href="#ulink_34184c91-fd12-541d-873d-4c21a57e7dbb">[236] In his larger works (such as the altar-pieces at the Missionari and at the Monastero Nuovo,) it would appear that Conti aimed at approaching the style of Trevisani.
[237] See Saggio Istorico della R. Galleria de Firenze, tom. ii. p. 72. This work, valuable for its learning and authenticity, is written by Sig. Giuseppe Bencivenni (formerly Pelli) a gentleman of Florence, and formerly director of the ducal gallery, who is also known by his other literary labours, on the lives of the most eminent painters, by the life of Dante, and by the learned dissertation on coins, appended to the lives of the followers of Cortona. He arranged the collection of modern coins, that of engravings and of drawings, and the paintings of the ducal gallery; of these, and also of the gems and medals, he has there left manuscript catalogues.
[238] See that work at p. 232.
[239] Tom iii. p. 113.
[240] It was necessary to confine myself thus in the preceding edition. In the present we may give free scope to our commendation of Tommaso Gherardini, a Florentine, and pupil to Meucci; and who, having completed his studies in the schools of Venice and Bologna, succeeded admirably in basso-relievo and chiaroscuro. He decorated a large hall in the Medicean gallery in fresco, and painted likewise much in oil for the imperial gallery of Vienna, for German and English gentlemen, and various countries that have ornamented their collections. He shewed, at least for his age, no less skill in fresco histories, which are seen in many Florentine palaces and villas. The best of these are such as he executed in mature age, or at his own suggestion; like his Parnaso in Toscana, placed in the Casa Martelli, one of his patrons from his early years; besides others in the noble houses of Ricciardi and Ambra. He died in 1797; the senator Martelli, on the decease of the Archbishop his uncle, and that of his father, continued his patronage to the artist, and considers him as one who has reflected the greatest degree of credit on his house. The clients of that family, from the time of Donatello, have been numerous, a taste for the fine arts being hereditary in the family. The master of the academy, Pietro Pedroni, ought not to be here omitted; an oil painter of merit, whose four pictures, executed subsequent to his studies at Parma and Rome, are an ornament to his native place. Owing to ill health, he produced little during his residence at Florence, which, added to other disappointments, induced him, always the best resource, to travel. If not a rare painter, he was at least an able master: profound in theory, and eloquent in conveying his knowledge to his pupils, of whom history will treat in the ensuing age. Their success, their affection and esteem for Pedroni, is the best eulogy on him which I can transmit to posterity.
[241] See Il Saggio Istorico of Sig. Pelli, towards the conclusion.
[242] See Le Notizie su la Scoltura degli antichi e i vari suoi stili, p. 39. This short tract, illustrative of many marbles in the ducal gallery, is inserted in the third volume of Saggio di Lingua Etrusca. It was intended as a preface to a full Description of the Museum, which was then in the press, but it was suspended in consequence of the numerous changes and additions made in that place.
[243] It was the cabinet of antiquities, not then arranged. In each class I have noticed the additions of Leopold. To the busts of the Cæsars I was able to add about forty, some of which had been purchased, and others removed from the royal palaces and villas. See the Description above quoted, p. 34. The collection of heads of philosophers and illustrious men was almost all new. I give an account of it in p. 85. The series of busts of the Medicean family was completed at the same time, and Latin inscriptions were added, which are to be found in various descriptions of the gallery, with some errors, that are not to be attributed to me, but to the printers; and this remark applies to other royal epitaphs, as published in many books. The cabinet of antique bronzes is described in p. 55. For the collection of antique earthenware, see p. 157; of Greek and Latin inscriptions on stones, see p. 81. For the Hetruscan and carved cinerary urns, see p. 46. This cabinet I also endeavoured to illustrate in Saggio di Lingua Etrusca, &c. published at Rome, in 1789. For the cabinet of antique medals, arranged by the celebrated Sig. Ab. Eckell, see p. 101; the others, arranged by Sig. Pelli, are mentioned a little before.
[244] After the departure of the prince, his bust in marble was erected, and beneath it the following inscription, of which he was pleased to approve:
petrvs. leopoldvs. francisci. avg. f. avstriacvs. m. d. ep
ad. vrbis. svae. decvs. et. ad. incrementvm. artivm. optimarvm
mvsevm. medicevm
operibvs. ampliatis. copIsqve. avctis
ordinandvm. et. splendidiore. cvltv. exornandvm. cvravit
anno. m.dcc.lxxxix.
[245] He employed in this work the highly esteemed Sig. Cav. Puccini, from whom I understand, that almost a third of the pictures now in the gallery were placed there by the munificence of Ferdinand. Sig. Puccini has arranged them in a manner so symmetrical and instructive as to form a model for all other collections.
[246] In 1801 Lodovico I. began his reign in Tuscany. Dying shortly after, he was succeeded by the infant Carlo I., under the regency of the Queen-mother Maria Louisa. From this period the arts have experienced new patronage and encouragement. The very copious and select Salvetti library has been appropriated for the use of the academy; a noble example to all parts of Italy, possessing similar institutions. A new improvement also here made, is the reunion in one place of masters in scagliola, and mosaic work, gems, and the restoring of pictures, an occupation recently introduced; and in place of a master, who formerly presided, a director, with greater authority and emolument, has been appointed. Sig. Pietro Benvenuti, whom I dare not venture to commend as he deserves, for he is still living, was selected for this charge. The addition of casts also by our new rulers is of great utility, in particular those from the works of the celebrated Canova, who has been requested to produce a new statue of Venus, on the model of the Medicean, lost to us by the chance of war. The honour conferred by the queen regent upon the arts, deserves likewise a place in history; who, in the meeting of the academy, held in 1803, Sig. Alessandri being president, distributed rewards to the young students, and encouraged them to do well. It was upon this occasion that the same Cavaliere Puccini, secretary to the institution, delivered another excellent discourse, intended to prove that the pursuit of the fine arts forms one of the most expeditious and least perilous paths to human glory;—a discourse that, equally for the credit of the writer and of the fine arts, was given to the world at Florence, in the year 1804.
BOOK II.
SIENESE SCHOOL.
EPOCH I.
