was transferred from the royal gallery of Florence to the imperial gallery of Vienna.—See Rosa Scuola Italiana, p. 141.
[170] Plin. Hist. Nat. lib. xxxv. cap 10.
[171] "Any excellence he possessed was stolen from the admirable manner of our Florentine painter, Rosso; a man truly of wonderful genius." Cellini, in his life, as quoted by Baldinucci, tom. v. p. 72. He who writes thus of the ablest pupil of Giulio Romano, either was unacquainted with his works in Bologna, and in Mantua, executed before he knew Rosso, or blinded by party rage, was incapable of appreciating them.
[172] Page 81.
[173] About the time when Michele taught, there resided in Spain one Tommaso Fiorentino; one of whose portraits is mentioned by the Sig. Ab. Conca, (tom. i. p. 90,) belonging to the Royal Palace at Madrid. In the Ducal Palace of Alva, there are also galleries of grotesques, where we read the name of Tommaso Fiorentino, the author, to which is added (tom. ii. p. 362) "The name of this professor of the art is quite new to me; in his grotesques we meet with the exact style of the sons of Bergamasco, &c." I hardly know how the name can appear new to the Ab. Conca, when he had already mentioned it elsewhere; nor how the composition of an artist, who painted in 1521, could resemble that of others who were still young in the year 1570, in which their father died.
[174] Vasari, in his Life of Morto, says, that he came to Florence in order to improve his skill in figures, in which he was deficient, by studying the models of Vinci and of Michelangiolo. In despair, however, he returned to his grotesques. Now I shall elsewhere produce an unedited document shewing his ability in figure painting, which I should not have occasion to do if the beautiful portrait of Morto, in the Royal Gallery at Florence, was, as is conjectured, by his hand. But I am inclined to think that it is the likeness of an unknown person, who, as I have seen in other portraits, caused himself to be drawn with a finger pointing to a death's head, in order to remind him of his mortality, but in this picture the head has been capriciously interpreted as a symbol of the name of Morto, and the painting given as the portrait and work of Feltrese; of whom Vasari gives a very different one.
[175] They wrought from the designs of Pontormo, and still more those of Bronzino. They also wrought for the Duke of Ferrara after the designs of Giulio Romano, published by Gio. Battista Mantuano, among his prints.
[176] A similar composition is to be seen in an altar-piece in the cathedral of Volterra. It is inscribed, Opus Leonardi Pistoriens. an. 1516. This, however, ought not to be passed over on account of an historical doubt started by the Cavalier Tolomei, whether there flourished, at the same period, two Lionardi da Pistoja; thus insinuating they were of different families. And this would appear to be the case. The painter of the piece in Volterra was not Grazia, at Naples, probably, surnamed Guelfo; since his master Penni, if we are to believe Vasari, was in that year, 1516, still the scholar and assistant of Raffaello; nor does it seem probable that he educated a pupil of so much merit. The Leonardo, therefore, who painted in Volterra, must have been some other of more proficiency.
[177] "Hic invenies quidquid diversorum colorum generibus et mixturis habet Græcia … quidquid in fenestrarum varietate pretiosa diligit Francia."
[178] Zanetti, Nuova Raccolta delle Monete e Zecche d'Italia, (tom. iv. p. 158). In this work we meet with a long Latin document, which makes mention of a brother of Marco, named Paolo, also a painter; qui habet in cartâ designatam mortem S. Francisci, et Virginis gloriose, sicut picte sunt ad modum theutonicum in pano (i.e. panno) ad locum minorum in Tarvisio.
[179] Tom. iii. p. 25.
[180] Bellori vite de' Pittori, &c. page 392.
FLORENTINE SCHOOL.
EPOCH III.
The Imitators of Michelangiolo Bonarruoti.
After the time of the five great masters above mentioned, the Florentines were so rich in fine specimens of art that they had no occasion to apply to foreign schools for improvement. They had only to select the best specimens from the works of native artists; as, for instance, grandeur from Michelangiolo, grace from Andrea, and spirit from Rossi; they could learn colouring and casting of draperies from Porta, and chiaroscuro from Vinci. They appear, however, to have assiduously applied to design, but to have paid little attention to the other branches of painting. Even in that branch they imagined that every thing was to be found in Bonarruoti; and imitated him alone. Their choice was influenced by the celebrity,[181] the success, and very long life of this artist, who, having survived all his eminent fellow citizens, naturally recommended to employment the followers of his maxims, and the adherents of his manner; hence it has been observed by some, that Raffaello lived too short a time for the progress of the fine arts, Michelangiolo too long. But artists ought to keep in mind the opinion, or rather prophecy of Bonarruoti—that his style would be productive of inept artists, which has invariably been the character of those who have imitated him without judgment.
Their study and constant practice has been to design from his statues: for the cartoon on which so many eminent men formed their style, had already perished; and his paintings were not to be seen in Florence but in Rome. They transferred into their compositions that statue-like rigidity, that strength of limb, and those markings of the origin and insertion of muscles, that severity of countenance, and those positions of the hands and figures, which characterized his sublimely awful style; but without comprehending the principles of this extraordinary man, without thoroughly understanding the play of the softer parts of the human figure, either by inserting them in wrong situations, or by representing, in the same manner, those in action and at rest; those of a slender stripling, and of the full-grown man. Contented with what they imagined grandeur of style, they neglected all the rest. In some of their pictures we may observe a multitude of figures arranged one above the other, with a total disregard of their relative situations; features that express no passion, and half naked figures that do nothing, except pompously exhibit, like the Entellus of Virgil, magna ossa lacertosque. Instead of the beautiful azure and green formerly employed, they substituted a languid yellowish hue; the full body of colour gave place to superficial tints; and, above all, the bold relief, so much studied till the time of Andrea, went wholly into disuse.
In several passages Baldinucci confesses this decline, which, however, scarcely extended to two or three generations, and seems to have commenced about 1540. During this unfortunate era the Florentines did not degenerate as much as some other schools. The churches are full of pictures of this era, which, if they are not to be admired like those of the preceding, are, at least, respectable. Whoever sees the church of S. Croce, S. Maria Novella, and other places, where the best artists of this era painted, will undoubtedly find more to praise than to condemn. Few of them were eminent as colourists, but many in design; few were entirely free from the mannerism above noticed; many, however, by progressive improvement, at length attained gracefulness. We shall proceed to consider them, chiefly following the steps of Vincenzio Borghini, their contemporary; the author of Il Reposo, a dialogue worthy of perusal, both
