intent on gratifying the eye, it introduces useless figures, in order that the composition may not be deficient in the usual fulness; and for the sake of contrast, figures in the performance of the gentlest actions, are painted as if the artist was representing them in a tournament or a battle. Gifted by nature with facility of genius, and no less judgment, Berrettini either avoided this extravagance, as in his stupendous Conversion of S. Paul, or did not carry it to that absurdity, which in our times has marked his followers, from the usual tendency of all schools to overcharge the characteristic of their master. Hence the facility of this style has degenerated into negligence and its taste into affectation; until its chief adherents begin as at present to abandon it, and to adopt a superior manner.
But not to wander from the Florentine school, we must confess that this epoch has been the least productive of eminent painters. Pietro had some pupils at that place, who did him equal honour with the Romanelli and the Ferri at Rome. I shall first mention a foreigner, who having established himself at Florence, may be reckoned of that school. Livio Mehus, a native of Flanders, came into Tuscany from Milan, where he had received some instruction in the art from another Fleming, named Charles, was taken under the protection of Prince Matthias, and recommended to Berrettini, who gave him lessons for a little time both in Florence and at Rome. By copying the antique he became a good designer, and he studied colouring at Venice and in Lombardy. He retained little of the manner of Cortona besides the composition. He imitated the Venetians less in colouring, than in the light and firm touches of his pencil. His tints are modest, his attitudes lively, his shadows most beautiful, and his inventions ingenious. He painted few altar pieces, but many cabinet pictures, for he was pensioned by the prince, and employed by noble families, in whose houses his works are often to be met with. The historical picture of the Repose of Bacchus and Ariadne, which he painted for Marquis Gerini, in emulation of Ciro Ferri, is very highly praised. Ferri conceived some jealousy of him, when he painted the cupola of the Pace at Florence; where he appears to approach the Lombard school, and even to surpass Cortona.[231] He was imitated by a Lorenzo Rossi, previously a scholar of Pier Dandini, who, according to P. Orlandi, executed some elegant small pictures.
Vincenzio Dandini went from the school of his brother Cesare into that of Cortona, or rather into the Roman school, where he copied, as well as he could, with unwearied assiduity, the finest specimens in painting, sculpture, and architecture. On this foundation, aided by practice in anatomy, at the academy for the naked figure, which still flourished at Florence, he became superior to his brother in design and in softness of colouring: he also finished more highly than Cesare, was more studious in his drapery, and in the other branches of the art. In All Saints there is a Conception of the Virgin, and three other pictures by his hand. He was employed in the ducal villas: in that of Poggio Imperiale he painted a beautifully foreshortened figure of Aurora, attended by the Hours, in a recess he had erected; and at Petraia painted in oil the Sacrifice of Niobe. In him the pupil of Cortona is very manifest. A similar style, but degenerated both in execution and in manner, is discoverable in Pietro, his son and scholar. This artist was superior to all the other Dandini; and by more extensive travels he obtained a greater knowledge of foreign painters: it would have been well if he had not attempted to surpass them also in his emoluments. From avarice he undertook too many works, and contented himself with a certain mediocrity in study; for which he, in some measure compensated by a freedom of pencil that is always admirable. Where well paid, he demonstrated his abilities; as in the cupola of S. Mary Magdalen; in several frescos in the ducal palace at Florence, in the royal villas, and in the copious historical picture of the taking of Jerusalem, which he painted in the public palace at Pisa. He also painted some altar-pieces worthy of himself; as the S. Francis in S. Maria Maggiore or the Beato Piccolomini in the attitude of saying mass, in possession of the Servi; a beautiful picture, full of spirited attitudes. His son, Ottaviano, appears his follower in some semicircular pictures in the cloister of S. Spirito, in a piece representing various saints in the church of S. Lorenzo; and wherever he was employed. One of his grandest works may be seen in S. Mary Magdalen at Pescia, the ceiling of which he painted in fresco.
