as he did in several pictures in the possession of the brotherhood of S. Lorenzo, in the collegiate church of S. Michael, and in other places. With equal success two other artists, natives of Lucca, who had been educated in his school, became imitators, for a period, of Pier Cortona. These were Giovanni Coli and Filippo Gherardi, who were trained in the school of their native place, and resembled each other no less in style than in disposition; so that though they usually painted in the same piece, all their joint labours appear the work of a single artist. They afterwards adopted a manner that participates of the Venetian and Lombard schools; and in this style they painted the vast ceiling of the library of S. Giorgio Maggiore at Venice. Rome possesses some of their stupendous works in the church of the Lucchesi, and in the magnificent Colonna gallery. The most celebrated picture with which they ornamented their native place was the fresco of the tribune of the church of S. Martin, and next to it that in S. Matthew's, which they decorated with three oil pictures. After the death of Coli, his companion resided and continued to paint in Lucca: the whole cloister of the Carmelite monastery was painted by him alone.
The manner of Cortona was likewise adhered to by Gio. Batista Brugieri, a scholar of Baldi and of Maratta, who was in his day highly applauded for his works in the chapel of the Sacrament, at the Servi, and his other productions in public. P. Stefano Cassiani, from the fraternity to which he belonged, surnamed Il Certosino, or the Carthusian, painted in fresco the cupola of his church, and two large histories of our Lady, besides other reputable works in the style of Cortona, at the Certosa of Pisa, of Siena, and elsewhere. Girolamo Scaglia, a disciple of Paulini and of Gio. Marracci, is surnamed Parmegianino. In architecture he imitated Berrettini, as is remarked by Sig. da Morrona;[239] in his shadows he followed Paulini, and sometimes approached Ricchi: as a painter his effect was superior to his design; or as it was observed by the Cav. Titi, (p. 146) on beholding his picture of the Presentation, painted at Pisa, it exhibits extreme industry and very little taste. Gio. Domenico Campiglia was reckoned among the best designers in Rome; and of him the engravers of antiquities particularly availed themselves. He was not without merit as a painter; and in Florence, where he executed some pictures, his portrait has a place among those of eminent artists. A picture painted by Pietro Sigismondi, of Lucca, for the great altar of S. Nicholas in Arcione at Rome, is honourably mentioned by Titi: I know not whether any of his works remain in his native place; and the same is the case with Massei and with Pini, who will be considered in another school.
I shall close this series with two other artists; and had the age produced many like them, Italian painting would not have declined so much as it has done during the eighteenth century. Giovanni Domenico Lombardi lived not, like his pupil, Cav. Batoni, within the enlightening precincts of Rome, but in merit he was at least equal to Batoni. He formed his style on the works of Paulini, and improved it by studying the finest colourists at Venice, and also by paying attention to the school of Bologna. The genius of this artist, his taste, his grand and resolute tone, appear in several of his pictures, executed in his best time, and with real pains. Such are his two pieces on the sides of the choir of the Olivetani, which represent their founder, S. Bernard, administering relief to the citizens infected with the plague. There are two others in a chapel of S. Romano, which are painted with a magic force approaching to the best manner of Guercino; and one of them, in the opinion of the most rigid critics, seems the work of that artist himself. He should always have painted thus; and never have prostituted his pencil to manufacture pieces at all prices. Batoni, who will be noticed in our third book among the Roman masters, supported better his own dignity and that of the art. He adhered in a great measure to the maxims of this school, a circumstance which did not altogether please his first master, who on examining some of his early performances, remarked, that they required a greater covering of dirt, for they appear to him too trimly neat. One who has not an opportunity of examining his capital works, may satisfy himself in Lucca, either in the church of the Olivetine fathers, where he painted the Martyrdom of S. Bartolommeo; or in that of S. Catharine of Siena, where she is represented receiving the mystic wounds of the crucifixion.
