in  
common with other schools4 ,we may      
express a similar sentiment with regard 
to ,sicily1 which from its affinity in  
situation and government1 ,i shall      
include in this ,fourth ,book2 but      
generally in the notes4#ii ,that island1
 too1 possessed many ,greek colonies1   

who have left vases and medals of such  
extraordinary workmanship1 that many    
have thought that ,sicily preceded      
,athens in carrying this art to         
perfection4 ,but to proceed to the art  
of painting in ,naples1 which is our    
present object1 we may observe that     
,dominici and the other national        
writers1 the notice of whom ,i shall    
reserve for their proper places1 affirm1
 that that city was never wholly        
destitute of artists1 not only in the   
ancient times1 which ,filostrato extols 
so highly in the proemium of his        
,immagini1 but even in the dark ages4   
,in confirmation of this1 they adduce   
devotional pictures by anonymous        
artists1 anterior to the year #abjj2    
particularly many ,madonnas in an       
ancient style1 which were the objects of
 adoration in various churches4 ,they   
subjoin moreover a catalogue of these   
early artists1 and bitterly inveigh     
against ,vasari1 who has wholly omitted 
them in his work4  ,the first painter   

whom we find mentioned at the earliest  
period of the restoration of the art1 is
 ,tommaso de' ,stefani1 who was a       
contemporary of ,cimabue1 in the reign  
of ,charles of ,anjou4#ajj ,that prince1
 according to ,vasari1 in passing       
through ,florence1 was conducted to the 
studio of ,cimabue1 to see the picture  
of the ,virgin1 which he had painted for
 the chapel of the ,rucellai family1 on 
a larger scale than had ever before been
 executed4 ,he adds1 that the whole city
 collected in such crowds thither to    
view it1 that it became a scene of      
public festivity1 and that that part of 
the city in which the artist resided1   
received in consequence the name of     
,borgo ,allegri1 which it has retained  
to the present day4 ,dominici has not   
failed to make use of this tradition to 
the advantage of ,tommaso4 ,he observes 
that ,charles would naturally have      
invited ,cimabue to ,naples1 if he had  
considered him the first artist of his  
day2 the king however did not do so1 but

 at the same time employed ,tommaso to  
ornament a church which he had founded1 
and he therefore must have considered   
him superior to ,cimabue4 ,this         
argument1 as every one will immediately 
perceive1 is by no means conclusive of  
the real merits of these two artists4   
,that must be decided by an inspection  
of their works2 and with regard to      
these1 ,marco da ,siena1 who is the     
father of the history of painting in    
,naples1 declares1 that in respect to   
grandeur of composition1 ,cimabue was   
entitled to the preference4 ,tommaso    
enjoyed the favour also of ,charles     
,,ii4 who employed him1 as did also the 
principal persons of the city4 ,the     
chapel of the ,minutoli in the ,duomo1  
mentioned by ,boccaccio1 was ornamented 
by him with various pictures of the     
,passion of our ,saviour4 ,tommaso had a
 scholar in ,filippo ,tesauro1 who      
painted in the church of ,s4 ,restituta1
 the life of ,b4 ,niccolo1 the hermit1  
the only one of his frescos which has   

survived to our days4  ,about the year  
#acbe1 ,giotto was invited by ,king     
,robert to paint the church of ,s4      
,chiara in ,naples1 which he decorated  
with subjects from the ,new ,testament1 
and the mysteries of the ,apocalypse1   
with some designs suggested to him at a 
former time by ,dante1 as was currently 
reported in the days of ,vasari4 ,these 
pictures were effaced about the         
beginning of the present century1 as    
they rendered the church dark2 but there
 remains1 among other things in good    
preservation1 a ,madonna called della   
,grazia1 which the generous piety of the
 religious possessors preserved for the 
veneration of the faithful4 ,giotto     
painted some pictures also in the church
 of ,s4 ,maria ,coronata2 and others    
which no longer exist1 in the ,castello 
dell',uovo4 ,he selected for his        
assistant in his labours1 a ,maestro    
,simone1 who1 in consequence of enjoying
 ,giotto's esteem1 acquired a great name
 in ,naples4 ,some consider him a native

 of ,cremona1 others a ,neapolitan1     
which seems nearer the truth4 ,his style
 partakes both of ,tesauro and ,giotto1 
whence some consider him of the first1  
others of the second master2 and he may 
probably have been instructed by both4  
,however that may be1 on the departure  
of ,giotto he was employed in many works
 which ,king ,robert and the ,queen     
,sancia were prosecuting in various     
churches1 and particularly in ,s4       
,lorenzo4 ,he there painted that monarch
 in the act of being crowned by the     
,bishop ,lodovico1 his brother1 to whom 
upon his death and subsequent           
canonization1 a chapel was dedicated in 
the ,episcopal church1 and ,simone      
appointed to decorate it1 but which he  
was prevented from doing by death4      
,dominici particularly extols a picture 
by him of a ,deposition from the ,cross1
 painted for the great altar of the     
,incoronata2 and thinks it will bear    
comparison with the works of ,giotto4   
,in other respects1 he confesses that   

his conception and invention were not   
equally good1 nor did his heads possess 
so attractive an air as those of        
,giotto1 nor his colours such a suavity 
of tone4  ,he instructed in the art a   
son1 called ,francesco di ,simone1 who  
was highly extolled for a ,madonna in   
chiaroscuro1 in the church of ,s4       
,chiara1 and which was one of the works 
which escaped being effaced on the      
occasion before mentioned4 ,he had two  
other scholars in ,gennaro di ,cola1 and
 ,stefanone1 who were very much alike in
 their manner1 and on that account were 
chosen to paint in conjunction some     
large compositions1 such as the pictures
 of the ,life of ,s4 ,lodovico1 ,bishop 
of ,tolosa1 which ,simone had only      
commenced1 and various others of the    
,life of the ,virgin1 in ,s4 ,giovanni  
da ,carbonara1 which were preserved for 
a long period4 ,notwithstanding the     
similarity of their styles1 we may      
perceive a difference in the genius of  
the two artists2 the first being in     

reference to the second1 studied and    
correct1 and anxious to overcome all    
difficulties1 and to elevate the art2 on
 which account he appears occasionally  
somewhat laboured3 the second discovers 
more genius1 more confidence1 and a     
greater freedom of pencil1 and to his   
figures he gives a spirit that might    
have assured him a distinguished place1 
if he had been born at a more advanced  
period of art4  ,before ,zingaro 7who   
will very soon occupy our attention7    
introduced a manner acquired in other   
schools1 the art had made little        
progress in ,naples and her territories4
 ,this is clearly proved by ,colantonio 
del ,fiore1 the scholar of ,francesco1  
who lived till the year #addd1 of whom  
,dominici mentions some pictures1 though
 he is in doubt whether they should not 
be assigned to ,maestro ,simone2 which  
is a tacit confession1 that in the lapse
 of a century the art had not made any  
considerable progress4 ,it appears1     
however1 that ,colantonio after some    

time1 by constant practice1 had         
considerably improved himself2 having   
painted several works in a more modern  
style1 particularly a ,s4 ,jerome1 in   
the church of ,s4 ,lorenzo1 in the act  
of drawing a thorn from the foot of a   
lion1 with the date of #adcf4 ,it is a  
picture of great truth1 removed         
afterwards1 for its merit1 by the ,p4   
,p4 ,conventuali1 into the sacristy of  
the same church1 where it was for a long
 time the admiration of strangers4 ,he  
had a scholar of the name of ,angiolo   
,franco1 who imitated better than any   
other ,neapolitan the manner of ,giotto2
 adding only a stronger style of        
chiaroscuro1 which he derived from his  
master4  ,the art was1 however1 more    
advanced by ,antonio ,solario1          
originally a smith1 and commonly called 
lo ,zingaro4 ,his history has something 
romantic in it1 like that of ,quintin   
,matsys1 who1 from his first profession1
 was called il ,fabbro1 and became a    
painter from his love to a young girl1  

who promised to marry him when he had   
made himself a proficient in the art of 
painting4 ,solario in the same manner   
being enamoured of a daughter of        
,colantonio1 and receiving from him a   
promise of her hand in marriage in ten  
years1 if he became an eminent painter1 
forsook his furnace for the academy1 and
 substituted the pencil for the file4   
,there is an idle tradition of a queen  
of ,naples having been the author of    
this match1 but that matter ,i leave in 
the hands of the narrators of it4 ,it is
 more interesting to us to know that    
,solario went to ,bologna1 where he was 
for several years the scholar of ,lippo 
,dalmasio1 called also ,lippo delle     
,madonne1 from his numerous portraits of
 the ,virgin1 and the grace with which  
he painted them4 ,on leaving ,bologna he
 visited other parts of ,italy in order 
to study the works of the best artists  
in the various schools2 as ,vivarini1 in
 ,venice2 ,bicci1 in ,florence2         
,galasso1 in ,ferrara2 ,pisanello1 and  

,gentile da ,fabriano1 in ,rome4 ,it has
 been thought that he assisted the two  
last1 as ,luca ,giordano affirmed that  
among the pictures in the ,lateran he   
recognized some heads which were        
indisputably by ,solario4 ,he excelled  
in this particular1 and excited the     
admiration of ,marco da ,siena himself1 
who declared that his countenances      
seemed alive4 ,he became also a good    
perspective painter for those times1 and
 respectable in historical compositions2
 which he enlivened with landscape in a 
better style than other painters1 and   
distinguished his figures by drapery    
peculiar to the age1 and carefully drawn
 from nature4 ,he was less happy in     
designing his hands and feet1 and often 
appears heavy in his attitudes1 and     
crude in his colouring4 ,on his return  
to ,naples1 it is said1 that he gave    
proof of his skill1 and was favorably   
received by ,colantonio1 and thus became
 his son-in-law nine years after his    
first departure2 and that he painted and

 taught there under ,king ,alfonso1     
until the year #adee1 about which time  
he died4  ,the most celebrated work of  
this artist was in the choir of ,s4     
,severino1 in fresco1 representing1 in  
several compartments1 the life of ,s4   
,benedict1 and containing an incredible 
variety of figures and subjects4 ,he    
left also numerous pictures with        
portraits1 and ,madonnas of a beautiful 
form1 and not a few others painted in   
various churches of ,naples4 ,in that of
 ,s4 ,domenico ,maggiore1 where he      
painted a dead ,christ1 and in that of  
,s4 ,pier ,martire1 where he represented
 a ,s4 ,vincenzio1 with some subjects   
from the life of that saint1 it is said 
that he surpassed himself4 ,thus there  
commenced in ,naples a new epoch1 which 
from its original and most celebrated   
prototype1 is called by the ,cav4       
,massimo1 the school of ,zingaro1 as in 
that city those pictures are commonly   
distinguished by the name of            
,zingaresque1 which were painted from   

the time of that artist to that of      
,tesauro1 or a little later1 in the same
 way that pictures are every where      
called ,cortonesque1 that are painted in
 imitation of ,berettini4  ,about this  
time there flourished two eminent       
artists1 whom ,i deem it proper to      
mention in this place before ,i enter on
 the succeeding scholars of the         
,neapolitan ,school4 ,these were ,matteo
 da ,siena1 and ,antonello da ,messina4 
,the first we noticed in the school of  
,siena1 and mentioned his having painted
 in ,naples the ,slaughter of the       
,innocents4 ,it exists in the church of 
,s4 ,caterina a ,formello1 and is       
engraved in the third volume of the     
,lettere ,senesi4 ,the year             
,m4,,cccc4,,xviii4 is attached to it1   
but we ought not to yield implicit faith
 to this date4 ,il ,p4 della ,valle1 in 
p4 #ef of the above mentioned volume1   
observes1 that ,matteo1 in the year     
#adfb1 when he painted with his father  
in ,pienza1 was young1 and that in the  

portrait which he painted of himself in 
#adia1 he does not appear aged4 ,he     
could not therefore have painted in     
,naples in #adah4 ,after this we may    
believe it very possible1 that in this  
date an ,l has been inadvertently       
omitted1 and that the true reading is   
,m4,,cccc4,,lxviii4 ,thus the above     
writer conjectures1 and with so much the
 more probability1 as he advances       
proofs1 both from the form of the       
letters and the absence of the artist   
from his native place4 ,whoever desires 
similar examples1 may turn to page #ada 
of vol4 i41 and he will find that such  
errors have occurred more than once in  
the date of books4 ,guided by this      
circumstance we may correct what        
,dominici has asserted of ,matteo da    
,siena having influenced the style of   
,solario4 ,it may be true that there is 
a resemblance in the air of the heads1  
and the general style1 but such         
similarity can only be accounted for by 
,matteo deriving it from ,solario1 or   

both1 as often happens1 deriving it from
 the same master4  ,antonello1 of the   
family of the ,antonj1 universally known
 under the name of ,antonello da        
,messina1 is a name so illustrious in   
the history of art1 that it is not      
sufficient to have mentioned him in the 
first book and to refer to him here     
again1 as he will claim a further notice
 in the ,venetian ,school1 and we must  
endeavour too to overcome some          
perplexing difficulties1 to ascertain   
with correctness the time at which he   
flourished1 and attempt to settle the   
dispute1 whether he were the first who  
painted in oil in ,italy1 or whether    
that art was practised before his time4 
,vasari relates1 that when young1 after 
having spent many years in ,rome in the 
study of design1#aja and many more at   
,palermo1 painting there with the       
reputation of a good artist1 he repaired
 first to ,messina1 and from thence     
passed to ,naples1 where he chanced to  
see a large composition painted in oil  

by ,gio4 da ,bruggia1 which had been    
presented by some ,florentine merchants 
to ,king ,alfonso4 ,antonello1 smitten  
with this new art1 took his departure to
 ,flanders1 and there1 by his           
affability1 and by a present of some    
drawings of the ,italian ,school1 so far
 ingratiated himself with ,giovanni1 as 
to induce him to communicate to him the 
secret1 and the aged painter dying soon 
afterwards1 thus left him instructed in 
the new art4 ,this must have happened   
about the year #addj1 since that time is
 required to support the supposition    
that ,giovanni1 born about #acgj1 died  
at an advanced age1 as the old writers  
assert1 or exactly in #adda1 as is      
asserted by the author of the ,galleria 
,imperiale4 ,antonello then left        
,flanders1 and first resided for some   
months in his native place2 from thence 
he went to ,venice1 where he            
communicated the secret to ,domenico    
,veneziano2 and having painted there a  
considerable time1 died there at the age

 of forty-nine4 ,all this we find in    
,vasari1 and it agrees with what he     
relates in the life of ,domenico        
,veneziano1 that this artist1 after     
having learnt the new method from       
,antonello in ,venice1 painted in       
,loreto with ,piero della ,francesca1   
some few years before that artist lost  
his eyesight1 which happened in #adeh4  
,thus the arrival of ,antonello in      
,venice must have occurred about the    
year #adej1 or some previous year2 but  
this conclusion is contrary to ,venetian
 evidence4 ,the remaining traces of     
,antonello1 or the dates attached to his
 works there1 commence in #adgd1 and    
terminate according to ,ridolfi in      
#adij4 ,there does not appear any reason
 whatever1 why he should not have       
attached dates to his pictures1 until   
after residing twenty-four years in     
,venice4 ,besides1 how can it be        
maintained1 that ,antonello1 after      
passing many years in ,rome as a        
student1 and many in ,palermo as a      

master1 and some years in ,messina and  
,flanders1 should not in ,venice1 in the
 forty-ninth year after the death of    
,giovanni1 have passed the forty-ninth  
year of his age4 ,hackert quotes the    
opinion of ,gallo1 who in the ,annali di
 ,messina1 dates the birth of ,antonello
 in #addg1 and his death at forty-nine  
years of age1 that is1 in #adif4 ,but if
 this were so1 how could he have known  
,gio4 da ,bruggia8 ,yet if such fact be 
denied1 we must contradict a tradition  
which has been generally credited4 ,i   
should be more inclined to believe that 
there is a mistake in his age1 and that 
he died at a more advanced period of    
life4 ,nor on this supposition do we    
wrong ,vasari2 others having remarked   
what we shall also on a proper          
opportunity confirm2 that as far as     
regards ,venetian artists1 ,vasari errs 
almost in every page from the want of   
accurate information4 ,i further believe
 that respecting the residence of       
,antonello in ,venice1 he wrote with    

inaccuracy4 ,that he was there about the
 year #adej1 and communicated his secret
 to ,domenico1 is a fact1 which after so
 many processes made in ,florence on the
 murder of ,domenico1 and so much       
discussion respecting him1 must have    
been well ascertained1 not depending on 
the report contained in the memoirs of  
the painters by ,grillandajo1 or any    
other contemporary1 in whose writings   
,vasari might search for information4   
,but admitting this1 ,i am of opinion1  
that ,antonello did not reside          
constantly in ,venice from the year     
#adej until his death1 as ,vasari       
insinuates4 ,it appears that he         
travelled afterwards in several         
countries1 resided for a long time in   
,milan1 and acquired there a great      
celebrity2 and that he repaired afresh  
to ,venice1 and enjoyed there for some  
years a public salary4 ,this we gather  
from ,maurolico1 quoted by ,hackert3 ,ob
 mirum hic ingenium ,venetiis aliquot   
annos publice conductus vixit3          

,mediolani quoque fuit percelebris1     
7,hist4 ,sican4 pl4 #ahf1 prim4 edit471 
and if he was not a contemporary writer1
 still he was not very far removed from 
,antonello4 ,this is the hypothesis ,i  
propose in order to reconcile the many  
contradictory accounts which we find on 
this subject in ,vasari1 ,ridolfi1 and  
,zanetti2 and when we come to the       
,venetian ,school1 ,i shall not forget  
to adduce further proofs in support of  
it4 ,others may perhaps succeed better  
than ,i have done in this task1 and with
 that hope ,i shall console myself3 as  
in my researches ,i have no other object
 than truth1 ,i shall be equally        
satisfied whether ,i discover it myself1
 or it be communicated to me by others4 
,that therefore ,antonello was the first
 who exhibited a perfect method of      
practising painting in oil in ,italy1 is
 an assertion that1 it seems to me1 may 
be with justice maintained1 or at least 
it cannot be said that there is proof to
 the contrary4 ,and yet in the history  

of the art in the ,two ,sicilies1 this  
honour is strongly disputed4 ,in that   
history we find the description of a    
chapel in the ,duomo of ,messina1 called
 ,madonna della ,lettera1 where it is   
said there exists a very old ,greek     
picture of the ,virgin1 an object of    
adoration1 which was said to be in oil4 
,if this were even admitted1 it could   
not detract from the merit of ,antonello
 in having restored a beautiful art that
 had fallen into desuetude2 but in these
 ,greek pictures1 the wax had often the 
appearance of oil1 as we observed in    
vol4 i4 p4 #hi4 ,marco da ,siena1 in the
 fragment of a discourse which ,dominici
 has preserved1 asserts1 that the       
,neapolitan painters of #acjj continued 
to improve in the two manners of        
painting in fresco and in oil4 ,when ,i 
peruse again what ,i have written in    
vol4 i4 p4 #ij1 where some attempt at   
colouring in oil anterior to ,antonello 
is admitted1 ,i may be permitted not to 
rely on the word of ,pino alone4 ,there 

exist in ,naples many pictures of #acjj1
 and ,i cannot imagine1 why in a        
controversy like this1 they are neither 
examined nor alluded to1 and why the    
question is rested solely on a work or  
two of ,colantonio4 ,some national      
writers1 and not long since1            
,signorelli1 in his ,coltura delle due  
,sicili 7tom4 iii4 p4 #aga71 have       
pretended1 that ,colantonio del ,fiore  
was certainly the first to paint in oil1
 and adduce in proof the very picture of
 ,s4 ,jerome1 before mentioned1 and     
another in ,s4 ,maria ,nuova4 ,il ,sig4 
,piacenza after inspecting them1 says1  
that he was not able to decide whether  
these pictures were really in oil or    
not4 ,zanetti 7,p4 ,v4 p4 #bj7 also     
remarks1 that it is extremely difficult 
to pass a decided judgment on works of  
this kind1 and ,i have made the same    
observation with respect to ,van ,eyck1 
which will ,i hope1 convince every      
reader who will be at the trouble to    
refer to vol4 i4 p4 #hg4 ,and unless    

that had been the case1 how happened it 
that all ,europe was filled with the    
name of ,van ,eyck in the course of a   
few years2 that every painter ran to    
him2 that his works were coveted by     
princes1 and that they who could not    
obtain them1 procured the works of his  
scholars1 and others the works of       
,ausse1 ,ugo d',anversa1 and ,antonello2
 and of ,ruggieri especially1 of whose  
great fame in ,italy we shall in another
 place adduce the documents4#ajb ,on the
 other hand1 who1 beyond ,naples and its
 territory1 had at that time heard of   
,colantonio8 ,who ever sought with such 
eagerness the works of ,solario8 ,and if
 this last was the scholar and          
son-in-law of a master who painted so   
well in oil1 how happened it that he was
 neither distinguished in the art1 nor  
even acquired it8 ,why did he himself   
and his scholars work in distemper8 ,why
 did the ,sicilians1 as we have seen1   
pass over to ,venice1 where ,antonello  
resided1 to instruct themselves1 and not

 confine themselves to ,naples8 ,why did
 the whole school of ,venice1 the       
emporium of ,europe1 and capable of     
contradicting any false report1 attest1 
on the death of ,antonello1 that he was 
the first that painted in oil in ,italy1
 and no one opposed to him either       
,solario or ,colantonio8#ajc ,they      
either could not at that time have been 
acquainted with this discovery1 or did  
not know it to an extent that can       
contradict ,vasari1 and the prevailing  
opinions respecting ,antonello4         
,dominici has advanced more on this     
point than any other person1 asserting  
that this art was discovered in ,naples1
 and was carried from thence to         
,flanders by ,van ,eyck himself1 to     
which supposition1 after the            
observations already made1 ,i deem it   
superfluous to reply4#ajd  ,we shall now
 return to the scholars of ,solario1 who
 were very numerous4 ,amongst them was a
 ,niccola di ,vito1 who may be called   
the ,buffalmacco of this school1 for his

 singular humour and his eccentric      
invention1 though in other respects he  
was an inferior artist1 and little      
deserving commemoration4 ,simone ,papa  
did not paint any large composition in  
which he might be compared to his       
master2 he confined himself to          
altarpieces1 with few figures grouped in
 a pleasing style1 and finished with    
exquisite care2 so that he sometimes    
equalled ,zingaro1 as in a ,s4 ,michele1
 painted for ,s4 ,maria ,nuova4 ,of the 
same class seems to have been           
,angiolillo di ,roccadirame1 who in the 
church of ,s4 ,bridget1 painted that    
saint contemplating in a vision the     
birth of ,christ2 a picture which even  
with the experienced1 might pass for the
 work of his master4 ,more celebrated   
and more deserving of notice1 are       
,pietro and ,polito 7,ippolito7 del     
,donzello1 sons-in-law of ,angiolo      
,franco1 and relatives of the celebrated
 architect ,giuliano da ,maiano1 by whom
 they were instructed in that art4      

