to demonstrate the state of this school, and the taste of Cosmo. After this specimen, it is not surprising that the prince neglected to have his portrait painted by Tiziano, whom he would esteem little in comparison to his own Vasari. It is a true observation that virtues are not hereditary, or, as it is expressed by the poet, they rarely spring up again in the branches. Leo X. was the patron of the arts, and he knew how to appreciate them; but Cosmo encouraged, without possessing taste to discriminate.
The Three Cungi (or Congi, as some will have it) are also claimed by San Sepolcro. Gio. Batista was the servant of Vasari for seven years; Lionardo is described to us as an eminent designer, in the life of Perino, and in that of Zuccaro is said to have been a painter employed in the pontifical palace about 1560, along with his countryman Durante del Nero. For a knowledge of the third brother, Francesco, I am indebted to my learned friend Sig. Annibale Lancisi; and I have since received more particular information from Sig. Giachi, who gives an account of an altar-piece of S. Sebastiano, in the cathedral at Volterra, together with the receipt for its purchase money in 1587, where he is called Francesco di Leonardo Cugni da Borgo. At Rome we cannot judge properly of their style, but it may be discovered in their own country, in the church of S. Rocco, at the convent of the Osservanti, and in other places. Their compositions display great simplicity, their ideas are chiefly drawn from nature, and they attended sufficiently to colouring. Raffaele Scaminossi, a scholar of Raffaellino, painted in a similar but somewhat more lively manner. I learn nothing of Giovanni Paolo del Borgo, except that he was the assistant of Vasari in his very hasty labours in the Chancery, about 1545. He cannot be the Gio. de' Vecchi who painted so much in Rome, as we are informed by Baglione; and who chiefly excelled at Caprarola, when contending with Taddeo Zuccaro, and in the church of S. Lorenzo in Damaso, in the various histories of the Martyr. He appears to have arrived at a later period, as did the three Alberti, who were of a family in San Sepolcro, abounding in painters. They went to study at Rome, and easily formed themselves on the style common to artists in the time of Gregory XIII. There they took up their abode, and there died, after having executed many works, especially in fresco, in that city, and also some memorials of their art in their native country.
The cathedral contains a Nativity by Durante, a subject which he handled better in the Vallicella of Rome, and which is, perhaps, his best performance in that city: in others he is often languid, both in design and colouring, and appears rather a laborious artist than a man of genius. Cherubino, the reputed son of Michele, and the assistant of Daniel di Volterra,[209] was a celebrated engraver on copper, and from this art he derived great assistance in design. Although late in applying to painting, he obtained a name in those times. His proportions were light and spirited; his choirs of angels were agreeable and original; his penciling and whole composition were dexterous and spontaneous. Such is the character of his Trinity in the cathedral of Borgo, in which place there remains the façade of a palace, well conceived, ornamented with arms, genii, and other fanciful devices. He painted the ceiling of the chapel of Minerva in Rome with various ornaments and figures, on a golden ground; in that city, however, he generally assisted his younger brother Giovanni, who introduced a new era in perspective; not only by his works, existing in the houses of private individuals at San Sepolcro, and other cities, but by the fresco perspectives which he executed at Rome. He claims admiration in the sacristy of the church of S. Gio. Laterano, where he imitated the salient and receding angles of architecture; and still more in the grand Clementine salon, the most prodigious and exquisite work in perspective then existing. Baglione highly commends the S. Clement and other figures with which it is ornamented; and remarks that they are admirably foreshortened, and are superior to those of Cherubino, who was not so eminent in perspectives. Baglione mentions a Francesco, the son of Durante, who died at Rome. I am uncertain whether he is the Pierfrancesco to whom we attribute the Ascension, in the church of S. Bartholomew at Borgo, with some pictures of no great merit in the church of S. John, and in other places. History mentions also Donato, Girolamo, Cosimo, and Alessandro Alberti, of whom I can collect nothing further.
