the same rank in the Florentine, that Sassoferrato holds in the Roman school. Both, though destitute of great powers of invention, obtained great reputation for Madonnas and similar small subjects, which have now become extremely valuable; for the wealthy, desirous of possessing pictures, at once estimable and religious, to hang up in their oratories, have brought those two masters into great request, notwithstanding that they operated on very different principles. Carlo is not so celebrated for beauty, (for he was like his master, a mere naturalist,) as for the exquisite pains with which he finished every thing, and the genuine expression of certain affecting emotions; such as the patient suffering of Christ, or of the Virgin Mary; the penitential compunction of a Saint, or the holy confidence of a Martyr devoting himself as a victim for the living God. The colouring and general tone of his pictures accord with the idea of the passion; nothing is turgid or bold; all is modesty, repose, and placid harmony. In him we may retrace the manner of Rosselli brought to perfection, as we sometimes can view the features of the grandsire in his descendants. A few of his larger works still remain, such as the S. Antonio, in the royal museum; the Conception of our Lady, in the possession of the Marquis Rinuccini; also a very few of his subjects from profane story, a few of his portraits, and the celebrated figure of Poetry in the palace of Prince Corsini. His small pictures, for each of which he usually received 100 crowns, are very numerous; and were frequently repeated by himself or by his pupils, Alessandro Lomi and Bartolommeo Mancini; and often by Agnese Dolci, his daughter, a good artist and follower of the style of her father; but not his equal. His two Madonnas in the cabinet of the Grand Duke, and his martyrdom of S. Andrew, in the possession of the Marquis Gerini, have been often copied.
Of Onorio Marinari, the cousin and scholar of Carlo, but few pictures remain at Florence, either in private or in public. After imitating his master, (which usually is the first exercise of students in the art, and often, from dissimilarity of genius, is their great bane,) he formed another style, by yielding to the bent of his natural powers; which was more grand, had more of the ideal, and deeper shadows; and of this several specimens remain in the churches of S. Maria Maggiore, and S. Simone. This artist died young, very unfortunately for the school to which he belonged.
About the period we have been describing, some foreign artists resided at Florence for a considerable time, to the no small advantage of the native painters, as we have already observed. Paggi came there in the reign of the Grand Duke Francis I., remained there twenty years, and left some works behind him. About the same time Salvator Rosa, Albani, Borgognone, Colonna, Mitelli, and many more, either invited by the princes from abroad, or coming there of their own accord, were retained by them for the decoration of the palace and the city. We shall consider them particularly under the schools of the countries where they were born, or in which they taught; but here we shall give a place to Jacopo Ligozzi, whom the Florentine school may claim on account of his residence, his employment, and his scholars. He had studied at Verona under Paolo Veronese, according to Baldinucci; but under Gio. Francesco Carrotto, according to the emendation of Maffei, without reflecting that this artist died when Jacopo was scarcely three years old. Some foreign writers make him the son of Gio. Ermanno, the painter; a circumstance unknown to Cav. del Pozzo, the townsman and historian of them both. Ferdinand II. appointed him painter to the court, and superintendant of the gallery. This was very honourable, when conferred by such a prince on him, in preference to many eminent Florentines. Ligozzi executed some works at Rome, and introduced at Florence a freedom of pencil, an art in composition, a taste for the ornamental, and a grace and gaiety, till then rare in that city. His design was sufficiently correct, and uniformly improved while he remained in Tuscany. As to his colouring, although it was not that of Paolo, it was not deficient in truth and vigour.