,vasari mentions them as the first      
painters of the ,neapolitan school1 but 
does not give any account of their      
master1 or of what school they were     
natives1 and he writes in a way that    
might lead the reader to believe that   
they were ,tuscans4 ,he says that       
,giuliano1 having finished the palace of
 ,poggio ,reale for ,king ,robert1 the  
monarch engaged the two brothers to     
decorate it1 and that first ,giuliano   
dying1 and the king afterwards1 ,polito 
returned to ,florence4#aje ,bottari     
observes1 that he did not find the two  
,donzelli mentioned by ,orlandi1 nor by 
any one else2 a clear proof that he did 
not himself consider them natives of    
,naples1 and on that account he did not 
look for them in ,bernardo ,dominici1   
who has written at length upon them1    
complaining of the negligence or        
inadvertent error of ,vasari4  ,the     
pictures of the two brothers were       
painted1 according to ,vasari1 about the
 year #addg4 ,but as he informs us that 

,polito did not leave ,naples until the 
death of ,alfonso1 this epoch should be 
extended to #adfc1 or beyond2 as he     
remained for a year longer1 or          
thereabouts1 under the reign of         
,ferdinand1 the son and successor of    
,alfonso4 ,he painted for that monarch  
some large compositions in the refectory
 of ,s4 ,maria ,nuova1 partly alone and 
partly in conjunction with his brother1 
and both brothers combined in decorating
 for the king a part of the palace of   
,poggio ,reale4 ,we may here with       
propriety also mention1 that they       
painted in one of the rooms the         
conspiracy against ,ferdinand1 which    
being seen by ,jacopo ,sannazzaro1 gave 
occasion to his writing a sonnet1 the   
#dast in the second part of his ,rime4  
,their style resembles that of their    
master1 except that their colouring is  
softer4 ,they distinguished themselves  
also in their architectural ornaments1  
and in the painting of friezes and      
trophies1 and subjects in chiaroscuro1  

in the manner of bassirilievi1 an art   
which ,i am not aware that any one      
practised before them4 ,the younger     
brother leaving ,naples and dying soon  
afterwards1 ,pietro remained employed in
 that city1 where he and his scholars   
acquired a great reputation by their    
paintings in oil and fresco4 ,the       
portraits of ,pietro had all the force  
of nature1 and it is not long since1    
that on the destruction of some of his  
pictures on a wall in the palace of the 
,dukes of ,matalona1 some heads were    
removed with the greatest care1 and     
preserved for their excellence4  ,we may
 now notice ,silvestro de' ,buoni1 who  
was placed by his father in the school  
of ,zingaro1 and on his death attached  
himself to the ,donzelli4 ,his father   
was an indifferent painter1 of the name 
of ,buono1 and from that has arisen the 
mistake of some persons1 who have       
ascribed to the son some works of the   
father in an old style1 and unworthy the
 reputation of ,silvestro4 ,this artist1

 in the opinion of the ,cav4 ,massimo1  
had a finer colouring and a superior    
general effect to the ,donzelli2 and in 
the force of his chiaroscuro1 and in the
 delicacy of his contours1 far surpassed
 all the painters of his country who had
 lived to that time4 ,dominici refers to
 many of his pictures in the various    
churches of ,naples4 ,one of the most   
celebrated is that of ,s4 ,giovanni a   
,mare1 in which he included three       
saints1 all of the same name1 ,s4 ,john 
the ,baptist1 the ,evangelist1 and ,s4  
,chrysostom4  ,silvestro is said to have
 had a disciple in ,tesauro1 whose      
,christian name has not been correctly  
handed down to us2 but he is generally  
called ,bernardo4 ,he is supposed to    
have been of a painter's family1 and    
descended from that ,filippo who is     
commemorated as the second of this      
school1 and father or uncle of ,raimo1  
whom we shall soon notice4 ,this        
,bernardo1 or whatever his name may have
 been1 made nearer approaches to the    

modern style than any of the preceding  
artists2 more judicious in his          
invention1 more natural in his figures  
and drapery2 select1 expressive1        
harmonized1 and displaying a knowledge  
in gradation and relief1 beyond what    
could be expected in a painter who is   
not known to have been acquainted with  
any other schools1 or seen any pictures 
beyond those of his own country4 ,luca  
,giordano1 at a time when he was        
considered the ,coryphaeus of painting1 
was struck with astonishment at the     
painting of a ,soffitto by ,tesauro at  
,s4 ,giovanni de' ,pappacodi1 and did   
not hesitate to declare that there were 
parts in it1 which in an age so fruitful
 in fine works1 no one could have       
surpassed4 ,it represents the ,seven    
,sacraments4 ,the minute description    
which the historian gives of it1 shews  
us what sobriety and judgment there were
 in his composition2 and the portraits  
of ,alfonso ,,ii4 and ,ippolita ,sforza1
 whose espousals he represented in the  

,sacrament of ,marriage1 afford us some 
light for fixing the date of this       
picture4 ,raimo ,tesauro was very much  
employed in works in fresco4 ,some      
pictures by him are also mentioned in   
,s4 ,maria ,nuova1 and in ,monte        
,vergine2 pictures1 says the ,cav4      
,massimo1 very studied and perfect1     
according to the latest schools         
succeeding our ,zingaro4  ,to the same  
schools ,gio4 ,antonio d',amato owed his
 first instructions2 but it is said1    
that when he saw the pictures which     
,pietro ,perugino had painted for the   
,duomo of ,naples1 he became ambitious  
of emulating the style of that master4  
,by diligence1 in which he was second to
 none1 he approached1 as one may say1   
the confines of modern art2 and died at 
an advanced period of the sixteenth     
century4 ,he is highly extolled for his 
,dispute of the ,sacrament1 painted for 
the ,metropolitan church1 and for two   
other pictures placed in the ,borgo di  
,chiaia1 the one at the ,carmine1 the   

other at ,s4 ,leonardo4 ,and here we may
 close our account of the early         
painters1 scanty indeed1 but still      
copious for a city harassed by incessant
 hostilities4#ajf  ,footnote #ih3 ,in   
the ,museo of the ,sig4 ,d4 ,franc4     
,daniele1 are some birds1 not inferior  
to the doves of ,furietti4  ,footnote   
#ii3 ,i adopt this mode because little  
has hitherto been published on the      
,sicilian ,school1 as the ,sig4 ,hackert
 observes in his ,memorie de' ,pittori  
,messinesi4 ,i had not seen that book   
when ,i published the former edition of 
the present work1 and ,i was then       
desirous that the memoirs of the        
,sicilian painters should be collected  
together and given to the public4 ,i    
rejoice that we have had memoirs        
presented to us of those of ,messina1   
and that we shall also have those of the
 ,syracusans and others1 as the worthy  
professor gives us reason to hope in the
 preface to the ,memorie before         
mentioned1 which were written by an     

anonymous writer1 and published by ,sig4
 ,hackert with his own remarks4         
,footnote #ajj3 ,the history of the art 
in ,messina enumerates a series of      
pictures from the year #abfg1 of which  
period is the ,s4 ,placido of the       
cathedral1 painted by an ,antonio       
d',antonio4 ,it is supposed that this is
 a family of painters1 which had the    
surname of ,antonj1 and that many       
pictures in ,s4 ,francesco1 ,s4 ,anna1  
and elsewhere1 are by different ,antonj1
 until we come to ,salvatore di         
,antonio1 father of the celebrated      
,antonello di ,messina1 and himself a   
master2 and there remains by him a ,s4  
,francis in the act of receiving the    
,stigmata1 in the church of his name4   
,thus the genealogy of this ,antonello  
is carried to the before mentioned      
,antonio di ,antonio1 and still further 
by a writer called il ,minacciato       
7,hack4 p4 #aa71 although ,antonio      
never1 to my knowledge1 subscribed      
himself degli ,antonj1 having always on 

his pictures1 which ,i have seen1       
inscribed his country1 instead of his   
surname1 as ,messinensis1 ,messineus1   
,messinae4  ,footnote #aja3 ,the        
,memorie de' ,pittori ,messinesi assert1
 that at ,rome he was attracted by the  
fame of the works of ,masaccio1 and that
 he there also designed all the ancient 
statues4 ,they add1 too1 that he arrived
 at such celebrity1 that his works are  
equal to those of the best masters of   
his time4 ,i imagine it must be meant to
 allude to those who preceded ,pietro   
,perugino1 ,francia1 ,gio4 ,bellini1 and
 ,mantegna2 as his works will not bear  
any comparison with those of the latter 
masters4  ,footnote #ajb3 ,in the first 
epoch of the ,venetian ,school4         
,footnote #ajc3 ,the following          
inscription1 composed at the instance of
 the ,venetian painters1 is found in    
,ridolfi1 p4 #di4 ,antonius pictor1     
praecipuum ,messanae suae et totius     
,siciliae ornamentum hac humo           
contegitur3 non solum suis picturis1 in 

quibus singulare artificium et venustas 
fuit3 sed et quod coloribus oleo        
miscendis splendorem et perpetuitatem   
,,primus ,,italiae ,,picturae contulit1 
summo ,,semper artificum studio         
celebratus4  ,footnote #ajd3 ,a letter  
of ,summonzio1 written on the #bjth     
,march1 #aebd1 has been communicated to 
me by the ,sig4 ,cav4 de' ,lazara1      
extracted from the #fjth volume of the  
,,mss4 collected in ,venice by the ,sig4
 ,ab4 ,profess4 ,daniele ,francesconi4  
,it is addressed to ,m4 ,a4 ,michele1   
who had requested from him some         
information respecting the ancient and  
modern artists of ,naples2 and in       
reference to the present question he    
thus speaks4 ,since that period 7the    
reign of ,king ,ladislaus71 we have not 
had any one of so much talent in the art
 of painting as our ,maestro ,colantonio
 of ,naples1 who would in all           
probability have arrived at great       
eminence1 if he had not died young4     
,owing to the taste of the times1 he did

 not arrive at that perfection of design
 founded on the antique1 which his      
disciple ,antonello da ,messina         
attained2 an artist1 as ,i understand1  
well known amongst you4 ,the style of   
,colantonio was founded on the ,flemish1
 and the colouring of that country1 to  
which he was so much attached1 that he  
had intended to go thither1 but the     
,king ,raniero retained him here1       
satisfied with showing him the practice 
and mode of such colouring4 ,from this  
letter1 which seems contrary to my      
argument1 ,i collect sufficient1 if ,i  
err not1 to confirm it4 ,for1 #ast1 the 
defence of those writers falls to the   
ground1 who assume that the art of oil  
colouring was derived from ,naples1     
while we see that ,colantonio1 by means 
of the king1 received it from ,flanders4
 #bndly1 ,van ,eyck himself is not here 
named1 but the painters of ,flanders    
generally2 which country first awakened1
 as we have observed1 by the example of 
,italy1 had discovered new1 and it is   

true1 imperfect and inefficient methods1
 but still superior to distemper2 and   
who knows if this were not the mode     
adopted by ,colantonio4 #crdly1 ,it is  
said that he died young1 a circumstance 
which may give credit to the difficulty 
that he had in communicating the secret3
 in fact1 it is not known that he       
communicated it even to his son-in-law1 
much less to a stranger4 #dthly1 ,hence 
the necessity of ,antonello undertaking 
the journey to ,flanders to learn the   
secret from ,van ,eyck1 who was then in 
years1 and not without difficulty       
communicated it to him4 #ethly1 ,if we  
believe with ,ridolfi that ,antonello   
painted in #adid in ,trevigi1 and credit
 the testimony of ,vasari1 that he was  
not then more than forty-nine years of  
age1 how could he be the scholar of     
,colantonio1 who1 according to          
,dominici1 died in #addd8 ,it is with   
diffidence ,i advance these remarks on a
 matter on which ,i have before         
expressed my doubts1 and ,i have been   

obliged to leave some points undecided1 
or decided rather according to the      
opinions of others than my own4         
,footnote #aje3 ,in the ducal gallery in
 ,florence1 is a ,deposition from the   
,cross1 wholly in the style of ,zingaro3
 and ,i know not whether it ought to be 
ascribed to ,polito1 who certainly      
resided in ,florence1 or to some other  
painter of the ,neapolitan ,school4     
,footnote #ajf3 ,in ,messina1 towards   
the close of the fifteenth century1 or  
at the beginning of the sixteenth1 some 
artists flourished who practised their  
native style1 not yet modernised on the 
,italian model1 as ,alfonso ,franco1 a  
scholar of ,jacopello d',antonio1 and a 
,pietro ,oliva1 of an uncertain school4 
,both are praised for their natural     
manner1 the peculiar boast of that age1 
but in the first we admire a correct    
design and a lively expression1 for     
which his works have been much sought   
after by strangers1 who have spared only
 to his native place a ,deposition from 

the ,cross1 at ,s4 ,francesco di ,paola1
 and a ,dispute of ,christ with the     
,doctors1 at ,s4 ,agostino4 ,still less 
remains of ,antonello ,rosaliba1 always 
a graceful painter4 ,this is a ,madonna 
with the ,holy ,infant1 in the village  
of ,postunina4       ,,neapolitan       
,,school4    ,,second ,,epoch4          
,modern ,neapolitan ,style1 founded on  
the ,schools of ,raffaello   and        
,michelangiolo4   ,it has already been  
observed1 that at the commencement of   
the sixteenth century1 the art of       
painting seemed in every country to have
 attained to maturity1 and that every   
school at that time assumed its own     
peculiar and distinguishing character4  
,naples did not1 however1 possess a     
manner so decided as that of other      
schools of ,italy1 and thus afforded an 
opportunity for the cultivation of the  
best style1 as the students who left    
their native country returned home1 each
 with the manner of his own master1 and 
the sovereigns and nobility of the      

kingdom invited and employed the most   
celebrated strangers4 ,in this respect1 
perhaps1 ,naples did not yield          
precedence to any city after ,rome4     
,thus the first talents were constantly 
employed in ornamenting both the        
churches and palaces of that metropolis4
 ,nor indeed was that country ever      
deficient in men of genius1 who         
manifested every exquisite quality for  
distinction1 particularly such as       
depended on a strong and fervid         
imagination4 ,hence an accomplished     
writer and painter has observed1 that no
 part of ,italy could boast of so many  
native artists1 such is the fire1 the   
fancy1 and freedom1 which characterizes1
 for the most part1 the works of these  
masters4 ,their rapidity of execution   
was another effect of their genius1 a   
quality which has been alike praised by 
the ancients1#ajg and the moderns1 when 
combined with other more requisite gifts
 of genius4 ,but this despatch in       
general excludes correct design1 which  

from that cause is seldom found in that 
school4 ,nor do we find that it paid    
much attention to ideal perfection1 as  
most of its professors1 following the   
practice of the naturalists1 selected   
the character of their heads and the    
attitudes of their figures from common  
life2 some with more1 and others with   
less discrimination4 ,with regard to    
colour1 this school changed its         
principles in conformity to the taste of
 the times4 ,it was fertile in invention
 and composition1 but deficient in      
application and study4 ,the history of  
the vicissitudes it experienced will    
occupy the remainder of this volume4    
,the epoch of modern painting in ,naples
 could not have commenced under happier 
auspices than those which it had the    
good fortune to experience4 ,pietro     
,perugino had painted an ,assumption of 
the ,virgin1 which ,i am informed exists
 in the ,duomo1 or ,s4 ,reparata1 a very
 ancient cathedral church1 since        
connected with the new ,duomo4 ,this    

work opened the way to a better taste4  
,when ,raffaello and his school rose    
into public esteem1 ,naples was among   
the first distant cities to profit from 
it1 by means of some of his scholars1 to
 whom were also added some followers of 
,michelangiolo1 about the middle of the 
century4 ,thus till nearly the year     
#afjj1 this school paid little attention
 to any other style than that of these  
two great masters and their imitators1  
except a few artists who were admirers  
of ,titian4  ,we may commence the new   
series with ,andrea ,sabbatini of       
,salerno4 ,this artist was so much      
struck with the style of ,pietro1 when  
he saw his picture in the ,duomo1 that  
he immediately determined to study in   
the school of ,perugia4 ,he took his    
departure accordingly for that city1 but
 meeting on the road some brother       
painters who much more highly extolled  
the works of ,raffaello1 executed for   
,julius ,,ii41 he changed his mind and  
proceeded to ,rome1 and there placed    

himself in the school of that great     
master4 ,he remained with him however1  
only a short time1 as the death of his  
father compelled him to return home1    
against his wishes4 ,but he arrived a   
new man4 ,it is related that he painted 
with ,raffaello at the ,pace1 and in the
 ,vatican1 and that he became an        
accomplished copyist of his works1 and  
successfully emulated the style of his  
master4 ,compared with his fellow       
scholars1 although he did not rival     
,giulio ,romano1 he yet surpassed       
,raffaele del ,colle1 and others of that
 class4 ,he had a correctness of design1
 selection in his faces and in his      
attitudes1 a depth of shade1 and the    
muscles rather strongly expressed2 a    
breadth in the folding of his drapery1  
and a colour which still preserves its  
freshness after the lapse of so many    
years4 ,he executed many works in       
,naples1 as appears from the catalogue  
of his pictures4 ,among his best works  
are numbered some pictures at ,s4 ,maria

 delle ,grazie2 besides the frescos     
which he executed there and in other    
places1 extolled by writers as miracles 
of art1 but few of which remain to the  
present day4 ,he painted also in his    
native city1 in ,gaeta1 and indeed in   
all parts of the kingdom1 both in the   
churches and for private collections1   
where many of his ,madonnas1 of an      
enchanting beauty1 are still to be      
seen4#ajh  ,andrea had several scholars1
 some of whom studied under other       
masters1 and did not acquire much of his
 style4 ,such was ,cesare ,turco1 who   
rather took after ,pietro2 a good       
painter in oil1 but unsuccessful in     
fresco4 ,but ,andrea was the sole master
 of ,francesco ,santafede1 the father   
and master of ,fabrizio2 painters who in
 point of colouring have few equals in  
this school1 and possessing a singular  
uniformity of style4 ,nevertheless the  
experienced discover in the father more 
vigour1 and more clearness in his       
shadows2 and there are by him some      