I shall not here mention many artists in the inferior walks of the art. The example of Cortona influenced none in this class, except a few ornamental painters, and some artists who accompanied their figures by landscapes. The painters of landscapes, flowers, and the like, continued to follow their original models. Chiavistelli, for instance, has been followed by various artists in fresco of this age, who besides executing figures, have exercised, as before remarked, other branches of painting. Pure architectural and ornamental painting in a good taste are, however, distinct arts; and to attain excellence in them requires all the faculties of man. Angiol Rossi, of Florence, applied himself to it, as I believe, in Bologna; and assiduously practised it at Venice, as we are informed by Guarienti. Two artists of Lucca, Pietro Scorzini and Bartolommeo Santi, received their education at Bologna, and were the favourite decorators of many theatres. Francesco Melani, of Pisa, adhered strongly to Cortona. As learned in perspective as his brother was in figures, his style was so similar, that no architectural painter was so well suited to accompany the figures of the other. This will be allowed by all who view the ceiling in the church of S. Matthew at Pisa, which is their finest work, or their paintings in Siena, and at other places, where they were employed together. They educated a pupil worthy of them, in Tommaso Tommasi, of Pietra Santa, a man of vast conception, who succeeded in Pisa to the commissions bestowed upon his masters, and produced very pleasing specimens of his powers in the nave of the church of S. Giovanni. Ippolito Marracci, of Lucca, the scholar of Metelli, appears a successful rival of his master, either when he painted by himself, as in the Rotonda, at Lucca, or when associated with his brother, as was generally the case. Domenico Schianteschi, a disciple of Bibieni, lived in San Sepolcro; his perspectives in that city are to be seen in the houses of many of the nobility, and are much esteemed.
Florence has boasted professed portrait painters, even to the present time; among whom Gaetano Piattoli is particularly extolled. He was pupil to a French artist, Francesco Riviera, who had resided and died at Leghorn, and was very much prized in collections for the excellence of his Conversazioni and Turkish ballets. He is well known too, in other countries; for he was employed to take portraits of the foreign nobility who visited Florence. The portrait of himself, which he painted for the ducal gallery, indicates the style of the rest. An illustrious female artist emanated from the school of Gabbiani, although assisted in her studies by other masters, and this was Giovanna Fratellini, who was not without invention, and was most expert in portrait painting. She executed in oil, in crayons, in miniature, and in enamel, various portraits of the family of Cosmo III. and of other princes, to paint whom she was sent by her sovereign to several cities of Italy. That which she painted of herself, is in the ducal gallery: in it she has blended the employment of the artist with the affection of a mother. She is represented in the act of taking a likeness of Lorenzo, her only son and pupil, who died in the flower of his age. It is painted in crayons, an art in which she may be called the Rosalba of her time. Domenico Tempesti, or Tempestino, is rather included among engravers than painters; though he was instructed by Volterrano in Florence, in the latter art, and exercised it with credit both in landscape and portrait. He is mentioned by Vianelli in the catalogue of his pictures. It would appear that he was the same Domenico de Marchis, called Tempestino, whom Orlandi casually notices in the article of Girolamo Odam, whom Domenico had initiated in the elements of landscape painting. Orlandi gives also a separate article, under the head of Domenico Tempesti, in which his voyages through Europe, and his long residence at Rome, are dwelt upon.
Many landscapes, chiefly rural views, painted by Paolo Anesi, are dispersed through Florence, and there are also many of them in Rome. Francesco Zuccherelli, a native of Pitigliano, born in the year 1702, was his scholar. On going to Rome, he resided there a long time, and first entered the school of Morandi, and afterwards of Pietro Nelli. His first intention was to study figures, but by one of those circumstances which discover the natural predilection, he applied himself to painting landscape; and pursued it in a manner that united strength and sweetness; and has been highly extolled not only in Italy, but over all Europe. His figures also were elegant, and these he was sometimes employed to introduce in the landscapes and architectural pieces of other artists. His principal field in Italy was Venice, where he was settled, until the celebrated Smith made him known in England, and