The Dandini family had many scholars, who, with their descendants, have kept alive the school of Cortona, even to our own days. This school was not eminent; it requires but little examination, or prolixity of description. It has produced some good artists; but few of them are above mediocrity; a fault less to be attributed to their genius, than the times. The more modern style was esteemed the best: the last master seemed to discover new maxims in painting, and abolished the old: and thus artists of little celebrity gave birth to others more minute and mannered, resembling their prototype in maxims, but inferior in reputation. About this time it became fashionable to paint with a certain degree of careless ease, or Sprezzatura, as it is styled by some; and Giordano and some Venetians are applauded for this manner. Several Florentine artists tried to imitate them, and have produced works that resemble sketches: this species of mannerism is not uncommon in other schools. It is unnecessary to be particular, but only to observe generally that such artists are as rare in choice collections of pictures, as Andrea del Sarto or Cigoli: the latter are there scarce, because they painted with great care; the former class because they painted with very little. In the work entitled Series of the most celebrated painters, we find Antonio Riccianti, Michele Noferi, and some others whose names are merely mentioned as scholars of Vincenzio; and Gabbiani is the only one particularly praised. In like manner, among the pupils of Pietro Dandini we find the names of Gio. Cinqui, whose portrait is in the ducal gallery, Antonio Puglieschi, of Florence, who studied under Ciro, and Valerio Baldassari of Pescia; but there is a particular eulogy bestowed on Fratinelli, whom we shall notice hereafter. I find also that P. Alberigo Carlini, a Minorite monk of Pescia, was the pupil of Ottaviano, and attended Conca at Rome. He painted some good pictures, chiefly in the church of his order at Pietrasanta. To his we may also add the name of Santarelli, a patrician of the same country, and who died at Rome.
The most celebrated pupil of the Dandini was Anton Domenico Gabbiani, not long ago mentioned; before he was the pupil of Vincenzio, he had lessons from Subtermans, and finished his education at Rome under Ciro Ferri, and at Venice by studying the best masters. We must not give credit to Pascoli, who has represented him as a mean artist.[232] Gabbiani ranks amongst the best designers of his age; a collection of his drawings is in the possession of Sig. Pacini, which was often inspected and commended by Mengs for the facility and elegance he there discovered. Many of his designs were engraved and published in his life by Ignatius Hugford. His colouring sometimes borders on the languid, but is generally good: he is correct and natural, especially in fleshy tints; juicy, and tempered by a pleasing harmony. The greatest fault in the style of this artist is in his draperies, which, though correct, and studied with his usual diligence, always exhibit a degree of heaviness in the execution, are too confined, and sometimes are not quite true in the colouring. His merit is very great in light subjects: in the Pitti, and other palaces of some of the nobility of Florence, his dances of genii and groups of boys are to be met with, and yield little to those of Baciccio. One of the finest is in the house of the Orlandini family; and the Marquis of Riccardi has specimens among the mirrors placed in his collection. His largest and most celebrated work in fresco is the vast cupola of Cestello, which he did not wholly finish. His oil pictures are esteemed precious even in the ducal gallery. Several of his works of unequal merit are preserved in churches; but his S. Philip, in possession of the fathers Dell' Oratorio, justifies the assertion of Redi, that, except Maratta, there was then no painter in Rome that could eclipse him.[233] The catalogue of his scholars is extensive; but some of them, as happens to every master, may be also claimed by other preceptors. Benedetto Luti was an honour to Gabbiani and to Florence. Having formed himself in this school, he went to Rome, in hopes of receiving the instructions of Ciro Ferri; but the death of that master intervening, he was guided by his own genius, and the monuments of art existing in that city. The style he there formed may be considered a compound of various imitations, select in the forms, pleasing and bright in colouring, shewing art in the distribution of light and shade, and as harmonious to the eye as is the orator to the ear, who enchants an audience by his well turned periods; the delightful fascination is felt, but the source of it cannot