pictures in the ,soffitto of the        
,nunziata1 and a ,deposition from the   
,cross in the possession of the prince  
di ,somma1 highly celebrated4 ,but of   
all the scholars of ,andrea1 one        
,paolillo resembled him the most1 whose 
works were all ascribed to his master1  
until ,dominici restored them to their  
right owner4 ,he would have been the    
great ornament of this school had he not
 died young4  ,polidoro ,caldara1 or    
,caravaggio1 came to ,naples in the year
 of the sacking of ,rome1 #aebg4 ,he was
 not1 as ,vasari would have us believe1 
in danger of perishing through want at  
,naples2 for ,andrea da ,salerno1 who   
had been his fellow disciple1 generously
 received him into his house1 and       
introduced him in the city1 where he    
obtained many commissions1 and formed   
several scholars before he went to      
,sicily4 ,he had distinguished himself  
in ,rome by his chiaroscuri1 as we have 
related2 and he painted in colours in   
,naples and ,messina4 ,his colour in oil

 was pallid and obscure1 at least for   
some time1 and in this style ,i saw some
 pictures of the ,passion in ,rome1     
which ,gavin ,hamilton had received from
 ,sicily4 ,in other respects they were  
valuable1 from their design and         
invention4 ,vasari mentions this master 
with enthusiasm1 calls him a divine     
genius1 and extols to the skies a       
picture which he painted in ,messina a  
little while before his death4 ,this was
 a composition of ,christ on his way to 
,mount ,calvary1 surrounded by a great  
multitude1 and he assures us that the   
colouring was enchanting4  ,giambernardo
 ,lama was first a scholar of ,amato1   
and afterwards attached himself to      
,polidoro1 in whose manner he painted a 
,pieta at ,s4 ,giacomo degli ,spagnuoli1
 which1 from its conception1 its        
correctness1 and vigour of design1      
variety in attitude1 and general style  
of composition1 was by many ascribed to 
that master4 ,in general however1 he    
displayed a softer and more natural     

manner1 and was partial to the style of 
,andrea di ,salerno4 ,marco di ,pino1 an
 imitator of ,michelangiolo1 as we have 
observed1 though sober and judicious1   
was held in disesteem by him4 ,in the   
,segretario of ,capece1 there is an     
interesting letter to ,lama1 where      
amongst other things he says1 ,i hear   
that you do not agree with ,marco da    
,siena1 as you paint with more regard to
 beauty1 and he is attached to a        
vigorous design without softening his   
colours4 ,i know not what you desire of 
him1 but pray leave him to his own      
method1 and do you follow yours4  ,a    
,francesco ,ruviale1 a ,spaniard1 is    
also mentioned in ,naples1 called       
,polidorino1 from his happy imitation of
 his master1 whom he assisted in        
painting for the ,orsini some subjects  
illustrative of the history of that     
noble family2 and after the departure of
 his master1 he executed by himself     
several works at ,monte ,oliveto and    
elsewhere4 ,the greater part of these   

have perished1 as happened in ,rome to  
so many of the works of ,polidoro4 ,this
 ,ruviale appears to me to be a         
different artist from a ,ruviale1 a     
,spaniard1 who is enumerated among the  
scholars of ,salviati1 and the          
assistants of ,vasari1 in the painting  
of the ,chancery2 on which occasion     
,vasari says1 he formed himself into a  
good painter4 ,this was under ,paul     
,,vii4 in #aedd1 at which time          
,polidorino must already have been a    
master4 ,palomino has not said a word of
 any other ,ruviale1 a painter of his   
country2 and this is a proof that the   
two preceding artists never returned    
home to ,spain4  ,some have included    
among the scholars of ,polidoro an able 
artist and good colourist1 called ,marco
 ,calabrese1 whose surname is ,cardisco4
 ,vasari ranks him before all his       
,neapolitan contemporaries1 and         
considers his genius a fruit produced   
remote from its native soil4 ,this      
observation cannot appear correct to any

 one who recollects that the ,calabria  
of the present day is the ancient ,magna
 ,graecia1 where in former times the    
arts were carried to the highest pitch  
of perfection4 ,cardisco painted much in
 ,naples and in the state4 ,his most    
celebrated work is the ,dispute of ,s4  
,agostino in the church of that saint in
 ,aversa4 ,he had a scholar in ,gio4    
,batista ,crescione1 who together with  
,lionardo ,castellani1 his relative1    
painted at the time ,vasari wrote1 which
 was an excuse for his noticing them    
only in a cursory manner4 ,we may       
further observe that ,polidoro was the  
founder of a florid school in ,messina1 
where we must look for his most able    
scholars4#aji  ,gio4 ,francesco ,penni1 
or as he is called1 il ,fattore1 came to
 ,naples some time after ,polidoro1 but 
soon afterwards fell sick1 and died in  
the year #aebh4 ,he contributed in two  
different ways to the advancement of the
 school of ,naples4 ,in the first place 
he left there the great copy of the     

,transfiguration of ,raffaello1 which he
 had painted in ,rome in conjunction    
with ,perino1 and which was afterwards  
placed in ,s4 ,spirito degl',incurabili1
 and served as a study to ,lama1 and the
 best painters1 until1 with other select
 pictures and sculptures at ,naples1 it 
was purchased and removed by the viceroy
 ,don ,pietro ,antonio of ,aragon4      
,secondly1 he left there a scholar of   
the name of ,lionardo1 commonly called  
il ,pistoja1 from the place of his      
birth2 an excellent colourist1 but not a
 very correct designer4 ,we noticed him 
among the assistants of ,raffaello1 and 
more at length among the artists of the 
,florentine state1 where we find some of
 his pictures1 as in ,volterra and      
elsewhere4 ,after he had lost his friend
 ,penni in ,naples1 he established      
himself there for the remainder of his  
days1 where he received sufficient      
encouragement from the nobility of that 
city1 and painted less for the churches 
than for private individuals4 ,he       

chiefly excelled in portrait4  ,pistoja 
is said to have been one of the masters 
of ,francesco ,curia1 a painter1 who1   
though somewhat of a mannerist in the   
style of ,vasari and ,zucchero1 is yet  
commended for the noble and agreeable   
style of his composition1 for his       
beautiful countenances1 and natural     
colouring4 ,these qualities are         
singularly conspicuous in a             
,circumcision painted for the church    
della ,pieta1 esteemed by ,ribera1      
,giordano1 and ,solimene1 one of the    
first pictures in ,naples4 ,he left in  
,ippolito ,borghese an accomplished     
imitator1 who was absent a long time    
from his native country1 where few of   
his works remain1 but those are highly  
prized4 ,he was in the year #afbj in    
,perugia1 as ,morelli relates in his    
description of the pictures and statues 
of that city1 and painted an ,assumption
 of the ,virgin1 which was placed in ,s4
 ,lorenzo4  ,there were two ,neapolitans
 who were scholars and assistants of    

,perino del ,vaga in ,rome2 ,gio4       
,corso1 initiated in the art by ,amato1 
or as others assert by ,polidoro2 and   
,gianfilippo ,criscuolo1 instructed a   
long time by ,salerno4 ,there are few   
remains of ,corso in ,naples1 except    
such as are retouched2 nor is any piece 
so much extolled as a ,christ with a    
,cross painted for the church of ,s4    
,lorenzo4 ,criscuolo in the short time  
he was at ,rome1 diligently copied      
,raffaello1 and was greatly attached to 
his school4 ,he followed1 however1 his  
own genius1 which was reserved and      
timid1 and formed for himself rather a  
severe manner2 a circumstance to his    
honour1 at a time when the contours were
 overcharged and the correctness of     
,raffaello was neglected4 ,he is also   
highly commended as an instructor4      
,from his school came ,francesco        
,imparato1 who was afterwards taught by 
,titian1 and so far emulated his style1 
that a ,s4 ,peter ,martyr by him in the 
church of that saint in ,naples was     

praised by ,caracciolo as the best      
picture which had then been seen in that
 city4 ,we must not confound this       
,francesco with ,girolamo ,imparato1 his
 son1 who flourished after the end of   
the sixteenth century1 and enjoyed a    
reputation greater than he perhaps      
merited4 ,he too was a follower of the  
,venetian1 and afterwards of the        
,lombard style1 and he travelled to     
improve himself in colouring1 the fruits
 of which were seen in the picture of   
the ,rosario at ,s4 ,tommaso d',aquino1 
and in others of his works4 ,the ,cav4  
,stanzioni1 who knew him1 and was his   
competitor1 considered him inferior to  
his father in talent1 and describes him 
as vain and ostentatious4  ,to these    
painters of the school of ,raffaello1   
there succeeded in ,naples two followers
 of ,michelangiolo1 whom we have before 
noticed4 ,the first of these was        
,vasari1 who was called thither in      
#aedd1 to paint the refectory of the ,p4
 ,p4 ,olivetani1 and was afterwards     

charged with many commissions in ,naples
 and in ,rome4 ,by the aid of           
architecture1 in which he excelled more 
than in painting1 he converted that     
edifice1 which was in what is commonly  
called the ,gothic style1 to a better   
form2 altered the vault1 and ornamented 
it with modern stuccos1 which were the  
first seen in ,naples1 and painted there
 a considerable number of subjects1 with
 that rapidity and mediocrity that      
characterize the greater part of his    
works4 ,he remained there for the space 
of a year1 and of the services he       
rendered to the city1 we may judge from 
the following passage in his life4 ,it  
is extraordinary1 he says1 that in so   
large and noble a city1 there should    
have been found no masters after        
,giotto1 to have executed any work of   
celebrity1 although some works by       
,perugino and by ,raffaello had been    
introduced4 ,on these grounds ,i have   
endeavoured1 to the best of my humble   
talents1 to awaken the genius of that   

country to a spirit of emulation1 and to
 the accomplishment of some great and   
honourable work2 and from these my      
labours1 or from some other cause1 we   
now see many beautiful works in stucco  
and painting1 in addition to the before 
mentioned pictures4 ,it is not easy to  
conjecture why ,vasari should here      
overlook many eminent painters1 and even
 ,andrea da ,salerno himself1 so        
illustrious an artist1 and whose name   
would have conferred a greater honour on
 his book1 than it could possibly have  
derived from it4 ,whether self love     
prompted him to pass over that painter  
and other ,neapolitan artists1 in the   
hope that he should himself be          
considered the restorer of taste in     
,naples2 or whether it was the          
consequence of the dispute which existed
 at that time between him and the       
painters of ,naples2 or whether1 as ,i  
observed in my preface1 it sometimes    
happens in this art1 that a picture     
which delights one person1 disgusts     

another1 ,i know not1 and every one must
 judge for himself4 ,for myself1 however
 much disposed ,i should be to pardon   
him for many omissions1 which in a work 
like his1 are almost unavoidable1 still 
,i cannot exculpate him for this total  
silence4 ,nor have the writers of       
,naples ever ceased complaining of this 
neglect1 and some indeed have bitterly  
inveighed against him and accused him of
 contributing to the deterioration of   
taste4 ,so true is it1 that an offence  
against a whole nation is an offence    
never pardoned4  ,the other imitator1   
and a favourite of ,michelangiolo 7but  
not his scholar1 as some have asserted7 
that painted in ,naples1 was ,marco di  
,pino1 or ,marco da ,siena1 frequently  
before mentioned by us4 ,he appears to  
have arrived in ,naples after the year  
#aefj4 ,he was well received in that    
city1 and had some privileges conferred 
on him2 nor did the circumstance of his 
being a stranger create towards him any 
feeling of jealousy on the part of the  

,neapolitans1 who are naturally         
hospitable to strangers of good         
character2 and he is described by all as
 a sincere1 affable1 and respectable    
man4 ,he enjoyed in ,naples the first   
reputation1 and was often employed in   
works of consequence in some of the     
greater churches of the city1 and in    
others of the kingdom at large4 ,he     
repeated on several occasions the       
,deposition from the ,cross1 which he   
painted at ,rome1 but with many         
variations1 and the one the most        
esteemed was that which he placed in ,s4
 ,giovanni de' ,fiorentini1 in #aegg4   
,the ,circumcision in the ,gesu         
,vecchio1 where ,parrino traces the     
portrait of the artist and his wife1#aaj
 the adoration of the ,magi at ,s4      
,severino1 and others of his works1     
contain views of buildings1 not unworthy
 of him1 as he was an eminent architect1
 and also a good writer on that art4 ,of
 his merit as a painter1 ,i believe ,i  
do not err1 when ,i say that among the  

followers of ,michelangiolo1 there is   
none whose design is less extravagant   
and whose colour is more vigorous4 ,he  
is not however1 always equal4 ,in the   
church of ,s4 ,severino1 where he       
painted four pictures1 the ,nativity of 
the ,virgin is much inferior to the     
others4 ,a mannered style was so common 
in artists of that age1 that few were   
exempt from it4 ,he had many scholars in
 ,naples1 but none of the celebrity of  
,gio4 ,angelo ,criscuolo4 ,this artist  
was the brother of ,gio4 ,filippo1      
already mentioned1 and exercised the    
profession of a notary1 without         
relinquishing that of a miniature       
painter1 which he had learnt in his     
youth4 ,he became desirous of emulating 
his brother in larger compositions1 and 
under the direction of ,marco succeeded 
in acquiring his style4  ,these two     
painters laid the foundation of the     
history of the art in ,naples4 ,in      
#aefh1 there issued from the ,giunti    
press in ,florence1 a new edition of the

 works of ,vasari1 in which the author  
speaks very briefly of ,marco da ,siena1
 in the life of ,daniello da ,volterra4 
,he only observes that he had derived   
the greatest benefit from the           
instructions of that master1 and that he
 had afterwards chosen ,naples for his  
country1 and settled and continued his  
labours there4 ,marco1 either not       
satisfied with this eulogium1 or        
displeased at the silence of ,vasari    
with regard to many of the painters of  
,siena1 and almost all those of ,naples1
 determined to publish a work of his own
 in opposition to him4 ,among his       
scholars was the notary before          
mentioned1 who supplied him with memoirs
 of the ,neapolitan painters taken from 
the archives of the city1 and from      
tradition2 and from these materials     
,marco prepared a ,discorso4 ,he        
composed it in #aefi1 a year after the  
publication of this edition of ,vasari's
 works1 and it was the first sketch of  
the history of the fine arts in ,naples4

 ,it did not1 however1 then see the     
light1 and was not published until      
#agdb1 and then only in part1 by        
,dominici1 together with notes written  
by ,criscuolo in the ,neapolitan        
dialect1 and with the addition of other 
notes collected respecting the          
subsequent artists1 and arranged by two 
excellent painters1 ,massimo ,stanzioni1
 and ,paolo de' ,matteis4 ,dominici     
himself added some others of his own    
collecting1 and communicated by some of 
his learned friends1 among whom was the 
celebrated antiquarian ,matteo ,egizio4 
,the late ,guida or ,breve ,descrizione 
di ,napoli says1 this voluminous work   
stands in need of more information1 a   
better arrangement1 and a more concise  
style4 ,there might also be added some  
better criticisms on the ancient        
artists1 and less partiality towards    
some of the modern4 ,still this is a    
very lucid work1 and highly valuable for
 the opinions expressed on the talents  
of artists1 for the most part by other  

artists1 whose names inspire confidence 
in the reader4 ,whether the sister arts 
of architecture and sculpture are as    
judiciously treated of1 it is not our   
province to inquire4  ,in the above work
 the reader may find the names of other 
artists of ,naples who belong to the    
close of this epoch1 as ,silvestro      
,bruno1 who enjoyed in ,naples the fame 
of a good master2 a second ,simone      
,papa1 or del ,papa1 a clever fresco    
painter1 and likewise another ,gio4     
,ant4 ,amato1 who to distinguish him    
from the first is called the younger4   
,he was first instructed in the art by  
his uncle1 afterwards by ,lama1 and     
successively imitated their several     
styles4 ,he obtained considerable fame1 
and the infant ,christ painted by him in
 the ,banco de' ,poveri1 is highly      
extolled4 ,to these may be added those  
artists who fixed their residence in    
other parts of ,italy1 as ,pirro        
,ligorio1 honoured1 as we have observed1
 by ,pius ,,iv4 in ,rome1 and who died  

in ,ferrara1 engineer to ,alfonso ,,ii42
 and ,gio4 ,bernardino ,azzolini1 or    
rather ,mazzolini1 in whose praise      
,soprani and ,ratti unite4 ,he arrived  
in ,genoa about #aeaj1 and there        
executed some works worthy of that      
golden age of art4 ,he excelled in      
waxwork1 and formed heads with an       
absolute expression of life4 ,he        
extended the same energetic character to
 his oil pictures1 particularly in the  
,martyrdom of ,s4 ,agatha in ,s4        
,giuseppe4  ,the provincial cities had  
also in this age their own schools1 or  
at least their own masters2 some of whom
 remained in their native places1 and   
others resided abroad4 ,cola            
dell',amatrice1 known also to ,vasari1  
who mentions him in his life of         
,calabrese1 took up his residence in    
,ascoli del ,piceno1 and enjoyed a      
distinguished name in architecture and  
in painting1 through all that province4 
,he had somewhat of a hard manner in his
 earlier paintings1 but in his          

subsequent works he exhibited a fulness 
of design and an accomplished modern    
style4 ,he is highly extolled in the    
,guida di ,ascoli for his picture in the
 oratory of the ,corpus ,domini1 which  
represents the ,saviour in the act of   
dispensing the ,eucharist to the        
,apostles4  ,pompeo dell',aquila was a  
finished painter and a fine colourist1  
if we are to believe ,orlandi1 who saw  
many of his works in ,aquila1           
particularly some frescos conducted in a
 noble style4 ,in ,rome in ,s4 ,spirito 
in ,sassia1 there is a fine ,deposition 
from the ,cross by him4 ,this artist is 
not mentioned either by ,baglione or any
 other writer of his time4 ,giuseppe    
,valeriani1 another native of ,aquila1  
is frequently mentioned4 ,he painted at 
the same period and in the same church  
of ,s4 ,spirito1 where there exists a   
,transfiguration by him4 ,we perceive in
 him an evident desire of imitating ,f4 
,sebastiano1 but he is heavy in his     
design1 and too dark in his colours4 ,he

 entered afterwards into the society of 
,jesuits1 and improved his first manner4
 ,his best works are said to be a       
,nunziata in a chapel of the ,gesu1 with
 other subjects from the life of        
,christ1 in which are some most         
beautiful draperies added by ,scipio da 
,gaeta4 ,this latter artist also was a  
native of the kingdom of ,naples2 but of
 him and of the ,cav4 di ,arpino1 who   
both taught in ,rome1 we have already   
spoken in that school4  ,marco          
,mazzaroppi di ,s4 ,germano died young1 
but is known for his natural and        
animated colouring1 almost in the       
,flemish style4 ,at ,capua they mention 
with applause the altarpieces and other 
pictures of ,gio4 ,pietro ,russo1 who   
after studying in various schools       
returned to that city1 and there left   
many excellent works4 ,matteo da ,lecce1
 whose education is uncertain1 displayed
 in ,rome a ,michelangiolo style1 or as 
some say1 the style of ,salviati4 ,it is
 certain that he had a strong expression

 of the limbs and muscles4 ,he worked   
for the most part in fresco1 and there  
is a prophet painted by him for the     
company of the ,gonfalone1 of such      
relief1 that the figures1 says          
,baglione1 seem starting from the wall4 
,although there were at that time many  
,florentines in ,rome1 he was the only  
one who dared in the face of the ,last  
,judgment of ,michelangiolo1 to paint   
the ,fall of the ,rebel ,angels1 a      
subject which that great artist designed
 to have painted1 but never put his     
intentions into execution4 ,he chose too
 to accompany it with the combat between
 the ,prince of the ,angels and         
,lucifer1 for the body of ,moses2 a     
subject taken from the epistle of ,s4   
,james1 and analogous to that of the    
other picture4 ,matteo entered upon this
 very arduous task with a noble spirit2 
but1 alas6 with a very different result4
 ,he painted afterwards in ,malta1 and  
passing to ,spain and to the ,indies1 he
 enriched himself by merchandise1 until 

turning to mining1 he lost all his      
wealth1 and died in great indigence4 ,we
 may also mention two ,calabrians of    
doubtful parentage4 ,nicoluccio1 a      
,calabrian1 who will be mentioned among 
the scholars of ,lorenzo ,costa1 but    
only cursorily1 as ,i know nothing of   
this parricide1 as he may be called1    
except that he attempted to murder his  
master4 ,pietro ,negroni1 a ,calabrian  
also1 is commemorated by ,dominici as a 
diligent and accomplished painter4 ,in  
,sicily1 it is probable that many       
painters flourished belonging to this   
period1 besides ,gio4 ,borghese da      
,messina1 a scholar also of ,costa1 and 
,laureti1 whom ,i notice in the schools 
of ,rome and ,bologna1 and others whose 
names ,i may have seen1 but whose works 
have not called for my notice4 ,the     
succeeding epoch we shall find more     
productive in ,sicilian art4  ,footnote 
#ajg3 ,plin4 ,hist4 ,nat4 lib4 ,,xxxv4  
cap4 #aa4 ,nec ullius velocior in       
pictura manus fuit4  ,footnote #ajh3    