The writers of Prato exalt their countryman, Domenico Giuntalocchio, pupil to Soggi, in whose life Vasari mentions Domenico more as an engineer than a painter. He describes him as a correct portrait painter, but so extremely tardy in his works in fresco, that he became tiresome to the Aretini, with whom he for some time dwelt. I cannot point out any genuine picture from his hand; but his memory is still fresh in the minds of his fellow citizens, because, instead of leaving his native place ornamented with his pictures, he left 10,000 crowns as a fund to be appropriated to the education of young artists.
After the death of Daniel, his scholar and relation Giovanni Paolo Rossetti, retired to Volterra, and, as is attested by Vasari, executed works of great merit in this his native place; among which we may reckon the Deposto, in the church of S. Dalmatius. At a short distance from the city is a place which gave name to Niccolò dalle Pomarance, of the family of Circignani. Vasari describes him as a young man of ability. He neglects to inform us who was his master; but he appears to have been Titi, whom he assisted in the great salon of the Belvidere palace. He grew old in Rome, where he left numerous specimens of the labours of his pencil, which he employed with freedom, and at a good price. He shewed himself greatly superior to the artists of this period, in some of his works, as in the Cupola of S. Pudenziana. Cavalier Roncalli was a native of the same place; there are pictures by them both at Pomarance; where there are also some by Antonio Circignani, the son of the former, an able artist, though little known. All three will again be treated of in the third book.
Pistoia possessed at the same time two scholars of Ricciarelli; Biagio da Cutigliano, noticed by Vasari,[210] and P. Biagio Betti Teatino, a miniature painter, sculptor, and historical painter of merit, whom Baglione represents as constantly employed in the service of the church and convent to which he belonged. Leghorn gave birth to Jacopo Rosignoli, pupil of an unknown master, who lived in Piedmont, where his works must be sought. Baccio Lomi, whose style much resembles that of Zuccaro, remained at Pisa: he owes much of his skill and of his reputation to his two nephews, as we shall afterwards relate. Though unknown beyond the limits of his native country, he must not be passed over in silence. The Assumption, in the residence of the Canons, and some of his other pictures, participate of the hardness of the age, but exhibit very good design and colouring.
Paolo Guidotti distinguished himself in the neighbouring state of Lucca, as a painter of genius and of spirit, no less than a man of letters, and well grounded in anatomical knowledge; but his taste was not polished and refined. He came to Rome in the distracted times of Gregory and Sixtus, and lived there during the pontificate of Paul V., who created him a knight, and conservator of Rome: he further permitted him to assume the additional name of Borghese, the family name of the pontiff. Many of his paintings in fresco are preserved at Rome, in the Vatican library, in the Apostolic chamber, and in several churches: the artists with whom he was associated, prove that he was reputed a good artist. Several of his pictures are in his native place; and there is a large piece representing the Republic, in the palace. Girolamo Massei pursued a similar track, only confining himself to the art of painting. Baglione, who gave an account of him, introduces him into Rome as an artist, already much commended for his accuracy; to which Taia adds, that he was both a good designer and colourist; so much so as to lead us to distinguish him from the crowd of Gregorian and Sixtine practitioners, in the same way that he was chosen by P. Danti to ornament the chambers of the Vatican; of which more hereafter. He returned to his native place in his old age, not to employ himself anew, but to die in tranquillity among his friends. Benedetto Brandimarte, of Lucca, is mentioned by Orlandi. I saw a decollation of S. John by this artist in the church of S. Peter, at Genoa, which was but a miserable performance; a single production, however, is not sufficient to decide the character of an artist.
The name of a Pietro Ferabosco is mentioned only by the continuator of Orlandi; he is supposed to have been a native of Lucca, though he is referred to the academy of Rome, where he probably pursued his first studies; I say probably, because the excellence of his colouring in the Titian manner, would lead me rather to include him among the Venetian artists. There are three of his half-length figures, together with his name, and the