His seventeen semicircular pictures in the cloisters of All Saints, are valued at Florence; especially the interview between S. Francis and S. Domenick, the founders of the order. On this picture he wrote, To the confusion of our friends, meaning the envious and malignant. This is his masterpiece in fresco. He painted more frequently in oil colours in several churches. The S. Raymond in the act of reanimating a child, in S. Maria Novella, is a picture full of art; and there is another in the same style at the Scalzi of Imola, representing the four Crowned Saints. The martyrdom of S. Dorothea, I do not hesitate to call a wonderful picture; in which we recognize a follower of Paolo, and which is in possession of the Conventual Friars of Pescia. The scaffold, the executioner, the Prefect on horseback who is ordering him to strike, the great crowd of spectators variously affected, and all the apparatus of a public punishment, strike and astonish equally the connoisseur and the unskilled in painting; the holy martyr especially interests us, who, on her knees, with a placid composure, willingly resigns her life, and is about to receive from angels the eternal crown purchased with her blood. In other performances he shews more simplicity, as in the S. Diego at All Saints, or in the Angels at the P. P. Scolopi; but he is an artist who always pleases, and who shews that he felt what he painted. Ligozzi painted much for private individuals. In his very small pictures, a style in which he was expert, he finished as highly as if they were miniatures. Several of his works were published by Agostino Caracci, and other engravers.
None of his Florentine pupils is esteemed equal to Donato Mascagni, for such was his real name, which may be seen subscribed to two Scriptural pieces, in possession of Sig. Ab. Giachi, at Volterra. Having entered the order of Servi, he assumed the name of Fra Arsenio; and several of his works painted after that period are to be seen in Florence, executed in a manner not very full and soft, but diligent; of which there are several other specimens in his Miracles of the Nunziata, which are engraved and illustrated in the little work of Padre Lottini. What does him greatest honour is the picture preserved in the library of the monastery of Vallombrosa. It represents the donation of the State of Ferrara to the Holy Seat, by the Countess Matilda, as is believed by some, or rather the distribution of some privileges by her to the order of Vallombrosa, and is a picture full of subject, and the chief glory of this master.
In casting our eyes over other cities of Tuscany, we find some painters very capable of decorating houses and altars. Francesco Morosini, surnamed Montepulciano, may be recognized in the church of S. Stephen, of Florence, where he painted a Conversion of S. Paul, in the manner of his master Fidani. Arezzo produced the two Santini. Of one of them, there named the Elder, several pictures were pointed out to me by the accomplished Cav. Giudici; among which was a S. Catherine, in possession of the Conventual Friars: it savours of the Florentine manner during this epoch; except that the use of changing tints is more frequent. Bartolommeo and Teofilo Torre, of Arezzo, are noticed as fresco painters by Orlandi, who mentions halls, and even whole houses, being ornamented by the latter with historical pieces; which, if deficient in design, he praises for their colouring. Francesco Brini left a good picture of the Immaculate Conception, at Volterra: of his country and school I am ignorant. I do not know the master of Pompeo Caccia; it is certain that he called himself a native of Rome, perhaps because it is easy to substitute the capital, so well known, for places in the state of less notoriety. In Rome, however, I do not find any traces of him. I find, indeed, that he left several pictures at Pistoja; among which is the Presentation (at the Selesiane) of Jesus in the Temple, to which is affixed the date 1615. Alessandro Bardelli was a native of Pescia; in his style we find traces of his preceptor Curradi and of Guercino. He was a good painter, and executed the ornamental border for the portrait of S. Francis, painted by Margaritone, for his church in Pescia: he represented around it the virtues of the Saint, and a choir of Angels above. I am doubtful whether we should include Alessio Gimignani, one of a family of artists in Pistoia, to be recorded in the fifth epoch, among the pupils of Ligozzi, but he was undoubtedly his follower.
About this period two schools arose, highly deserving of notice, those of Pisa and of Lucca. The Pisan school recognizes as its founder, Aurelio Lomi, first a scholar of Bronzino, and afterwards of Cigoli. His very correct performances, in the cathedral of Pisa, are executed after both masters; but when compared to Cigoli he is more minute, and has much less softness. His aim appears to be to surprise the multitude by an agreeable colouring, and a magnificence of draperies and ornaments. This style pleased at Florence, in Rome, and more especially at Genoa, where he was preferred to Sorri, many years established and in good repute. His works in that city are very full of subject; as his S. Anthony, belonging to the Franciscans, and his Last Judgment, in S.