,the style of ,raffaello found imitators
 also in ,sicily1 and the first to      
practise it was ,salvo di ,antonio1 the 
nephew of ,antonello1 by whom there is1 
we are told1 in the sacristy of the     
cathedral1 the death of the ,virgin1 in 
the pure ,raffaellesque style1 although 
,salvo is not the painter who has been  
called the ,raffaello of ,messina3 this 
was ,girolamo ,alibrandi4 ,a            
distinguished celebrity has of late been
 attached to this artist1 whose name was
 before comparatively unknown4          
,respectably born1 and liberally        
educated1 instead of pursuing the study 
of the law1 for which he was intended1  
he applied himself to painting1 and     
having acquired the principles of the   
art in the school of the ,antonj of     
,messina1 he went to perfect himself in 
,venice4 ,the scholar of ,antonello1 and
 the friend of ,giorgione1 he improved  
himself by the study of the works of the
 best masters4 ,after many years        
residence in ,venice he passed to       

,milan1 to the school of ,vinci1 where  
he corrected some dryness of style which
 he had brought thither with him4 ,thus 
far there is no doubt about his history2
 but we are further told1 that being    
recalled to his native country1 he      
wished first to see ,coreggio and       
,raffaello1 and that he repaired to     
,messina about the year #aead2 a        
statement which is on the face of it    
incorrect1 since ,lionardo left ,milan  
in #adii1 when ,raffaello was only a    
youth1 and ,coreggio in his infancy4    
,but ,i have before observed1 that the  
history of art is full of these         
contradictions2 a painter resembling    
another1 he was therefore supposed his  
scholar1 or at all events acquainted    
with him4 ,on this subject ,i may refer 
to the ,milanese ,school in regard to   
,luini1 7,epoch ,,ii47 and observe that 
a follower of the style of ,lionardo    
almost necessarily runs into the manner 
of ,raffaello4 ,thus it happened to     
,alibrandi1 whose style however bore a  

resemblance to others besides1 so that  
his pictures pass under various names4  
,there remains in his native place1 in  
the church of ,candelora1 a             
,purification of the ,virgin1 in a      
picture of twenty-four ,sicilian palms1 
which is the chef d'oeuvre of the       
pictures of ,messina1 from the grace1   
colouring1 perspective1 and every other 
quality that can enchant the eye4       
,polidoro was so much captivated with   
this work1 that he painted in distemper 
a picture of the ,deposition from the   
,cross1 as a precious covering to this  
picture1 in order that it might be      
transmitted uninjured to posterity4     
,girolamo died in the plague of #aebd1  
and at the same time other eminent      
artists of this school2 a school which  
was for some time neglected1 but which  
has1 through the labours of ,polidoro1  
risen to fresh celebrity4  ,footnote    
#aji3 ,i here subjoin a list of them4   
,deodato ,guinaccia may be called the   
,giulio of this new ,raffaello1 on whose

 death he inherited the materials of his
 art1 and supported the fame of his     
school3 and like ,giulio1 completed some
 works left unfinished by his master2 as
 the ,nativity in the church of ,alto   
,basso1 which passes for the best       
production of ,polidoro4 ,in this       
exercise of his talents he became a     
perfect imitator of his master's style1 
as in the church of the ,trinita a'     
,pellegrini1 and in the ,transfiguration
 at ,s4 ,salvatore de' ,greci4 ,he      
imparted his taste to his scholars1 the 
most distinguished of whom for works yet
 remaining1 are ,cesare di ,napoli1 and 
,francesco ,comande1 pure copyists of   
,polidoro4 ,with regard to the latter1  
some errors have prevailed2 for having  
very often worked in conjunction with   
,gio4 ,simone ,comande1 his brother1 who
 had an unequivocal ,venetian taste1    
from having studied in ,venice1 it not  
unfrequently happens1 that when the     
pictures of ,comande are spoken of1 they
 are immediately attributed to ,simone1 

as the more celebrated artist2 but an   
experienced eye cannot be deceived1 not 
even in works conjointly painted1 as in 
the ,martyrdom of ,s4 ,bartholomew1 in  
the church of that saint1 or the ,magi  
in the monastery of ,basico4 ,there1 and
 in every other picture1 whoever can    
distinguish ,polidoro from the          
,venetians1 easily discovers the style  
of the two brothers1 and assigns to each
 his own4  ,polidoro had in his academy 
,mariano and ,antonello ,riccio1 father 
and son4 ,the first came in order to    
change the manner of ,franco1 his former
 master1 for that of ,polidoro2 the     
second to acquire his master's style4   
,both succeeded to their wishes2 but the
 father was so successful a rival of his
 new master1 that his works are said to 
pass under his name4 ,this is the common
 report1 but ,i think it can only apply 
to inexperienced purchasers1 since if   
there be a painter1 whose style it is   
almost impossible to imitate to         
deception1 it is ,polidoro da           

,caravaggio4 ,in proof1 the comparison  
may be made in ,messina itself1 where   
the ,pieta of ,polidoro1 and the        
,madonna della ,carita of ,mariano1 are 
placed near each other4  ,stefano       
,giordano was also a respectable scholar
 of ,caldara1 and we may mention1 as an 
excellent production1 his picture of the
 ,supper of our ,lord in the monastery  
of ,s4 ,gregory1 painted in #aeda4 ,with
 him we may join ,jacopo ,vignerio1 by  
whom we find described1 as an excellent 
work1 the picture of ,christ bearing his
 ,cross1 at ,s4 ,maria della ,scala1    
bearing the date of #aeeb4  ,we may     
close this list of the scholars of      
,polidoro with the infamous name of     
,tonno1 a ,calabrian1 who murdered his  
master in order to possess himself of   
his money1 and suffered for the         
atrocious crime4 ,he evinced a more than
 common talent in the art1 if we may    
judge from the ,epiphany which he       
painted for the church of ,s4 ,andrea1  
in which piece he introduced the        

portrait of his unfortunate master4     
,some writers have also included among  
the followers of ,polidoro1 ,antonio    
,catalano1 because he was a scholar of  
,deodato4 ,we are informed he went to   
,rome and entered the school of         
,barocci2 but as ,barocci never taught  
in ,rome1 we may rather imagine that it 
was from the works of that artist he    
acquired a florid colouring1 and a      
sfumatezza1 with which he united a      
portion of the taste of ,raffaello1 whom
 he greatly admired4 ,his pictures are  
highly valued from this happy union of  
excellences2 and his great picture of   
the ,nativity at the ,capuccini del     
,gesso is particularly extolled4 ,we    
must not mistake this accomplished      
painter for ,antonio ,catalano il       
,giovane1 the scholar of ,gio4 ,simone  
,comande1 from whose style and that of  
others he formed a manner sufficiently  
spirited1 but incorrect1 and practised  
with such celerity1 that his works are  
as numerous as they are little prized4  

,footnote #aaj3 ,these traditions are   
frequently nothing more than common     
rumour1 to which1 without corroborating 
circumstances1 we ought not to give     
credit4 ,it has happened more than once1
 that such portraits have been found to 
belong to the patrons of the church4    
,,neapolitan ,,school4    ,,third       
,,epoch4    ,corenzio1 ,ribera1         
,caracciolo1 flourish in ,naples4       
,strangers   who compete with them4     
,about the middle of the sixteenth      
century1 ,tintoretto was considered one 
of the first artists in ,venice2 and    
towards the close of the same century   
,caravaggio in ,rome1 and the ,caracci  
in ,bologna1 rose to the highest degree 
of celebrity4 ,the several styles of    
these masters soon extended themselves  
into other parts of ,italy1 and became  
the prevailing taste in ,naples1 where  
they were adopted by three painters of  
reputation1 ,corenzio1 ,ribera1 and     
,caracciolo4 ,these artists rose one    
after the other into reputation1 but    

afterwards united together in painting1 
and assisting each other                
interchangeably4 ,at the time they      
flourished1 ,guido1 ,domenichino1       
,lanfranco1 and ,artemisia ,gentileschi1
 were in ,naples2 and there and         
elsewhere contributed some scholars to  
the ,neapolitan ,school4 ,thus the time 
which elapsed between ,bellisario and   
,giordano1 is the brightest period of   
this academy1 both in respect to the    
number of excellent artists1 and the    
works of taste4 ,it is however the      
darkest era1 not only of the ,neapolitan
 ,school1 but of the art itself1 as far 
as regards the scandalous artifices1 and
 the crimes which occurred in it4 ,i    
would gladly pass over those topics in  
silence1 if they were foreign to my     
subject1 but they are so intimately     
connected with it1 that they must1 at   
all events1 be alluded to4 ,i shall     
notice them at the proper time1 adhering
 to the relation of ,malvasia1 ,passeri1
 ,bellori1 and more particularly of     

,dominici4  ,bellisario ,corenzio1 a    
,greek by birth1 after having passed    
five years in the school of ,tintoretto1
 settled in ,naples about the year      
#aeij4 ,he inherited from nature a      
fertile imagination and a rapidity of   
hand1 which enabled him to rival his    
master in the prodigious number of his  
pictures1 and those too of a large      
class4 ,four common painters could      
scarcely have equalled his individual   
labour4 ,he cannot be compared to       
,tintoretto1 who1 when he restrained his
 too exuberant fancy1 was inferior to   
few in design2 and excelled in          
invention1 gestures1 and the airs of his
 heads1 which1 though the ,venetians    
have always had before their eyes1 they 
have never equalled4 ,corenzio          
successfully imitated his master when he
 painted with care1 as in the great     
picture1 in the refectory of the        
,benedictines1 representing the         
multitude miraculously fed2 a work he   
finished in forty days4 ,but the greater

 part of the vault resembles in many    
respects the style of the ,cav4         
d',arpino1#aaa other parts partake of   
the ,venetian ,school1 not without some 
character peculiar to himself1          
particularly in the glories1 which are  
bordered with shadowy clouds4 ,in the   
opinion of the ,cav4 ,massimo1 he was of
 a fruitful invention1 but not select4  
,he painted very little in oil1 although
 he had great merit in the strength and 
harmony of his colours4 ,the desire of  
gain led him to attempt large works in  
fresco1 which he composed with much     
felicity1 as he was copious1 varied1 and
 energetic4 ,he had a good general      
effect1 and was finished in detail and  
correct1 when the proximity of some     
eminent rival compelled him to it4 ,this
 was the case at the ,certosa1 in the   
chapel of ,s4 ,gennaro4 ,he there       
exerted all his talents1 as he was      
excited to it by emulation of           
,caracciolo1 who had painted in that    
place a picture1 which was long admired 

as one of his finest works1 and was     
afterwards transferred into the         
monastery4 ,in other churches we find   
some sacred subjects painted by him in  
smaller size1 which ,dominici commends1 
and adds too1 that he assisted ,m4      
,desiderio1 a celebrated perspective    
painter1 whose views he accompanied with
 small figures beautifully coloured and 
admirably appropriate4  ,the birthplace 
of ,giuseppe ,ribera has been the       
subject of controversy4 ,palomino1      
following ,sandrart and ,orlandi1       
represents him as a native of ,spain1 in
 proof of which they refer to a picture 
of ,s4 ,matteo1 with the following      
inscription4 ,jusepe de ,ribera espanol 
de la ciutad de ,xativa1 reyno de       
,valencia1 ,academico romano ano #afcj4 
,the ,neapolitans1 on the contrary1     
contend that he was born in the         
neighbourhood of ,lecce1 but that his   
father was from ,spain2 and that in     
order to recommend himself to the       
governor1 who was a ,spaniard1 he always

 boasted of his origin1 and expressed it
 in his signature1 and was on that      
account called ,spagnoletto4 ,such is   
the opinion of ,dominici1 ,signorelli1  
and ,galanti4 ,this question is however 
now set at rest1 as it appears from the 
,antologia di ,roma of #agie1 that the  
register of his baptism was found in    
,sativa 7now ,san ,filippo7 and that he 
was born in that place4 ,it is further  
said1 that he learnt the principles of  
the art from ,francesco ,ribalta of     
,valencia1 a reputed scholar of         
,annibale ,caracci4 ,but the ,history of
 ,neapolitan ,artists1 which is         
suspicious in my eyes as relates to this
 artist1 affirms also1 that whilst yet a
 youth1 or a mere boy1 he studied in    
,naples under ,michelangiolo da         
,caravaggio1 when that master fled from 
,rome for homicide1 and fixing himself  
there about #afjf1 executed many works  
both public and private4#aab ,but       
wherever he might have received         
instruction in his early youth1 it is   

certain that the object of his more     
matured admiration was ,caravaggio4 ,on 
leaving him1 ,ribera visited ,rome1     
,modena1 and ,parma1 and saw the works  
of ,raffaello and ,annibale in the      
former place1 and the works of ,coreggio
 in the two latter cities1 and adopted  
in consequence a more graceful style1 in
 which he persevered only for a short   
time1 and with little success2 as in    
,naples there were others who pursued1  
with superior skill1 the same path4 ,he 
returned therefore to the style of      
,caravaggio1 which for its truth1 force1
 and strong contrast of light and shade1
 was much more calculated to attract the
 general eye4 ,in a short time he was   
appointed painter to the court1 and     
subsequently became the arbiter of its  
taste4  ,his studies rendered him       
superior to ,caravaggio in invention1   
selection1 and design4 ,in emulation of 
him1 he painted at the ,certosini that  
great ,deposition from the ,cross1 which
 alone1 in the opinion of ,giordano1 is 

sufficient to form a great painter1 and 
may compete with the works of the       
brightest luminaries of the art4        
,beautiful beyond his usual style1 and  
almost ,titianesque1 is his ,martyrdom  
of ,s4 ,januarius1 painted in the ,royal
 ,chapel1 and the ,s4 ,jerome at the    
,trinita4 ,he was much attached to the  
representation of the latter saint1 and 
whole lengths and half figures of him   
are found in many collections4 ,in the  
,panfili ,palace in ,rome we find about 
five1 and all differing4 ,nor are his   
other pictures of similar character     
rare1 as anchorets1 prophets1 apostles1 
which exhibit a strong expression of    
bone and muscle1 and a gravity of       
character1 in general copied from       
nature4 ,in the same taste are commonly 
his profane pictures1 where he is fond  
of representing old men and             
philosophers1 as the ,democritus and the
 ,heraclitus1 which ,sig4 ,march4       
,girolamo ,durazzo had in his           
collection1 and which are quite in the  

manner of ,caravaggio4 ,in his selection
 of subjects the most revolting were to 
him the most inviting1 as sanguinary    
executions1 horrid punishments1 and     
lingering torments2 among which is      
celebrated his ,ixion on the wheel1 in  
the palace of ,buon ,ritiro at ,madrid4 
,his works are very numerous1           
particularly in ,italy and ,spain4 ,his 
scholars flourished chiefly at a lower  
period of art1 where they will be       
noticed towards the conclusion of this  
epoch4 ,with them we shall name those   
few who rivalled him successfully in    
figures and half figures2 and we must   
not1 at the same time1 neglect to       
impress on the mind of the reader1 that 
among so many reputed pictures of       
,spagnoletto found in collections1 we   
may rest assured that they are in great 
part not justly entitled to his name1   
and ought to be ascribed to his         
scholars4  ,giambatista ,caracciolo1 an 
imitator1 first of ,francesco ,imparato1
 and afterwards of ,caravaggio1 attained

 a mature age without having signalised 
himself by any work of peculiar merit4  
,but being roused by the fame of        
,annibale1 and the general admiration   
which a picture of that master had      
excited1 he repaired to ,rome2 where by 
persevering study in the ,farnese       
,gallery1 which he carefully copied1 he 
became a correct designer in the        
,caracci style4#aac ,of this talent he  
availed himself to establish his        
reputation on his return to ,naples1 and
 distinguished himself on some occasions
 of competition1 as in the ,madonna at  
,s4 ,anna de' ,lombardi1 in a ,s4 ,carlo
 in the church of ,s4 ,agnello1 and     
,christ bearing his ,cross at the       
,incurabili1 paintings praised by       
connoisseurs as the happiest imitations 
of ,annibale4 ,but his other works1 in  
the breadth and strength of their lights
 and shades1 rather remind us of the    
school of ,caravaggio4 ,he was a        
finished and careful painter4 ,there are
 however some feeble works by him1 which

 ,dominici considers to have been       
negligently painted1 through disgust1   
for individuals who had not given him   
his own price1 or they were perhaps     
executed by ,mercurio d',aversa his     
scholar1 and an inferior artist4  ,the  
three masters whom ,i have just noticed 
in successive order1 were the authors of
 the unceasing persecutions which many  
of the artists who had come to1 or were 
invited to ,naples1 were for several    
years subjected to4 ,bellisario had     
established a supreme dominion1 or      
rather a tyranny1 over the ,neapolitan  
painters1 by calumny and insolence1 as  
well as by his station4 ,he monopolized 
all lucrative commissions to himself and
 recommended1 for the fulfilment of     
others1 one or other of the numerous and
 inferior artists that were dependant on
 him4 ,the ,cav4 ,massimo1 ,santafede1  
and other artists of talent1 if they did
 not defer to him1 were careful not to  
offend him1 as they knew him to be a man
 of a vindictive temper1 treacherous1   

and capable of every violence1 and who  
was known through jealousy to have      
administered poison to ,luigi ,roderigo1
 the most promising and the most amiable
 of his scholars4  ,bellisario1 in order
 to maintain himself in his assumed     
authority1 endeavoured to exclude all   
strangers who painted rather in fresco  
than in oil4 ,annibale arrived there in 
#afji1 and was engaged to ornament the  
churches of ,spirito ,santo and ,gesu   
,nuovo1 for which1 as a specimen of his 
style1 he painted a small picture4 ,the 
,greek and his adherents being required 
to give their opinion on this exquisite 
production1 declared it to be tasteless1
 and decided that the painter of it did 
not possess a talent for large          
compositions4 ,this divine artist in    
consequence took his departure under a  
burning sun for ,rome1 where he soon    
afterwards died4 ,but the work in which 
strangers were the most opposed was the 
chapel of ,s4 ,gennaro1 which a         
committee had assigned to the ,cav4     

d',arpino1 as soon as he should finish  
painting the choir of the ,certosa4     
,bellisario leaguing with ,spagnoletto1 
7like himself a fierce and ungovernable 
man17 and with ,caracciolo1 who aspired 
to this commission1 persecuted ,cesari  
in such a manner1 that before he had    
finished the choir he fled to ,monte    
,cassino1 and from thence returned to   
,rome4 ,the work was then given to      
,guido1 but after a short time two      
unknown persons assaulted the servant of
 that artist1 and at the same time      
desired him to inform his master that he
 must prepare himself for death1 or     
instantly quit ,naples1 with which      
latter mandate ,guido immediately       
complied4 ,gessi1 the scholar of ,guido1
 was not however intimidated by this    
event1 but applied for and obtained the 
honorable commission1 and came to       
,naples with two assistants1 ,gio4      
,batista ,ruggieri and ,lorenzo ,menini4
 ,but these artists were scarcely       
arrived1 when they were treacherously   

invited on board a galley1 which        
immediately weighed anchor and carried  
them off1 to the great dismay of their  
master1 who1 although he made the most  
diligent inquiries both at ,rome and    
,naples1 could never procure any tidings
 of them4  ,gessi also in consequence   
taking his departure1 the committee lost
 all hope of succeeding in their task1  
and were in the act of yielding to the  
reigning cabal1 assigning the fresco    
work to ,corenzio and ,caracciolo1 and  
promising the pictures to ,spagnoletto1 
when suddenly repenting of their        
resolution1 they effaced all that was   
painted of the two frescos1 and         
entrusted the decoration of the chapel  
entirely to ,domenichino4 ,it ought to  
be mentioned to the honor of these      
munificent persons1 that they engaged to
 pay for every entire figure #ajj       
ducats1 for each half figure #ej ducats1
 and for each head #be ducats4 ,they    
took precautions also against any       
interruption to the artist1 threatening 

the viceroy's high displeasure if he    
were in any way molested4 ,but this was 
only matter of derision to the junta4   
,they began immediately to cry him down 
as a cold and insipid painter1 and to   
discredit him with those1 the most      
numerous class in every place1 who see  
only with the eyes of others4 ,they     
harassed him by calumnies1 by anonymous 
letters1 by displacing his pictures1 by 
mixing injurious ingredients with his   
colours1 and by the most insidious      
malice they procured some of his        
pictures to be sent by the viceroy to   
the court of ,madrid2 and these1 when   
little more than sketched1 were taken   
from his studio and carried to the      
court1 where ,spagnoletto ordered them  
to be retouched1 and1 without giving him
 time to finish them1 hurried them to   
their destination4 ,this malicious fraud
 of his rival1 the complaints of the    
committee1 who always met with some     
fresh obstacle to the completion of the 
work1 and the suspicion of some evil    

design1 at last determined ,domenichino 
to depart secretly to ,rome4 ,as soon   
however as the news of his flight       
transpired1 he was recalled1 and fresh  
measures taken for his protection2 when 
he resumed his labours1 and decorated   
the walls and base of the cupola1 and   
made considerable progress in the       
painting of his pictures4  ,but before  
he could finish his task he was         
interrupted by death1 hastened either by
 poison1 or by the many severe vexations
 he had experienced both from his       
relatives and his adversaries1 and the  
weight of which was augmented by the    
arrival of his former enemy ,lanfranco4 
,this artist superseded ,zampieri in the
 painting of the catino of the chapel2  
,spagnoletto1 in one of his oil         
pictures2 ,stanzioni in another2 and    
each of these artists1 excited by       
emulation1 rivalled1 if he did not excel
 ,domenichino4 ,caracciolo was dead4    
,bellisario1 from his great age1 took no
 share in it1 and was soon afterwards   

killed by a fall from a stage1 which he 
had erected for the purpose of          
retouching some of his frescos4 ,nor did
 ,spagnoletto experience a better fate2 
for1 having seduced a young girl1 and   
become insupportable even to himself    
from the general odium which he         
experienced1 he embarked on board a     
ship2 nor is it known whither he fled1  
or how he ended his life1 if we may     
credit the ,neapolitan writers4         
,palomino however states him to have    
died in ,naples in #afef1 aged          
sixty-seven1 though he does not         
contradict the first part of our        
statement4 ,thus these ambitious men1   
who by violence or fraud had influenced 
and abused the generosity and taste of  
so many noble patrons1 and to whose     
treachery and sanguinary vengeance so   
many professors of the art had fallen   
victims1 ultimately reaped the merited  
fruit of their conduct in a violent     
death2 and an impartial posterity1 in   
assigning the palm of merit to          

,domenichino1 inculcates the maxim1 that
 it is a delusive hope to attempt to    
establish fame and fortune on the       
destruction of another's reputation4    
,the many good examples in the          
,neapolitan ,school increased the number
 of artists1 either from the            
instructions of the above mentioned     
masters1 or from an inspection of their 
works2 for there is much truth in the   
observation of ,passeri1 that a painter 
who has an ardent desire of learning1   
receives as much instruction from the   
works of deceased artists as from living
 masters4 ,it was greatly to the honour 
of the ,neapolitan artists1 amidst such 
a variety of new styles1 to have        
selected the best4 ,cesari had no       
followers in ,naples1 if we except      
,luigi ,roderigo1#aad who exchanged the 
school of ,bellisario for his1 but not  
without a degree of mannerism1 although 
he acquired a certain grace and         
judgment1 which his master did not      
possess4 ,he initiated a nephew1        

,gianbernardino1 in the same style2 who1
 from his being an excellent imitator of
 ,cesari1 was employed by the           
,carthusian monks to finish a work which
 that master had left imperfect4  ,thus 
almost all these artists trod in the    
steps of the ,caracci1 and the one that 
approached nearest to them was the ,cav4
 ,massimo ,stanzioni1 considered by some
 the best example of the ,neapolitan    
,school1 of which1 as we have observed1 
he compiled some memoirs4 ,he was a     
scholar of ,caracciolo1 to whom he bore 
some analogy in taste1 but he availed   
himself of the assistance of ,lanfranco1
 whom in one of his ,,ms4 he calls his  
master1 and studied too under ,corenzio1
 who in his painting of frescos yielded 
to few4 ,in portrait he adopted the     
principles of ,santafede1 and attained  
an excellent ,titianesque style4 ,going 
afterwards to ,rome1 and seeing the     
works of ,annibale1 and1 as some assert1
 making acquaintance with ,guido1 he    
became ambitious of uniting the design  

of the first with the colouring of the  
second1 and we are informed by ,galanti1
 that he obtained the appellation of    
,guido ,reni di ,napoli4 ,his talents1  
which were of the first order1 enabled  
him in a short time to compete with the 
best masters4 ,he painted in the        
,certosa a ,dead ,christ1 surrounded by 
the ,maries1 in competition with        
,ribera4 ,this picture having become    
somewhat obscured1 ,ribera persuaded the
 monks to have it washed1 and he        
purposely injured it in such a way with 
a corrosive liquid1 that ,stanzioni     
refused to repair it1 declaring that    
such an instance of malice ought to be  
perpetuated to the public eye4 ,but in  
that church1 which is in fact a museum  
of art1 where every artist1 not to be   
surpassed by his rivals1 seems to have  
surpassed himself1 ,massimo left some   
other excellent works1 and particularly 
a stupendous altarpiece1 of ,s4 ,bruno  
presenting to his brethren the rules of 
their order4 ,his works are not         

unfrequent in the collections in his own
 country1 and are highly esteemed in    
other places4 ,the vaults of the ,gesu  
,nuovo and ,s4 ,paolo entitle him to a  
distinguished place among fresco        
painters4 ,his paintings were highly    
finished1 and he studied perfection     
during his celibacy1 but marrying a     
woman of some rank1 in order to maintain
 her in an expensive style of living1 he
 painted many hasty and inferior        
pictures4 ,it may be said that ,cocchi1 
in his ,ragionamento del ,matrimonio1   
not without good reason took occasion to
 warn all artists of the perils of the  
wedded state4  ,the school of ,massimo  
produced many celebrated scholars1 in   
consequence of his method and high      
reputation1 confirming that ancient     
remark1 which has passed into a proverb1
 primus discendi ardor nobilitas est    
,magistri4 7,the example of the master  
is the greatest incentive to            
improvement74 ,muzio ,rossi passed from 
his school to that of ,guido1 and was   

chosen at the age of eighteen to paint  
in the ,certosa of ,bologna1 in         
competition with the first masters1 and 
maintained his station on a comparison2 
but this very promising artist was      
immaturely cut off1 and his own country 
does not possess any work by him1 as the
 ,tribune of ,s4 ,pietro in ,majella1   
which he painted a little time before   
his death1 was modernized1 and his      
labours thus perished4 ,this is the     
reason that his works in the ,certosa   
just mentioned1 and which are enumerated
 by ,crespi1 are held in great esteem4  
,another man of genius of this school1  
,antonio de ,bellis1 died also at an    
early age2 he painted several subjects  
from the life of ,s4 ,carlo1 in the     
church of that saint1 which were left   
imperfect by his death4 ,his manner     
partakes somewhat of ,guercino1 but is  
in fact founded like that of all the    
scholars of ,massimo1 on the style of   
,guido4  ,francesco di ,rosa1 called    
,pacicco1 was not acquainted with ,guido

 himself1 but under the direction of    
,massimo1 devoted himself to the copying
 of his works4 ,he is one of the few    
artists commemorated by ,paolo de'      
,matteis1 in one of his ,,mss4 which    
admits no artists of inferior merit4 ,he
 declares the style of ,rosa almost     
inimitable1 not only from his correct   
design1 but from the rare beauty of the 
extremities1 and still more from the    
dignity and grace of the countenances4  
,he had in his three nieces the most    
perfect models of beauty1 and he        
possessed a sublimity of sentiment which
 elevated his mind to a high sense of   
excellence4 ,his colouring1 though      
conducted with exquisite sweetness1 had 
a strong body1 and his pictures preserve
 a clear and fresh tone4 ,these are     
frequently to be found in the houses of 
the nobility1 as he lived long4 ,he     
painted some beautiful altarpieces1 as  
,s4 ,tommaso d',aquino at the ,sanita1  
the ,baptism of ,s4 ,candida at ,s4     
,pietro d',aram1 and other pieces4      

,this artist had a niece of the name of 
,aniella di ,rosa1 who may be called the
 ,sirani of the ,neapolitan ,school1    
from her talents1 beauty1 and the manner
 of her death1 the fair ,bolognese being
 inhumanly poisoned by some envious     
artists1 and ,aniella murdered by a     
jealous husband4 ,this husband was      
,agostino ,beltrano1 her fellow scholar 
in the school of ,massimo1 where he     
became a good fresco painter1 and a     
colourist in oil of no common merit1 as 
is proved by many cabinet pictures and  
some altarpieces4 ,his wife also painted
 in the same style1 and was the         
companion of his labours1 and they      
jointly prepared many pictures which    
their master afterwards finished in such
 a manner that they were sold as his    
own4 ,some1 however1 pass under her own 
name1 and are highly extolled1 as the   
,birth and ,death of the ,virgin1 at the
 ,pieta1 not however without suspicion  
that ,massimo had a considerable share  
in that picture1 as ,guido had in       

several painted by ,gentileschi4 ,but at
 all events1 her original designs prove 
her knowledge of art1 and her           
contemporaries1 both painters and       
writers1 do not fail to extol her as an 
excellent artist1 and as such ,paolo de'
 ,matteis1 has admitted her name in his 
catalogue4  ,three young men of ,orta   
became also celebrated scholars in this 
academy1 ,paol ,domenico ,finoglia1     
,giacinto de' ,popoli1 and ,giuseppe    
,marullo4 ,by the first there remains at
 the ,certosa at ,naples1 the vault of  
the chapel of ,s4 ,gennaro1 and various 
pictures in the chapter house4 ,he had a
 beautiful expression1 fertility1       
correctness1 a good arrangement of      
parts1 and a happy general effect4 ,the 
second painted in many churches1 and is 
admired more for his style of           
composition1 than for his figures4 ,the 
third approached so near to his master  
in manner1 that artists have sometimes  
ascribed his works to ,massimo2 and in  
truth he left some beautiful productions

 at ,s4 ,severino1 and other churches4  
,he had afterwards a dry style of       
colouring1 particularly in his contours1
 which on that account became crude and 
hard1 and he gradually lost the public  
favour4 ,his example may serve as a     
warning to every one to estimate his own
 powers correctly1 and not to affect    
genius when he does not possess it4     
,another scholar who obtained a great   
name1 was ,andrea ,malinconico1 of      
,naples4 ,there do not exist any frescos
 by him1 but he left many works in oil1 
particularly in the church1 de'         
,miracoli1 where he painted almost all  
the pictures himself4 ,the ,evangelists1
 and the ,doctors of the church1        
subjects with which he ornamented the   
pilasters1 are the most beautiful       
pictures1 says the encomiast1 of this   
master2 as the attitudes are noble1 the 
conception original1 and the whole      
painted with the spirit of a great      
artist1 and with an astonishing         
freshness of colour4 ,there are other   

fine works by him1 but several are      
feeble and spiritless1 which gave a     
connoisseur occasion to remark that they
 were in unison with the name of the    
painter4  ,but none of the preceding    
artists were so much favoured by nature 
as ,bernardo ,cavallino1 who at first   
created a jealous feeling in ,massimo   
himself4 ,finding afterwards that his   
talent lay more in small figures than   
large1 he pursued that department1 and  
became very celebrated in his school1   
beyond which he is not so well known as 
he deserves to be4 ,in the galleries of 
the ,neapolitan nobility are to be seen 
by him1 on canvass and copper1 subjects 
both sacred and profane1 composed with  
great judgment1 and with figures in the 
style of ,poussin1 full of spirit and   
expression1 and accompanied by a native 
grace1 and a simplicity peculiarly their
 own4 ,in his colouring1 besides his    
master and ,gentileschi1 who were both  
followers of ,guido1 he imitated        
,rubens4 ,he possessed every quality    

essential to an accomplished artist1 as 
even the most extreme poverty could not 
induce him to hurry his works1 which he 
was accustomed frequently to retouch    
before he could entirely satisfy        
himself4 ,life was alone wanting to him1
 which he unfortunately shortened by his
 irregularities4#aae  ,andrea ,vaccaro  
was a contemporary and rival of         
,massimo1 but at the same time his      
admirer and friend1 a man of great      
imitative powers4 ,he at first followed 
,caravaggio1 and in that style his      
pictures are frequently found in        
,naples1 and some cabinet pictures1     
which have even imposed upon            
connoisseurs1 who have bought them for  
originals of that master4 ,after some   
time ,massimo won him over to the style 
of ,guido1 in which he succeeded in an  
admirable manner1 though he did not     
equal his friend4 ,in this style are    
executed his most celebrated works at   
the ,certosa1 at the ,teatini and       
,rosario1 without enumerating those in  

collections1 where he is frequently     
found4 ,on the death of ,massimo1 he    
assumed the first rank among his        
countrymen4 ,giordano alone opposed him 
in his early years1 when on his return  
from ,rome he brought with him a new    
style from the school of ,cortona1 and  
both artists were competitors for the   
larger picture of ,s4 ,maria del        
,pianto4 ,that church had been lately   
erected in gratitude to the ,virgin1 who
 had liberated the city from pestilence1
 and this was the subject of the        
picture4 ,each artist made a design1 and
 ,pietro da ,cortona being chosen       
umpire1 decided against his own scholar 
in favour of ,vaccaro1 observing1 that  
as he was first in years1 so he was     
first in design and natural expression4 
,he had not studied frescos in his      
youth1 but began them when he was       
advanced in life1 in order that he might
 not yield the palm to ,giordano1 but by
 the loss of his fame1 he verified the  
proverb1 that ad omnem disciplinam      

tardior est senectus4  ,of his scholars1
 ,giacomo ,farelli was the most         
successful1 who by his vigorous talents1
 and by the assistance of his master1   
painted a picture in competition with   
,giordano4 ,the church of ,s4 ,brigida  
has a beautiful picture of that saint by
 ,farelli1 and its author is mentioned  
by ,matteis as a painter of singular    
merit4 ,he declined however1 in public  
esteem1 from wishing at an advanced age 
to change his style1 when he painted the
 sacristy of the ,tesoro4 ,he was on    
that occasion anxious to imitate        
,domenichino1 but he did not succeed in 
his attempt1 and indeed he never        
afterwards executed any work of merit4  
,nor did ,domenichino fail to have among
 the painters of ,naples1 or of that    
state1 many deserving followers4#aaf    
,cozza1 a ,calabrian1 who lived in      
,rome1 ,i included in that school1 as   
also ,antonio ,ricci1 called il         
,barbalunga1 who was of ,messina1 and   
well known in ,rome4 ,i may add1 that he

 returned to ,messina1 and ornamented   
that city with many works2 as at ,s4    
,gregorio1 the saint writing2 the       
,ascension at ,s4 ,michele2 two ,pietas 
of different designs at ,s4 ,niccolo and
 the ,spedale4 ,he is considered as one 
of the best painters of ,sicily1 where  
good artists have abounded more than is 
generally imagined4 ,he formed a school 
there and left several scholars4#aag  ,i
 ought after him to mention another     
,sicilian1 ,pietro del ,po da ,palermo1 
a good engraver1 and better known in    
,rome in that capacity1 than as a       
painter4 ,there is a ,s4 ,leone by him  
at the church of the ,madonna di        
,costantinopoli2 an altarpiece which    
however does not do him so much honour  
as the pictures which he painted for    
collections1 some of which are in       
,spain2 and particularly some small     
pictures which he executed in the manner
 of miniatures with exquisite taste4    
,two of this kind ,i saw in ,piacenza1  
at the ,sig4 della ,missione1 a         

,decollation of ,s4 ,john1 and a        
,crucifixion of ,s4 ,peter in his best  
manner1 and with his name4 ,this artist1
 after working in ,rome1 settled in     
,naples with a son of the name of       
,giacomo1 who had been instructed in the
 art by ,poussin and himself4 ,he also  
taught a daughter of the name of        
,teresa1 who was skilled in miniatures4 
,the two ,pos were well acquainted with 
the principles of the art1 and had      
taught in the academy of ,rome4 ,but the
 father painted little in ,naples2 the  
son found constant employ in ornamenting
 the halls and galleries of the nobility
 with frescos4 ,his intimacy with       
letters aided the poetic taste with     
which his pictures were conceived1 and  
his varied and enchanting colours       
fascinated the eye of every spectator4  
,he was singular and original in his    
lights1 and their various gradations and
 reflections4 ,in his figures and       
drapery he became1 as is generally the  
case with the machinists1 mannered and  

less correct2 nor has he any claim as an
 imitator of ,domenichino1 except from  
the early instructions of his father4   
,in ,rome there are two paintings by    
him1 one at ,s4 ,angiolo in ,pescheria1 
the other at ,s4 ,marta2 and there are  
some in ,naples2 but his genius chiefly 
shines in the frescos of the gallery of 
the ,marchese ,genzano1 and in the house
 of the ,duke of ,matalona1 and still   
more in seven apartments of the ,prince 
of ,avellino4  ,a more finished imitator
 of ,zampieri than the two ,pos was a   
scholar of his1 of the name of          
,francesco di ,maria1 the author of few 
works1 as he willingly suffered those   
reproaches of slowness and irresolution 
which accompanied the unfortunate       
,domenichino to the grave4 ,but his     
works1 though few in number1 are        
excellent1 particularly the history of  
,s4 ,lorenzo at the ,conventuals in     
,naples1 and also many of his portraits4
 ,one of the latter exhibited in ,rome1 
together with one by ,vandyke1 and one  

by ,rubens1 was preferred by ,poussin1  
,cortona1 and ,sacchi1 to those of the  
,flemish artists4 ,others of his        
pictures are bought at great prices1 and
 are considered by the less experienced 
as the works of ,domenichino4 ,he       
resembled that master indeed in every   
quality1 except grace1 which nature had 
denied him4 ,hence ,giordano said of his
 figures1 that when consumption had     
reduced the muscles and bones1 they     
might be correct and beautiful1 but     
still insipid4 ,in return he did not    
spare ,giordano2 declaring his school   
heretical1 and that he could not endure 
works which owe all their merit to      
ostentatious colour1 and a vague design1
 as ,matteis1 who is partial to the     
memory of ,francesco1 attests4          
,lanfranco in ,naples had contributed1  
as ,i have observed1 to the instruction 
of ,massimo1 but that artist renounced  
the style of ,lanfranco for that of     
,guido4 ,the two ,pos1 however1 were    
more attached to him1 and imitated his  

colouring4 ,pascoli doubts whether he   
should not assign ,preti to him1 an     
error which we shall shortly confute4   
,dominici also includes among his       
countrymen ,brandi1 a scholar of        
,lanfranco2 collecting from one of his  
letters that he acknowledged ,gaeta for 
his native place4 ,his family was       
probably from thence1 but he himself was
 born in ,poli4#aah ,i included him     
among the painters of ,rome1 where he   
studied and painted2 and ,i mentioned at
 the same time the ,cav4 ,giambatista   
,benaschi1 as he is called by some1 or  
,beinaschi by others4 ,this variation   
gave occasion to suppose1 that there    
were two painters of that name2 in the  
same way there may be a third1 as the   
name is sometimes written ,bernaschi4   
,some contradictions in his biographers1
 which it is not worth our while to     
enter on1 have contributed to perpetuate
 this error4 ,i shall only observe1 that
 he was not born until #afcf1 and was   
not a scholar of ,lanfranco1 but of ,m4 

,spirito1 in ,piedmont1 and of ,pietro  
del ,po1 in ,rome4 ,thus ,orlandi writes
 of him1 who had a better opportunity   
than ,pascoli1 or ,dominici1 of         
procuring information from ,angela1 the 
daughter of the ,cavaliere1 who lived in
 ,rome in his time1 and painted         
portraits in an agreeable style4 ,he is 
considered both by ,pascoli and         
,orlandi1 as a painter of ,rome1 but he 
left very few works there1 as appears   
from ,titi4 ,naples was the theatre of  
his talents1 and there he had numerous  
scholars1 and painted many cupolas1     
ceilings1 and other considerable works1 
and with such a variety of design1 that 
there is not an instance of an attitude 
being repeated by him4 ,nor was he      
deficient in grace1 either of form or   
colour1 as long as he trod in the steps 
of ,lanfranco1 as he did in the ,s4 ,m4 
di ,loreto1 and in other churches1 but  
aspiring in some others to a more       
vigorous style1 he became dark and      
heavy4 ,he excelled in the knowledge of 

the sotto in su1 and displayed          
extraordinary skill in his              
foreshortenings4 ,the painters in       
,naples have often compared among       
themselves1 says ,dominici1 the two     
pictures of ,s4 ,michael1 the one by    
,lanfranco1 and the other by ,benaschi1 
in the church of the ,holy ,apostles1   
without being able to decide to which   
master they ought to assign the palm of 
merit4  ,guercino himself was never in  
,naples1 but the ,cav4 ,mattia ,preti1  
commonly called il ,cav4 ,calabrese1    
allured by the novelty of his style1    
repaired to ,cento1 to avail himself of 
his instructions4 ,this information we  
have from ,domenici1 who had heard him  
say1 that he was in fact the scholar of 
,guercino1 but that he had1 moreover1   
studied the works of all the principal  
masters2 and he had indeed visited      
almost every country1 and seen and      
studied the best productions of every   
school1 both in and beyond ,italy4      
,hence in his painting he may be        

compared to a man whose travels have    
been extensive1 and who never hears a   
subject started to which he does not add
 something new1 and indeed the drapery  
and ornaments1 and costume of ,preti1   
are highly varied and original4 ,he     
confined himself to design1 and did not 
attempt colours until his twenty-sixth  
year4 ,in design he was more vigorous   
and robust than delicate1 and sometimes 
inclines to heaviness4 ,in his colouring
 he was not attractive1 but had a strong
 impasto1 a decided chiaroscuro1 and a  
prevailing ashy tone1 that was well     
adapted for his mournful and tragical   
subjects2 for1 following the bent of his
 genius1 he devoted his pencil to the   
representation of martyrdoms1           
slaughters1 pestilence1 and the pangs of
 a guilty conscience4 ,it was his       
custom1 says ,pascoli1 at least in his  
large works1 to paint at the first      
conception1 and true to nature1 and he  
did not take much pains afterwards in   
correction1 or in the just expression of

 the passions4  ,he executed some large 
works in fresco in ,modena1 ,naples1 and
 ,malta4 ,he had not equal success at   
,s4 ,andrea della ,valle1 in ,rome1     
where he painted three histories of that
 saint1 under the tribune of            
,domenichino2 a proximity from which his
 work suffers considerably1 and the     
figures appear out of proportion1 and   
not well adapted to the situation4 ,his 
oil pictures in ,italy are innumerable1 
as he lived to an advanced age2 he had a
 great rapidity of hand1 and was        
accustomed1 wherever he went1 to leave  
some memorial of his talents1 sometimes 
in the churches1 but chiefly in private 
collections1 and they are1 in general1  
figures of half size1 like those of     
,guercino and ,caravaggio4 ,naples1     
,rome1 and ,florence1 all abound with   
his works1 but above all ,bologna4 ,in  
the ,marulli palace is his ,belisarius  
asking alms2 in that of ,ratti1 a ,s4   
,penitente1 chained in a suffering      
position2 in the ,malvezzi palace1 ,sir 

,thomas ,more in prison2 in that of the 
,ercolani1 a ,pestilence1 besides many  
more in the same1 and other galleries of
 the nobility4 ,amongst his altarpieces1
 one of the most finished is in the     
,duomo of ,siena1 ,s4 ,bernardino       
preaching to and converting the people4 
,in ,naples1 besides the soffitto of the
 church de' ,celestini1 he painted not a
 little2 less however than both he      
himself and the professors of a better  
taste desired1 and in conjunction with  
whom he resisted the innovations of     
,giordano4 ,but that artist had an      
unprecedented popularity1 and in spite  
of his faults triumphed over all his    
contemporaries1 and ,preti was himself  
obliged to relinquish the contest1 and  
close his days in ,malta1 of which      
order1 in honour of his great merit as a
 painter1 he was made a commendatore4   
,he left some imitators in ,naples1 one 
of whom was ,domenico ,viola2 but       
neither he1 nor his other scholars      
passed the bounds of mediocrity4 ,the   

same may be said of ,gregorio ,preti1   
his brother1 of whom there is a fresco  
at ,s4 ,carlo de' ,catinari1 in ,rome4  
,after this enumeration of foreign      
artists1 we must now return to the      
national school1 and notice some        
disciples of ,ribera1 ,it often happens 
that those masters who are mannerists1  
form scholars who confine their powers  
to the sole imitation of their master1  
and thus produce pictures that deceive  
the most experienced1 and which in other
 countries are esteemed the works of the
 master himself4 ,this was the case with
 ,giovanni ,do1 and ,bartolommeo        
,passante1 in regard to ,spagnoletto1   
although the first in progress of time  
softened his manner1 and tamed his flesh
 tints2 while the second added only to  
the usual style of ,spagnoletto1 a more 
finished design and expression4         
,francesco ,fracanzani possessed a      
peculiar grandeur of style1 and a noble 
tone of colour2 and the death of ,s4    
,joseph1 which he painted at the        

,pellegrini1 is one of the best pictures
 of the city4 ,afterwards however his   
necessities compelled him to paint in a 
coarse manner in order to gratify the   
vulgar1 and he fell into bad habits of  
life1 and was finally1 for some crime or
 other1 condemned to die by the hands of
 the hangman1 a sentence1 which for the 
honour of the art1 was compounded for   
his secret death in prison by           
poison4#aai  ,aniello ,falcone and      
,salvator ,rosa are the great boast of  
this school2 although ,rosa frequented  
it but a short time and improved himself
 afterwards by the instructions of      
,falcone4 ,aniello possessed an         
extraordinary talent in battle pieces4  
,he painted them both in large and small
 size1 taking the subjects from the     
sacred writings1 from profane history1  
or poetry2 his dresses1 arms1 and       
features1 were as varied as the         
combatants he represented4 ,animated in 
his expression1 select and natural in   
the figures and action of his horses1   

and intelligent in military affairs1    
though he had never been in the army1   
nor seen a battle2 he drew correctly1   
consulted truth in every thing1 coloured
 with care1 and had a good impasto4     
,that he taught ,borgognone as some have
 supposed1 it is difficult to believe4  
,baldinucci1 who had from that artist   
himself the information which he        
published respecting him1 does not say a
 word of it4 ,it is however true1 that  
they were acquainted and mutually       
esteemed each other2 and if the battle  
pieces of ,borgognone have found a place
 in the collections of the great1 and   
have been bought at great prices1 those 
of ,aniello have had the like good      
fortune4 ,he had many scholars1 and by  
means of them and some other painters   
his friends1 he was enabled to revenge  
the death of a relation and also of a   
scholar1 whom the ,spanish authorities  
had put to death4 ,on the revolution of 
,maso ,aniello1 he and his partisans    
formed themselves into a company called 

the ,band of ,death2 and1 protected by  
,spagnoletto1 who excused them to the   
,viceroy1 committed the most revolting  
and sanguinary excesses2 until the state
 was composed1 and the people reduced to
 submission1 when this murderous band   
fled1 to escape the hands of justice4   
,falcone withdrew to ,france for some   
years1 and left many works there2 the   
remainder fled to ,rome1 or to other    
places of safety4  ,the most celebrated 
of the immediate scholars of ,falcone   
was ,salvator ,rosa1 whom we have       
elsewhere noticed1 who began his career 
by painting battles1 and became a most  
distinguished landscape painter2 and    
,domenico ,gargiuoli1 called ,micco     
,spadaro1 a landscape painter of merit1 
and a good painter in large             
compositions1 as he appears at the      
,certosa1 and in other churches4 ,he had
 an extraordinary talent too in painting
 small figures1 and might with propriety
 be called the ,cerquozzi of his school4
 ,hence ,viviano ,codagora1 who was an  

eminent landscape painter1 after        
becoming acquainted with him1 would not 
permit any other artist to ornament his 
works with figures1 as he introduced    
them with infinite grace2 and this      
circumstance probably led to their      
intimate friendship1 and to risking     
their lives in the same cause as we have
 before related4 ,the ,neapolitan       
galleries possess many of their         
pictures2 and some have specimens of    
capricci1 or humourous pictures1 all by 
the hand of ,spadaro4 ,he indeed had no 
equal in depicting the manners and      
dresses of the common people of his     
country1 particularly in large          
assemblies4 ,in some of his works of    
this kind1 the number of his figures    
have exceeded a thousand4 ,he was       
assisted by the etchings of ,stefano    
della ,bella1 and ,callot1 both of whom 
were celebrated for placing a great body
 of people in a little space2 but it was
 in the true spirit of imitation1 and   
without a trace of servility2 on the    

contrary1 he improved the principal     
figures 7where bad contours are with    
difficulty concealed7 and corrected the 
attitudes1 and carefully retouched them4
  ,carlo ,coppola is sometimes mistaken 
for ,falcone from their similarity of   
manner3 except that a certain fulness   
with which he paints his horses in his  
battle pieces1 may serve as a           
distinction4 ,andrea di ,lione resembles
 him1 but in his battles we easily trace
 his imitation4 ,marzio ,masturzo       
studied some time with ,falcone2 but    
longer with ,rosa in ,rome1 and was his 
best scholar2 but he is sometimes rather
 crude in his figures1 and rocks1 and   
trunks of trees1 and less bright in his 
skies4 ,his flesh tints are not pallid1 
like those of ,rosa1 as in these he     
followed ,ribera4  ,i shall close this  
catalogue1 passing over some less       
celebrated artists1 with ,paolo         
,porpora1 who from battles1 were        
directed by the impulse of his genius to
 the painting of animals1 but succeeded 

best in fish1 and shells1 and other     
marine productions1 being less skilled  
in flowers and fruit4 ,but about his    
time ,abraham ,brughel painted these    
subjects in an exquisite style in       
,naples1 where he settled and ended his 
days4 ,from this period we may date a   
favourable epoch for certain pictures of
 minor rank1 which still add to the     
decoration of galleries and contribute  
to the fame of their authors4 ,after the
 two first we may mention ,giambatista  
,ruoppoli and ,onofrio ,loth1 scholars  
of ,porpora1 excelling him in fruits1   
and particularly in grapes1 and little  
inferior in other respects4  ,giuseppe  
,cav4 ,recco1 from the same school1 is  
one of the most celebrated painters in  
,italy1 of hunting1 fowling1 and fishing
 pieces1 and similar subjects4 ,one of  
his best pictures which ,i have seen1 is
 in the house of the ,conti ,simonetti  
d',osimo1 on which the author has       
inscribed his name4 ,he was admired in  
the collections also for his beautiful  

colouring1 which he acquired in         
,lombardy2 and he resided for many years
 at the court of ,spain1 whilst         
,giordano was there4 ,there was also a  
scholar of ,ruoppoli1 called ,andrea    
,belvedere1 excelling in the same line1 
but most in flowers and fruit4 ,there   
arose a dispute between him and         
,giordano1 ,andrea asserting that the   
historical painters cannot venture with 
success on these smaller subjects2      
,giordano1 on the contrary1 maintaining 
that the greater included the less2     
which words he verified by painting a   
picture of birds1 flowers1 and fruit1 so
 beautifully grouped that it robbed     
,andrea of his fame1 and obliged him to 
take refuge among men of letters2 and   
indeed in the literary circle he held a 
respectable station4  ,nevertheless his 
pictures did not fall in esteem or      
value1 and his posterity after him still
 continue to embellish the cabinets of  
the great4 ,his most celebrated scholar 
was ,tommaso ,realfonso1 who to the     

talents of his master1 added that of the
 natural representation of every        
description of utensils1 and all kinds  
of confectionery and eatables4 ,he had  
also excellent imitators in ,giacomo    
,nani1 and ,baldassar ,caro1 employed to
 ornament the royal court of ,king      
,charles of ,bourbon2 and ,gaspar       
,lopez1 the scholar first of ,dubbisson1
 afterwards of ,belvidere4 ,lopez became
 a good landscape painter1 was employed 
by the ,grand ,duke of ,tuscany1 and    
resided a considerable time in ,venice4 
,according to ,dominici he died in      
,florence1 and the author of the        
,algarotti ,catalogue in ,venice1       
informs us1 that that event took place  
about the year #agcb4 ,we may here close
 the series of minor painters of the    
school of ,aniello1#abj and may now     
proceed to the succeeding epoch1        
commencing with the historical painters4
  ,footnote #aaa3 ,in tom4 iii4 of the  
,lett4 ,pittoriche1 is a letter of ,p4  
,sebastiano ,resta dell',oratorio1      

wherein he says1 it is probable that the
 ,cav4 d',arpino imitated him in his    
youth3 which cannot be admitted1 as it  
is known that ,cesari formed himself in 
,rome1 and resided only in ,naples when 
an adult4 ,as to the resemblance between
 them1 that applies as well to other    
artists4 ,in the same letter ,corenzio  
is called the ,cav4 ,bellisario1 and    
some anecdotes are related of him1 and  
among others1 that he lived to the age  
of a hundred and twenty4 ,this is one of
 those tales to which this writer so    
easily gives credit4 ,in proof of this  
we may refer to ,tiraboschi1 in the life
 of ,antonio ,allegri1 where similar    
instances of his credulity are noticed4 
,footnote #aab3 ,caravaggio had another 
scholar of eminence in ,mario ,minniti  
of ,syracuse1 who however passed a      
considerable part of his life in        
,messina4 ,having painted for some time 
in ,rome with ,caravaggio1 he imbibed   
his taste2 and though he did not equal  
him in the vigour of style1 he displayed

 more grace and amenity4 ,there are     
works remaining of him in all parts of  
,sicily1 as he painted much1 and        
retained in his service twelve scholars1
 whose works he retouched1 and sold as  
his own4 ,hence his pictures do not     
altogether correspond with his          
reputation4 ,messina possesses several1 
as the ,dead of ,nain at the ,church of 
the ,capucins1 and the ,virgin1 the     
tutelar saint1 at the ,virginelle4      
,footnote #aac3 ,among the scholars of  
,annibale1 ,i find ,carlo ,sellitto     
mentioned1 to whom ,guarienti assigns a 
place in the ,abbeccadario1 and ,i      
further find him commended in some ,,ms4
 notices of eminent artists of the      
school4  ,footnote #aad3 ,there is a    
different account of him in the ,memorie
 de' ,pittori ,messinesi1 where it is   
said that his true family name was      
,rodriguez4 ,it is there said that he   
studied in ,rome1 and went from thence  
to work in ,naples1 in the ,guida of    
which city he is frequently mentioned4  

,it is added that1 from his ,roman      
style1 he was called by his brother     
,alonso1 the slave of the antique2 and  
that he returned the compliment by      
calling his brother1 who was instructed 
in ,venice1 the slave of nature4 ,but   
,alonso1 who spent his life in ,sicily1 
surpassed his brother in reputation2 and
 it is a rare commendation that he      
painted much and well4 ,he particularly 
shone in the ,probatica in ,s4 ,cosmo   
de' ,medici1 and the picture of two     
,founders of ,messina in the senatorial 
palace1 a work rewarded with a thousand 
scudi4 ,his fame declined1 and he began 
to fail in commissions on the arrival of
 ,barbalunga4 ,but he did not1 on that  
account1 refuse him his esteem1 as he   
was accustomed to call him the ,caracci 
of ,sicily4  ,footnote #aae3 ,i find in 
,messina1 ,gio4 ,fulco1 who imbibed the 
principles of the art under the ,cav4   
,massimo2 a correct designer1 a lively  
and graceful painter1 particularly of   
children1 excepting a somewhat too great

 fleshiness1 and a trace of mannerism4  
,many of his works in his native country
 were destroyed by an earthquake4 ,some 
remain at the ,nunziata de' ,teatini1   
where in the chapel of the ,crucifix are
 his frescos1 and a picture by him in   
oil of the ,nativity of the ,virgin4    
,footnote #aaf3 ,gio4 ,batista ,durand1 
of ,burgundy1 was established in        
,messina4 ,he was the scholar of        
,domenichino1 and was always attached to
 his manner4 ,of his larger works we    
find only a ,s4 ,cecilia in the convent 
of that saint1 as he was generally      
occupied in painting portraits4 ,he had 
a daughter called ,flavia1 the wife of  
,filippo ,giannetti1 skilled in         
portraits1 and an excellent copyist4    
,footnote #aag3 ,domenico ,maroli1      
,onofrio ,gabriello1 and ,agostino      
,scilla1 were the three painters of     
,messina who did him the most honour1   
although from being engaged in the      
revolutions of #afgd and #afgf1 the     
first lost his life1 and the other two  

were long exiles from their country4    
,maroli did not adopt the style of      
,barbalunga exclusively1 but having made
 a voyage to ,venice1 and there studied 
the works of the best ,venetian artists1
 and particularly of ,paolo1 he returned
 with many of the excellences of that   
great master1 brilliant flesh tints1 a  
beautiful air in his heads1 and a fine  
style in his drawings of women1 a talent
 which he abused as much or more than   
,liberi4 ,to this moral vice he added a 
professional one1 which was painting    
sometimes on the imprimiture1 and       
generally with little colour2 whence his
 works1 which were extolled and sought  
after when new1 became1 when old1       
neglected1 like those dark paintings of 
the ,venetian ,school1 which we have    
mentioned4 ,messina has many of them3   
the ,martyrdom of ,s4 ,placido at the   
,suore di ,s4 ,paolo1 the ,nativity of  
the ,virgin in the church della ,grotta1
 and some others4 ,in ,venice there must
 also be remaining in private           

collections1 some of his paintings of   
animals in the style of ,bassano1 as we 
have before mentioned4 ,onofrio         
,gabriello was for six years with       
,barbalunga1 and for some further time  
with ,poussin1 and then with ,cortona in
 ,rome1 until passing another nine years
 in ,venice with ,maroli1 he brought    
back with him to ,messina that master's 
vicious method of colour1 but not his   
style4 ,in the latter he aimed at       
originality1 exhibiting much lightness1 
grace1 and fancy1 in the accessory      
parts1 and in ribbons1 jewels1 and lace1
 in which he particularly excelled4 ,he 
left many pictures in ,messina1 in the  
church of ,s4 ,francesco di ,paola3 many
 also in ,padua1 in the ,guida of which 
city various pictures by him are        
enumerated1 without mentioning his      
cabinet pictures and portraits in       
private collections4 ,i have seen       
several in possession of the noble and  
learned ,sig4 ,co4 ,antonio ,maria      
,borromeo2 amongst which is a family    

piece with a portrait of the painter4   
,agostino ,scilla1 or ,silla1 as        
,orlandi calls him1 opened a school in  
,messina1 which was much frequented     
while it lasted1 but the scholars were  
dispersed by the storm of revolutions1  
in which they took a part1 not without  
great injury both to the art and        
themselves4 ,he possessed an elegant    
genius for painting1 which he           
cultivated1 and added to it a taste for 
poetry1 natural history1 and            
antiquities4 ,his genius raised such    
high expectations in ,barbalunga1 that  
he procured a pension for him from the  
senate1 in order to enable him to reside
 in ,rome under ,andrea ,sacchi4 ,after 
four years he returned to ,messina1     
highly accomplished1 from his study of  
the antique and of ,raffaello1 and if   
his colouring was at first somewhat dry1
 he soon rendered it rich and agreeable4
 ,he excelled in figures and in heads1  
particularly of old men1 and had a      
peculiar talent in landscapes1 animals1 

and fruit4 ,for this ,i may refer to the
 ,roman ,school1 where he is mentioned  
with his brother and son4 ,there are few
 of his works in ,rome1 but many in     
,messina4 ,his frescos are in ,s4       
,domenico1 and in the ,nunziata de'     
,teatini1 and many paintings in other   
places1 among which is ,s4 ,ilarione    
dying1 in the church of ,s4 ,ursula1    
than which work there is no greater     
favourite with the public4  ,of the     
scholars of ,scilla1 who remained in    
,messina after the departure of their   
master1 there is not much to be said4   
,f4 ,emanuel da ,como we have mentioned 
elsewhere4 ,giuseppe ,balestriero1 an   
excellent copyist of the works of       
,agostino1 and a good designer1 after   
painting some pictures1 became a priest1
 and took leave of the art4 ,antonio la 
,falce was a good painter in distemper  
and in oil4 ,he afterwards attempted    
frescos1 and painted tavern scenes4     
,placido ,celi1 a man of singular       
talents1 but bad habits1 followed his   

master to ,rome4 ,he there changed his  
style for that of ,maratta and ,morandi2
 after whose works he painted in ,rome1 
in the churches dell',anima and         
,traspontina1 and in several churches of
 his own country1 but he never passed   
the bounds of mediocrity4 ,a higher     
reputation belongs to ,antonio ,madiona1
 of ,syracuse1 who although he separated
 himself from ,scilla in ,rome1 to      
follow il ,preti to ,malta1 was         
nevertheless an industrious artist1 and 
painted both there and in ,sicily1 in a 
strong and vigorous style1 which        
partakes of both his masters4 ,and this 
may suffice for the members of this     
unfortunate school4  ,to complete the   
list of the chief scholars of           
,barbalunga1 ,i may mention here        
,bartolommeo ,tricomi1 who confined     
himself to portrait painting1 and in    
this hereditary gift of the school of   
,domenichino1 he greatly excelled4 ,he  
had notwithstanding in ,andrea ,suppa a 
scholar who surpassed him4 ,the latter  

learned also of ,casembrot1 as far as   
regards landscape and architecture2 but 
he formed himself principally on the    
antique2 and by constantly studying     
,raffaello and the ,caracci1 and other  
select masters1 or their drawings1 he   
acquired a most enchanting style of     
countenance1 and indeed of every part of
 his composition4 ,his works are as fine
 as miniature1 and are perhaps too      
highly finished4 ,his subjects1 in      
unison with his genius1 are of a pensive
 and melancholy cast1 and are always    
treated in a pathetic manner4 ,he       
excelled in frescos1 and painted the    
vaults in the ,suore in ,s4 ,paolo2 he  
excelled equally in oils1 as may be seen
 from the picture of ,s4 ,scolastica1   
there also4 ,some of his works were lost
 by earthquakes4 ,his style was happily 
imitated by ,antonio ,bova1 his scholar1
 and we may compare their works together
 at the ,nunziata de' ,teatini4 ,he     
painted much in oil1 as well as fresco1 
and from his placid and tranquil        

disposition1 took no part in the        
revolutions of ,messina1 but remained at
 home1 where he closed his days in      
peace1 and with him expired the school  
of ,barbalunga4  ,footnote #aah3        
,pascoli1 ,vite1 tom4 i4 p4 #abi4       
,footnote #aai3 ,i may insert at the    
close of this epoch the names of some   
,sicilian painters1 who flourished in   
it1 or at the beginning of the          
following1 instructed by various        
masters4 ,they were furnished to me by  
the ,sig4 ,ansaldo1 whose attentions ,i 
have before acknowledged1 and were      
transmitted to him by a painter of that 
island4 ,filippo ,tancredi was of       
,messina1 but is not assigned to any of 
the before mentioned masters1 as he     
studied in ,naples and in ,rome under   
,maratta4 ,he was a skilful artist1     
composed and coloured well2 was         
celebrated in ,messina1 and also in     
,palermo1 where he lived many years1 and
 where the vault of the church de'      
,teatini1 and that also of the ,gesu    

,nuovo were painted by him4 ,the ,cav4  
,pietro ,novelli 7or ,morelli1 which    
latter however ,i regard as an error7   
called ,monrealese from his native      
place1 also enjoyed the reputation of a 
good painter1 and an able architect4 ,he
 there left many works in oil and       
fresco1 and the great picture of the    
,marriage at ,cana1 in the refectory of 
the ,p4 ,p4 ,benedettini1 is            
particularly commended4 ,he resided for 
a long time in ,palermo1 and the        
greatest work he there executed1 was in 
the church of the ,conventuals1 the     
vault of which was divided into         
compartments1 and wholly painted by     
himself4 ,guarienti eulogises him for   
his style1 as diligent in copying       
nature1 correct in design1 and graceful 
in his colouring1 with some imitation of
 ,spagnoletto2 and the people of        
,palermo confer daily honour on him1    
since1 whenever they meet with a        
foreigner of taste1 they point out to   
him little else in the city1 than the   

works of this great man4 ,pietro        
,aquila1 of ,marzalla1 a distinguished  
artist1 who engraved the ,farnese       
gallery1 left no works to my knowledge  
in ,rome2 in ,palermo there remain of   
him two pictures in the church della    
,pieta1 representing the parable of the 
,prodigal ,son4 ,lo ,zoppo di ,gangi is 
known at ,castro ,giovanni1 where in the
 ,duomo he left several works4 ,of the  
,cav4 ,giuseppe ,paladini1 a ,sicilian1 
,i find commended at ,s4 ,joseph di     
,castel ,termini1 the picture of the    
,madonna and the tutelar saint4 ,i also 
find honourable mention among the chief 
painters of this island1 of a ,carrega1 
who ,i believe painted for private      
individuals4 ,others1 though ,i know not
 of what merit1 are found inscribed in  
the academy of ,s4 ,luke1 from the      
registers of which ,i have derived some 
information for my third and fourth     
volumes1 communicated to me by the ,sig4
 ,maron1 the worthy secretary of the    
academy4  ,footnote #abj3 ,in this epoch

 flourished in ,messina one ,abraham    
,casembrot1 a ,dutchman1 who was        
considered one of the first painters of 
his time1 of landscape1 seapieces1      
harbours1 and tempests4 ,he professed   
architecture also1 and was celebrated   
for his small figures4 ,he was          
accustomed to give the highest finish to
 every thing he painted4 ,the church of 
,s4 ,giovacchino has three pictures of  
the ,passion by him4 ,some individuals  
of ,messina possess delightful specimens
 of him1 though not many1 as he sold    
them at high prices1 and generally to   
,holland4 ,hence most of the collectors 
of ,messina turned to ,jocino1 the      
contemporary of ,casembrot2 a painter of
 a vigorous imagination1 and rapid      
execution4 ,his landscapes and views are
 still prized1 and maintain their value4
 ,i do not find that ,casembrot wholly  
formed any scholar at ,messina4 ,he     
communicated1 however1 the elements of  
architecture and perspective to several1
 as well as the principles of painting4 

,for this reason we find enumerated     
among his scholars the ,cappucin ,p4    
,feliciano da ,messina 7,domenico       
,guargena7 who afterwards studied ,guido
 in the convent of ,bologna1 and imbued 
himself with his style4 ,hackert makes  
honourable mention of a ,madonna and    
,child and ,s4 ,francesco by him at the 
church of that order in ,messina1 and he
 assigns the palm to him among the      
painters of his order1 which boasted not
 a few4       ,,neapolitan ,,school4    
,,fourth ,,epoch4    ,luca ,giordano1   
,solimene1 and their scholars4   ,a     
little beyond the middle of the #agth   
century1 ,luca ,giordano began to       
flourish in ,naples4 ,this master1      
though he did not excel his             
contemporaries in his style1 surpassed  
them all in good fortune1 for which he  
was indebted to his vast talents1       
confidence1 and unbounded powers of     
invention1 which ,maratta considered    
unrivalled and unprecedented4 ,in this  
he was eminently gifted by nature from  

his earliest youth4 ,antonio1 his       
father1 placed him first under the      
instructions of ,ribera1 and afterwards 
under ,cortona in ,rome1#aba and having 
conducted him through all the best      
schools of ,italy1 he brought him home  
rich in designs and in ideas4 ,his      
father was an indifferent painter1 and  
being obliged in ,rome to subsist by his
 son's labours1 whose drawings were at  
that time in the greatest request1#abb  
the only principle that he instilled    
into him was one dictated by necessity1 
despatch4 ,a humorous anecdote is       
related1 that ,luca1 when he was obliged
 to take refreshments1 did not retire   
from his work1 but1 gaping like a young 
bird1 gave notice to his father of the  
calls of hunger1 who1 always on the     
watch1 instantly supplied him with food1
 at the same time reiterating with      
affectionate solicitude1 ,luca fa       
presto4 ,upon this incident he was      
always afterwards known by the name of  
,luca fa presto1 among the students in  

,rome1 and which is also his most       
frequent appellation in the history of  
the art4 ,by means like these1 ,antonio 
acquired for his son a portentous       
celerity of hand1 from which quality he 
has been called il ,fulmine della       
pittura4 ,the truth however is1 that    
this despatch was not derived wholly    
from rapidity of pencil1 but was aided  
by the quickness of his imagination1 as 
,solimene often observed1 by which he   
was enabled to ascertain1 from the first
 commencement of his work1 the result he
 proposed to himself1 without hesitating
 to consider the component parts1 or    
doubting1 proving1 and selecting like   
other painters4 ,he also obtained the   
name of the ,proteus of painting1 from  
his extraordinary talent in imitating   
every known manner1 the consequence of  
his strong memory1 which retained every 
thing he had once seen4 ,there are      
numerous instances of pictures painted  
by him in the style of ,albert ,durer1  
,bassano1 ,titian1 and ,rubens1 with    

which he imposed on connoisseurs and on 
his rivals1 who had more cause than any 
other persons to be on their guard      
against him4 ,these pictures are valued 
by dealers at more than double or triple
 the price of pictures of his own       
composition4 ,there are examples of them
 even in the churches at ,naples2 as the
 two pictures in the style of ,guido at 
,s4 ,teresa1 and particularly that of   
the ,nativity4 ,there is also at the    
court of ,spain a ,holy ,family1 so much
 resembling ,raffaello1 that1 as ,mengs 
says in a letter1 7tom4 ii4 p4 #fg17    
whoever is not conversant with the      
quality of beauty essential to the works
 of that great master1 would be deceived
 by the imitation of ,giordano4  ,he did
 not however permanently adopt any of   
these styles as his own4 ,at first he   
evidently formed himself on             
,spagnoletto2 afterwards1 as in a       
picture of the ,passion at ,s4 ,teresa a
 little before mentioned1 he adhered to 
,paul ,veronese2 and he ever retained   

the maxim of that master1 by a studied  
decoration to excite astonishment1 and  
to fascinate the eye4 ,from ,cortona he 
seems to have taken his contrast of     
composition1 the great masses of light1 
and the frequent repetition of the same 
features1 which1 in his female figures1 
he always copied from his wife4 ,in     
other respects he aimed at              
distinguishing himself from every other 
master by a novel mode of colouring4 ,he
 was not solicitous to conform to the   
true principles of art2 his style is not
 natural either in tone or colour1 and  
still less so in its chiaroscuro1 in    
which ,giordano formed for himself a    
manner ideal and wholly arbitrary4 ,he  
pleased1 notwithstanding1 by a certain  
deceptive grace and attraction1 which   
few attempt1 and which none have found  
it easy to imitate4 ,nor did he         
recommend this style to his scholars1   
but on the contrary reproved them when  
he saw them disposed to imitate him1    
telling them that it was not the        

province of young students to penetrate 
so far4 ,he was well acquainted with the
 principles of design1 but would not be 
at the trouble of observing them2 and in
 the opinion of ,dominici1 if he had    
adhered to them too rigidly he would    
have enfeebled that spirit which is his 
greatest merit2 an excuse which perhaps 
will not appear satisfactory to every   
amateur4 ,another reason may with more  
probability of truth be assigned1 which 
was his unbounded cupidity1 and his     
habit of not refusing commissions from  
the meanest quarter1 which led him to   
abuse his facility to the prejudice of  
his reputation4 ,hence1 among other     
things1 he has been accused of having   
often painted superficially1 without    
impasto1 and with a superabundance of   
oil1 so that some of his pictures have  
almost disappeared from the canvass4    
,naples abounds with the works of       
,giordano both public and private4      
,there is scarcely a church in that     
great city which does not boast some    

work by him4 ,a much admired piece is   
the ,expulsion of the sellers and buyers
 from the ,temple at the ,p4 ,p4        
,girolamini3 the architectural parts of 
which are painted by ,moscatiello1 a    
good perspective painter4 ,of his       
frescos1 those at the ,treasury of the  
,certosa are esteemed the best4 ,they   
were executed by him when his powers    
were matured1 and appear to unite in    
themselves all the best qualities of the
 artist4 ,every one must be forcibly    
struck by the picture of the ,serpent   
raised in the desert1 and the throng of 
,israelites1 who1 assailed in a horrible
 manner1 turn to it for relief4 ,the    
other pictures on the walls and in the  
vault1 all scriptural1 are equally      
powerful in effect4 ,the cupola of ,s4  
,brigida is also extolled1 which was    
painted in competition with ,francesco  
di ,maria1 and in so very short a time1 
and with such fascinating tints1 that it
 was preferred by the vulgar to the work
 of that accomplished master1 and thus  

served to diffuse less solid principles 
among the rising artists4 ,as a miracle 
of despatch we are also shewn the       
picture of ,s4 ,saverio1 painted for the
 church of that saint in a day and a    
half1 full of figures1 and as beautiful 
in colour as any of his pictures4 ,luca 
went to ,florence to paint the ,capella 
,corsini and the ,riccardi ,gallery1    
besides many works in the churches and  
for individuals1 particularly for the   
noble house of ,rosso1 who possessed the
 ,baccanali of ,giordano1 afterwards    
removed to the palace of the ,marchese  
,gino ,capponi4 ,he was also employed by
 the ,grand ,duke2 and ,cosmo ,,iii41 in
 whose presence he designed and painted 
a large picture in less time than ,i    
dare mention1 complimented him by saying
 that he was a fit painter for a        
sovereign prince4 ,the same eulogium was
 passed on him by ,charles ,,ii4 of     
,spain1 in whose court he resided       
thirteen years2 and1 to judge from the  
number of works he left there1 it might 

be supposed that he had consumed a long 
life in his service4 ,he continued and  
finished the series of paintings begun  
by ,cambiasi of ,genoa1 in the church of
 the ,escurial1 and ornamented the      
vault1 the cupola1 and the walls with   
many scriptural subjects1 chiefly from  
the life of ,solomon4 ,he painted some  
other large compositions in fresco in a 
church of ,s4 ,antonio1 in the palace of
 ,buonritiro1 in the ,hall of the       
,ambassadors2 and for the ,queen ,mother
 a ,nativity1 most highly finished1     
which is said to be a surprising        
picture1 and perhaps superior to any    
other of his painting4 ,if all his works
 had been executed with similar care1   
the observation1 that his example had   
corrupted the ,spanish ,school1 might   
perhaps have been spared4#abc ,in his   
old age he returned to his native place1
 loaded with honours and riches1 and    
died lamented and regretted as the      
greatest genius of his age4  ,his school
 produced but few designers of merit2   

most of them were contaminated by the   
maxim of their master1 that it is the   
province of a painter to please the     
public1 and that their favour is more   
easily won by colour than by correct    
design2 so that1 without much attention 
to the latter1 they gave themselves     
entirely to facility of hand4 ,his      
favorite scholars were ,aniello ,rossi  
of ,naples1 and ,matteo ,pacelli della  
,basilicata1 whom he took with him to   
,spain as assistants1 and who returned  
with him home with handsome pensions1   
and lived after in leisure and          
independence4 ,niccolo ,rossi of ,naples
 became a good designer and colourist in
 the style of his master1 although      
somewhat too red in his tints4 ,in some 
of his more important works1 as in the  
soffitto of the royal chapel1 ,giordano 
assisted him with his designs4 ,he      
painted much for private individuals1   
and was considered next to ,reco in his 
drawings of animals4 ,the ,guida of     
,naples commends him and ,tommaso       

,fasano1 for their skill in painting in 
distemper some very fine works for      
,santi ,sepolcri and ,quarantore4       
,giuseppe ,simonelli1 originally a      
servant of ,giordano1 became an accurate
 copyist of his works1 and an excellent 
imitator of his colouring4 ,he did not  
succeed in design1 though he is praised 
for a ,s4 ,niccola di ,tolentino in the 
church of ,montesanto1 which approaches 
to the best and most correct manner of  
,giordano4 ,andrea ,miglionico had more 
facility of invention1 and equal taste  
in colour1 but he has less grace than   
,simonelli4 ,andrea also painted in many
 churches in ,naples1 and ,i find him   
highly commended for his picture of the 
,pentecost in the ,s4 ,s4 ,nunziata4 ,a 
,franceschitto1 a ,spaniard1 was so     
promising an artist that ,luca was      
accustomed to say1 that he would prove a
 greater man than his master4 ,but he   
died very young1 leaving in ,naples a   
favourable specimen of his genius in the
 ,s4 ,pasquale1 which he painted in ,s4 

,maria del ,monte4 ,it contains a       
beautiful landscape1 and a delightful   
choir of angels4  ,but his first        
scholar1 in point of excellence1 was    
,paolo de' ,matteis1 mentioned also by  
,pascoli among the best scholars of     
,morandi1 and an artist who might vie   
with the first of his age4 ,he was      
invited to ,france1 and during the three
 years that he resided there1 obtained  
considerable celebrity in the court and 
in the kingdom at large4 ,he was then   
engaged by ,benedict ,,xiii4 to come to 
,rome1 where he painted at the ,minerva 
and at the ,ara ,coeli4 ,he decorated   
other cities also with his works1       
particularly ,genoa1 which has two very 
valuable pictures by him at ,s4         
,girolamo2 the one1 that saint appearing
 and speaking to ,s4 ,saverio in a      
dream2 the other1 the ,immaculate       
,conception with an angelic choir1 as   
graceful as ever was painted4 ,his home 
was1 notwithstanding1 in ,naples1 and   
that is the place where we ought to view

 him4 ,he there decorated with his      
frescos the churches1 galleries1 halls1 
and ceilings in great number2 often     
rivalling the celerity without attaining
 the merit of his master4 ,it was his   
boast to have painted in sixty-six days 
a large cupola1 that of the ,gesu       
,nuovo1 a few years since taken down in 
consequence of its dangerous state2 a   
boast which1 when ,solimene heard1 he   
sarcastically replied1 that the work    
declared the fact itself without his    
mentioning it4 ,nevertheless there were 
so many beauties in it in the style of  
,lanfranco1 that its rapid execution    
excited admiration4  ,when he worked    
with care1 as in the church of the ,pii 
,operai1 in the ,matalona ,gallery1 and 
in many pictures for private            
individuals1 he left nothing to desire1 
either in his composition1 in the grace 
of his contour1 in the beauty of his    
countenances1 though there was little   
variety in the latter1 or in any of the 
other estimable qualities of a painter4 

,his colouring was at first             
,giordanesque2 afterwards he painted    
with more force of chiaroscuro1 but with
 a softness and delicacy of tint1       
particularly in the madonnas and        
children1 where he sometimes displays   
the sweetness of ,albano1 and a trace of
 the ,roman ,school1 in which he had    
also studied4 ,he was not very happy in 
his scholars1 who were not numerous4    
,giuseppe ,mastroleo is the most        
distinguished1 who is much praised for  
his ,s4 ,erasmus at ,s4 ,maria ,nuova4  
,gio4 ,batista ,lama was a fellow       
disciple1 and afterwards a relative of  
,matteis1 and received some assistance  
from him in his studies4 ,excited by the
 example of ,paolo1 he attained a       
suavity of colour and of chiaroscuro1   
much praised in his larger works1 as the
 gallery of the ,duke of ,s4 ,niccola   
,gaeta1 and particularly in his pictures
 of small figures in collections4 ,in   
these he was fond of representing       
mythological stories1 and they are not  

unfrequent in ,naples and its           
territories4  ,francesco ,solimene1     
called ,l',abate ,ciccio1 born at       
,nocera de' ,pagani1 was the son of     
,angelo1 a scholar of ,massimo4 ,early  
imbibing a love of painting1 he forsook 
the study of letters1 and after         
receiving the first rudiments of the art
 from his father1 he repaired to        
,naples4 ,he there entered the school of
 ,francesco di ,maria1 but soon left it1
 as he thought that master too          
exclusively devoted to design4 ,he then 
frequented the academy of ,po1 where he 
industriously began at the same time to 
draw from the naked figure and to       
colour4 ,thus he may be said to have    
been the scholar of the best masters1 as
 he always copied and studied their     
works4 ,at first he imitated ,pietro da 
,cortona1 but afterwards formed a manner
 of his own1 still retaining that master
 as his model1 and copying entire       
figures from him1 which he adapted to   
his new style4 ,this new and striking   

style of ,solimene approached nearer    
than any other to that of ,preti4 ,the  
design is not so correct1 the colouring 
not so true1 but the faces have more    
beauty3 in these he sometimes imitated  
,guido1 and sometimes ,maratta1 and they
 are often selected from nature4 ,hence 
by some he was called il ,cav4          
,calabrese ringentilito4 ,to the style  
of ,preti he added that of ,lanfranco1  
whom he named his master1 and from whom 
he adopted that curving form of         
composition1 which he perhaps carried   
beyond propriety4 ,from these two       
masters he took his chiaroscuro1 which  
he painted strong in his middle age1 but
 softened as he advanced in years1 and  
then attached himself more to facility  
and elegance of style4 ,he carefully    
designed every part of his picture1 and 
corrected it from nature before he      
coloured it2 so that in preparing his   
works1 he may be included among the most
 correct1 at least in his better days1  
for he latterly declined into the       

general facility1 and opened the way to 
mannerism4 ,he possessed an elegant and 
fruitful talent of invention1 for which 
he is celebrated by the poets of the    
day4 ,he was also characterised by a    
sort of universality in every style he  
attempted1 extending himself to every   
branch of the art2 history1 portrait1   
landscape1 animals1 fruit1 architecture1
 utensils2 and whatever he attempted1 he
 seemed formed for that alone4 ,as he   
lived till the age of ninety1 and was   
endowed with great celerity of pencil1  
his works1 like those of ,giordano1 were
 spread over all ,europe4 ,of that      
artist he was at the same time the      
competitor and the friend1 less powerful
 in genius1 but more correct in his     
principles4 ,when ,giordano died1 and   
,solimene became the first painter in   
,italy1 notwithstanding what his rivals 
said of his colours not being true to   
nature1 he began to ask extravagant     
prices for his pictures1 and still      
abounded in commissions4  ,one of his   

most distinguished works is the sacristy
 of the ,p4 ,p4 ,teatini detti di ,s4   
,paolo ,maggiore1 painted in various    
compartments4 ,his pictures also in the 
arches of the chapels in the church of  
the ,holy ,apostles deserve to be       
mentioned4 ,that work had been executed 
by ,giacomo del ,po1 to correspond with 
the style of the tribune1 and the other 
works which ,lanfranco had painted      
there3 but ,po did not satisfy the      
public expectation4 ,the whole work was 
therefore effaced1 and ,solimene was    
employed to paint it over again1 and    
proved that he was more worthy of the   
commission4 ,the chapel of ,s4 ,filippo 
in the church of the ,oratory1 is a     
proof of his extreme care and attention2
 every figure in it being almost as     
finely finished as a miniature4 ,among  
private houses the most distinguished is
 the ,sanfelice1 so called from the name
 of his noble scholar ,ferdinand1 for   
whom he painted a gallery1 which        
afterwards became an academy for young  

artists4 ,of his large pictures we may  
mention that of the great altar in the  
church of the monks of ,s4 ,gaudioso1   
without referring to others in the      
churches and in various parts of the    
kingdom2 particularly at ,monte         
,cassino1 for the church of which he    
painted four stupendous pictures in the 
choir4 ,they will be found in the       
,descrizione ,istorica del ,monistero di
 ,monte ,cassino1 edited in ,naples1 in 
#agea4 ,he is not often met with in     
private collections in ,italy1 beyond   
the kingdom of ,naples4 ,in ,rome the   
princes ,albani and ,colonna have some  
large compositions by him1 and the      
,bonaccorsi family a greater number in  
the gallery of ,macerata2 and among them
 the death of ,dido1 a large picture of 
fine effect4 ,his largest work in the   
ecclesiastical state1 is a ,supper of   
our ,lord1 in the refectory of the      
,conventuals of ,assisi1 an elegant     
composition1 painted with exquisite     
care1 where the artist has given his own

 portrait among the train of attendants4
  ,solimene instilled his own principles
 into the minds of his disciples1 who   
formed a numerous school1 which extended
 even beyond the kingdom of ,naples1    
about the beginning of the eighteenth   
century4 ,among those who remained in   
,naples1 was ,ferdinando ,sanfelice1    
lately noticed by us1 a nobleman of     
,naples1 who put himself under the      
instructions of ,francesco1 and became  
as it were the arbiter of his wishes4   
,as the master could not execute all the
 commissions which crowded on him from  
every quarter1 the surest mode to engage
 him was to solicit him through         
,sanfelice1 to whom alone he could not  
deny any request4 ,by the assistance of 
,solimene1 ,sanfelice attained a name   
among historical painters1 and painted  
altarpieces for several churches4 ,he   
took great delight in fruit1 landscapes1
 and views1 in which he particularly    
excelled1 and had also the reputation of
 an eminent architect4 ,but perhaps none

 of the disciples of ,solimene          
approached nearer to the fame of their  
master than ,francesco de ,mura1 called 
,franceschiello4 ,he was a ,neapolitan  
by birth1 and contributed much to the   
decoration of his native city1 both in  
public and private4 ,perhaps no work on 
the whole procured him a greater degree 
of celebrity than the frescos painted in
 various chambers of the ,royal ,palace 
of ,turin1 where he competed with       
,beaumont1 who was then in the height of
 his reputation4 ,he there ornamented   
the ceilings of some of the rooms which 
contain the ,flemish pictures4 ,the     
subjects which he chose1 and treated    
with much grace1 were the ,olympic      
,games1 and the ,deeds of ,achilles4 ,in
 other parts of the palace he also      
executed various works4 ,another artist1
 who was held in consideration1 was     
,andrea dell',asta1 who after being     
instructed by ,solimene1 went to finish 
his studies in ,rome1 and engrafted on  
his native style some imitation of      

,raffaello and the antique4 ,we may     
enumerate among his principal works1 the
 two large pictures of the ,nativity1   
and the ,epiphany of ,christ1 which he  
painted in ,naples for the church of ,s4
 ,agostino de' ,p4 ,p4 ,scalzi4 ,niccolo
 ,maria ,rossi was also reputably       
employed in the churches of ,naples1 and
 in the court itself4 ,scipione         
,cappella excelled all the scholars of  
,solimene in copying his pictures1 which
 were sometimes touched by the master   
and passed for originals4 ,giuseppe     
,bonito had a good invention1 and was a 
distinguished portrait painter1 and was 
considered one of the best imitators of 
,solimene4 ,he was at the time of his   
death painter to the court of ,naples4  
,conca and he excel their fellow        
disciples in the selection of their     
forms4 ,other scholars in ,naples and   
,sicily1#abd less known to me1 will be  
found in the history of painting in     
,naples1 which has been recently        
published by the accomplished ,sig4     

,pietro ,signorelli1 a work which ,i    
have not in my possession1 but which is 
cited by me1 as is the case with several
 more1 on the authority of others4      
,some artists1 who resided out of the   
kingdom1 we shall notice in other       
schools1 and in the ,roman ,school we   
have already spoken sufficiently of     
,conca and ,giaquinto2 to whom we may   
add ,onofrio ,avellino1 who resided some
 years in ,rome1 executing commissions  
for private persons1 and painting in the
 churches4 ,the vault of ,s4 ,francesco 
di ,paola is the largest work he left4  
,the works of ,maja and ,campora are to 
be found in ,genoa1 those of ,sassi in  
,milan1 and of others of the school of  
,solimene in various cities4 ,these     
artists1 it is to be regretted1         
sometimes passed the boundaries         
prescribed by their master4 ,his        
colouring1 though it might be more true 
to nature1 is yet such as never offends1
 but possesses on the contrary a degree 
of amenity which pleases us4 ,but his   

scholars and imitators did not confine  
themselves within their master's limits1
 and it may be asserted1 that from no   
school has the art suffered more than   
from them4 ,florence1 ,verona1 ,parma1  
,bologna1 ,milan1 ,turin1 in short1 all 
,italy was infected with their style2   
and by degrees their pictures presented 
so mannered a colouring1 that they      
seemed to abandon the representation of 
truth and nature altogether4 ,the habit 
too of leaving their pictures unfinished
 after the manner of ,giordano and      
,solimene1 was by many carried so far1  
that instead of good paintings1 many    
credulous buyers have purchased         
execrable sketches4 ,the imitation of   
these two eminent men carried too far1  
has produced in our own days pernicious 
principles1 as at an earlier period did 
the imitation of ,michelangiolo1        
,tintoretto1 and even of ,raffaello     
himself1 when carried to an extreme4    
,the principal and true reason of this  
deterioration is to be ascribed         

generally to the masters of almost all  
our schools2 who1 abandoning the        
guidance of the ancient masters1        
endeavoured in their ignorance to find  
some new leader1 without considering who
 he might be1 or whither he might lead  
them4 ,thus1 at every proclamation of   
new principles1 they and their scholars 
were ready to follow in their train4    
,in the time of ,giordano and ,solimene1
 ,niccola ,massaro was considered a good
 landscape painter4 ,he was a scholar of
 ,salvator ,rosa1 but rather imitated   
him in design than in colour4 ,in the   
latter he was insipid1 nor even added   
the accompaniment of figures to his     
landscapes1 but was assisted in that    
respect by ,antonio di ,simone1 not a   
finished artist1 but of some merit in   
battle pieces4#abe ,massaro instructed  
,gaetano ,martoriello1 who was a        
landscape painter of a free style1 but  
often sketching1 and his colouring not  
true to nature4 ,in the opinion of      
connoisseurs a better style was         

displayed by ,bernardo ,dominici1 the   
historiographer1 and the scholar of     
,beych in landscape1 a careful and      
minute painter of ,flemish subjects and 
bambocciate4 ,there were two            
,neapolitans1 ,ferraiuoli and           
,sammartino1 who settled in ,romagna1   
and were good landscape painters4 ,in   
perspective views ,moscatiello was      
distinguished1 as we observed1 when we  
spoke of ,giordano4 ,in the life of     
,solimene1 ,arcangelo ,guglielmelli is  
mentioned as skilled in the same art4   
,domenico ,brandi of ,naples1 and       
,giuseppe ,tassoni of ,rome1 were rivals
 in animal painting4 ,in this branch1   
and also in flowers and fruits1 one     
,paoluccio ,cattamara1 who flourished in
 the time of ,orlandi1 was celebrated4  
,lionardo ,coccorante1 and ,gabriele    
,ricciardelli1 the scholar of           
,orizzonte1 were distinguished in       
seaviews and landscapes1 and were       
employed at the court of ,king ,charles 
of ,bourbon4#abf  ,by the accession of  

this prince1 a munificent patron of the 
fine arts1 wherever he reigned1 the     
,neapolitan ,school was regenerated and 
invigorated2 employment and rewards     
awaited the artists2 the specimens of   
other schools were multiplied1 and      
,mengs1 who was invited to paint the    
,royal ,family1 and a large cabinet     
picture1 laid the foundations of a more 
solid style1 at the same time improving 
his own fortune1 and giving a           
considerable impulse to art4 ,but the   
greatest benefit this monarch has       
conferred on the arts is to be found at 
,ercolano1 where under his orders so    
many specimens of sculpture and ancient 
paintings1 buried for a long lapse of   
ages1 have been brought to light1 and by
 his direction accurately drawn and     
engraved1 and illustrated with learned  
notes1 and communicated to all          
countries4 ,lastly1 in order that the   
benefits which he had conferred on his  
own age1 might be continued to the      
future masters of his country1 he turned

 his attention to the education of      
youthful artists4 ,of this fact ,i was  
ignorant at the time of my first        
edition1 but now write on the           
information afforded me at the request  
of the ,marchese ,d4 ,francesco         
,taccone1 treasurer of the kingdom1 by  
the very learned ,sig4 ,daniele1 ,regio 
,antiquario1 both of whom1 with truly   
patriotic feelings1 have devoted        
themselves to the preservation of the   
antiquities of their country1 and are   
equally polite in communicating to      
others that information for which they  
are themselves so distinguished4 ,there 
formerly existed at ,naples the academy 
of ,s4 ,luke1 founded at the ,gesu      
,nuovo1 in the time of ,francesco di    
,maria1 who was one of the masters1 and 
taught in it anatomy and design4 ,this  
institution continued for some years4   
,king ,charles in some measure revived  
this establishment by a school for      
painting1 which he opened in the        
,laboratory of mosaics and tapestry4    

,six masters of the ,school of ,solimene
 were placed there as directors1 and    
some good models being provided in the  
place1 young artists were permitted to  
attend and study there4 ,bonito was     
engaged as the acting professor1 and    
after some time ,mura was associated    
with him1 but died before the professor4
 ,ferdinand ,,iv4 treading in the steps 
of his august father1 has1 by repeated  
instances of protection to these        
honorable pursuits1 conferred fresh     
honours on the ,bourbon name1 and       
rendered it dearer than ever to the fine
 arts4 ,he transferred the academy to   
the new royal ,museum1 and supplied it  
with all requisites for the instruction 
of young artists4 ,on the death of      
,bonito he bestowed the direction of it 
on the first masters1 and having        
established pensions for the maintenance
 in ,rome of a certain number of young  
men1 students in the three sister arts1 
he assigned four of these to those      
students who were intended for painters2

 thus confirming by his suffrage to the 
city of ,rome1 that proud appellation   
which the world at large had long       
conceded to her1 the ,athens of ,modern 
,art4  ,footnote #aba3 ,cortona had in  
,sicily a good scholar in ,gio4         
,quagliata1 who1 in the ,memorie        
,messinesi1 is said to have been favored
 and distinguished by his master2 and to
 have afterwards returned to his native 
country to paint in competition with    
,rodriguez1 and what surprises me still 
more1 with ,barbalunga4 ,if we may be   
allowed to judge of these two artists by
 their works which remain in ,rome1     
,barbalunga in ,s4 ,silvestro at ,monte 
,cavallo1 appears a great master2       
,quagliata at the ,madonna di ,c4 ,p4 a 
respectable scholar4 ,the former is     
celebrated and known to every painter in
 ,rome1 the latter has not an admirer4  
,in ,messina he perhaps painted better4 
,his biographer commends him as a       
graceful and sober painter1 as long as  
his rivals lived2 and adds1 that after  

their death he devoted himself to       
frescos1 when the exuberance of his     
imagination is evident in the strong    
expression of character1 and in the     
superfluity of architectural and other  
ornaments4 ,andrea1 his brother1 was not
 in ,rome2 he is1 however1 in ,messina1 
considered a good artist4  ,footnote    
#abb3 ,giordano is said at this period  
to have copied the ,chambers and the    
,gallery of ,raffaello no less than     
twelve times1 and perhaps twenty times  
the ,battle of ,constantine1 painted by 
,giulio ,romano1 without reckoning his  
designs after the works of              
,michelangiolo1 ,polidoro1 and other    
great masters4 ,see ,vite del ,bellori1 
edited in ,rome in #agbh1 with the      
addition of the life of ,giordano1 page 
#cjg4  ,footnote #abc3 ,it may be       
observed1 that if he had followers1 some
 of them did not copy him implicitly4   
,palomino1 although much attached to    
,giordano1 forsaking letters for        
painting1 when his style was so much in 

vogue1 did not imitate him servilely1   
but in conjunction with the style of    
other distinguished painters of his age2
 a good artist1 and appointed by        
,charles ,,ii4 painter to himself4 ,this
 is the same ,palamino who has merited  
the appellation of the ,vasari of       
,spain1 and whom ,i have so often cited4
 ,they who are acquainted with that     
noble language highly commend his style1
 which is perhaps the reason that copies
 of his ,teorica e ,pratica della       
,pittura 7#b vol4 fol47 are so rare out 
of ,spain4 ,but in point of accuracy1   
like ,vasari himself1 he often errs4 ,i 
fancy that he frequently adopted        
traditions1 without sufficiently        
weighing them1 which ,i am led to       
suspect from the circumstance that in   
the scholars assigned to masters1 he is 
guilty of many anachronisms4  ,footnote 
#abd3 ,the ,memorie de' ,messinesi      
,pittori mentions a ,gio4 ,porcello1    
who1 after studying under ,solimene1    
returned1 it is said1 to his native     

country1 where he found the art at an   
extremely low ebb2 and he attempted to  
revive it by opening an academy in his  
house1 and diffusing the taste of his   
master1 which he fully possessed4 ,a    
still better style of painting was      
brought from ,rome by ,antonio and      
,paolo1 two brothers1 who1 fresh from   
the school of ,maratta1 also opened an  
academy in ,messina1 which was greatly  
frequented4 ,they worked in conjunction 
in many churches1 and excelled in       
fresco1 but in oil ,antonio was much    
superior to his brother4 ,there was also
 a third brother1 ,gaetano1 who executed
 the ornamental parts4 ,their works on  
the walls and on canvass are to be seen 
in ,s4 ,caterina di ,valverde1 in ,s4   
,gregorio delle ,monache1 and elsewhere4
 ,there flourished at the same time with
 the ,filocami1 ,litterio ,paladino1 and
 ,placido ,campolo1 a scholar of ,conca 
in ,rome1 where he derived more benefit 
from the antique marbles than from the  
instructions of his master4 ,both these 

artists executed works on a very large  
scale2 and of the first they            
particularly commend the vault of the   
church of ,monte ,vergine1 and1 of the  
second1 the vault of the gallery of the 
,senate4 ,both are esteemed for their   
correct design2 but the taste of the    
second is more solid and more free from 
mannerism4 ,the above named five artists
 all died in the fatal year of #agdc4   
,luciano ,foti survived them1 an        
excellent copyist of every master1 but  
particularly of ,polidoro1 whose style  
he adopted in his own composition4 ,but 
his characteristic merit consisted in   
his penetration into the secrets of the 
art1 which enabled him to detect every  
style1 every peculiar varnish1 and the  
various methods of colouring1 so that he
 not only ascertained many doubtful     
masters1 but restored pictures1 damaged 
by time1 in so happy a manner as to     
deceive the most experienced4 ,a man of 
such talents outweighs a host of common 
artists4  ,to these we may add other    

artists of the island itself1 born in   
different places4 ,marcantonio          
,bellavia1 a ,sicilian1 who painted in  
,rome1 at ,s4 ,andrea delle ,fratte1 is 
conjectured1 though not ascertained1 to 
be a scholar of ,cortona4 ,calandrucci1 
of ,palermo1 is named among the scholars
 of ,maratta4 ,gaetano ,sottino painted 
the vault of the oratory at the ,madonna
 di ,c4 ,p41 a respectable artist4      
,giovacchino ,martorana1 of ,palermo1   
was a machinist1 and in his native city 
they boast of the ,chapel de'           
,crociferi1 and at ,s4 ,rosalia1 four   
large pictures from the life of ,s4     
,benedict4 ,olivio ,sozzi1 of ,catania1 
painted much in ,palermo2 particularly  
at ,s4 ,giacomo1 where all the altars   
have pictures by him1 and the tribune   
three large subjects from the infancy of
 ,christ4 ,another ,sozzi1 of the name  
of ,francesco1 ,i find praised for a    
picture of ,five ,saints1 ,bishops of   
,agrigentum1 in the ,duomo of that city4
 ,of ,onofrio ,lipari1 of ,palermo1     

there are two pictures of the ,martyrdom
 of ,s4 ,oliva in the ,church de'       
,paolotti4 ,of ,filippo ,randazzo1 there
 are to be seen in ,palermo some vast   
works in fresco1 as well as of ,tommaso 
,sciacca1 who was an assistant of       
,cavalucci in ,rome1 and who left some  
large compositions at the ,duomo and at 
the ,olivetani of ,rovigo4  ,footnote   
#abe3 ,gio4 ,tuccari of ,messina1 the   
son of an ,antonio1 a feeble scholar of 
,barbalunga1 although he painted much in
 other branches of the art1 owes the    
celebrity of his name to his battle     
pieces1 which1 by the despatch of his   
pencil1 were multiplied beyond number4  
,they were frequently sent into ,germany
 where they were engraved4 ,he had a    
fruitful and spirited genius1 but was   
not a correct designer4  ,footnote #abf3
 ,among the painters of ,messina is     
mentioned ,niccolo ,cartissani1 who died
 in ,rome with the name of a good       
landscape painter1 and ,filippo         
,giannetti1 a scholar of ,casembrot1 who

 in the vastness of his landscapes and  
his views surpassed his master2 but he  
will not bear a comparison in the       
correctness of his figures and in       
finishing2 though he was1 from his      
facility and rapidity of pencil1        
denominated the ,giordano of landscape  
painters4 ,he was esteemed and protected
 by the ,viceroy ,co4 di ,s4 ,stefano1  
and painted in ,palermo and ,naples4    
,transcriber's notes3    ,standardized  
spacing after apostrophes in ,italian   
names and phrases4   ,standardized      
inconsistent hyphenation4   ,retained   
archaic spelling and punctuation1 except
 as noted below4   ,moved footnotes to  
the end of each chapter4    ,other      
adjustments3    ,changed ',pistoia' to  
',pistoja' for consistency with         
remaining text4      444,pistoja1       
,rimino1 and ,bologna444   ,changed     
',winckelman' to ',winckelmann'         
444as ,winckelmann has observed444      
,changed ',niccolo ,alunno' to ',niccolo
 ,alunno'      444different from        

,niccolo ,alunno444   ,added missing end
 quotation mark      444connoisseurs are
 very commonly considered as his4444    
,changed 'antient' to 'ancient'         
444he retained the ancient custom444    
,changed 'beautifully' to 'beautiful'   
444some singularly beautiful            
grotesques444   ,changed 'della' to     
'dello'      444called dello ,spasimo1  
which444   ,eliminated duplicate 'as as'
      444as in the martyrdom of ,s4     
,lucia44   ,added accent to ',niccolo'  
,circignani      444,niccolo            
,circignani1 or delle ,pomarance1444    
,changed 'hat' to 'that'      444in the 
style of that master444   ,retained     
two-dot ellipsis to represent missing   
partial date      444,castellana1       
#afa441 on a large picture444           
,eliminated duplicate 'was was'         
444he was called ,il ,trevisani         
,romano444   ,changed ',vandyk' to      
',vandyke'      444together with one by 
,vandyke444