The History of Italian Painting. Luigi Lanzi
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to unite the expression of Titi, and a more avowed and frequent imitation of the ornaments of Paolo Veronese. Bilivert is not sufficiently choice in heads; but he abounds in expression, as may be seen at S. Gaetano and S. Marco, where there are many of his historical pictures, particularly the Raising of the Cross, esteemed one of his best performances. Those pieces which he engaged to execute, and in which he never appears able to satisfy himself, are repeated by his scholars: sometimes inscribed with the initials of his name, especially when he himself retouched them; at other times they are without an epigraph. None of his productions are so worthy of being copied as Joseph with Potiphar's wife; which arrests the eye of every spectator in the ducal gallery. Many copies of it are to be found in Florence; it may be seen in foreign collections, in the Barberini Palace at Rome, in the Obizzo collection at Cattaio, and in several other places.
The ornamented style of Bilivert had many imitators, whose works, in galleries and in private houses, would pass for those of Venetian artists, had they greater spirit and a better colouring. Bartolommeo Salvestrini is at their head; but he was cut off in his prime, by the plague of 1630, so disastrous to Italy and the art. Orazio Fidani, an assiduous artist, and skilled in the style of his master, painted much at Florence; where his Tobias, that was finished for the fraternity of Scala, but is now removed, is especially commended. Francesco Bianchi Buonavita was engaged in few public works. He was chiefly employed in copying ancient pictures, which the court presented to foreign princes, and in furnishing cabinets with little historical pieces, that were at that time in great request in countries beyond the Alps. They were painted on jasper, agate, lapis lazzuli, and other hard stones; the spots in which assisted in forming the shadows of the pictures. Agostino Melissi contributed much to the tapestry of the ducal family, by furnishing cartoons from the works of Andrea del Sarto, and also some of his own invention. He likewise possessed a genius for oil painting; in which branch his S. Peter at the Gate of Pilate, which he painted for the noble family of Gaburri, is particularly praised by Baldinucci. Francesco Montelatici, by some supposed a Pisan, by others a Florentine, and surnamed Cecco Bravo, from his quarrelsome disposition, abandoned the style of Bilivert, or at least mixed it with that of Passignano. He was a fanciful and spirited designer, and not a bad colourist. A fine painting of S. Niccolo Vescovo, by this artist, is to be seen at the church of S. Simone; but his works are rare in churches, for he was chiefly employed in painting for private, and sometimes for royal collections. He died painter to the court of Inspruck. Giovanni Maria Morandi remained but a little time with Bilivert, and on going to Rome, adopted the style of that school.
Gregorio Pagani was the son of Francesco, who died young; but was highly esteemed by his countrymen. He had studied the works of Polidoro and of Michelangiolo, at Rome, and executed admirable imitations of them for private gentlemen in Florence. Gregorio himself could scarcely distinguish them. He received the rudiments of his art from Titi, but was initiated in a better style by Cigoli. Strangers praised him as a second Cigoli, whilst his country possessed at the Carmine the picture of the Finding of the Cross, which has been engraved; but when the painting, with the church, was consumed by fire, no great work of his remained in public, except a few of his frescos; one of which, though somewhat injured by time, is an ornament to the cloister of S. Maria Novella. He is rarely to be met with in Florentine collections, as he chiefly painted for foreigners. Of his school I here say nothing: it only produced one eminent pupil; but this one was so conspicuous that he may be said to form a new era, as we shall find in the sequel.
Another associate of Cigoli was Domenico da Passignano, the scholar of Naldini and of Federigo Zuccaro, whom he resembles most, from his long residence at Venice; where he likewise married. He became so decided an admirer of the merits of this school, that he was accustomed to say that he who had not seen Venice, ought not to boast that he was a painter. This circumstance sufficiently accounts for his style, which is not the most profound, nor the most correct; but it exhibits contrivance, is vast, rich in architecture and in drapery, resembling more the manner of Paolo Veronese, than that of the Florentine school. Sometimes he resembles Tintoretto in his attitudes, and in that oily colouring which ought to have been avoided; and through which many works of both artists have perished. This has been the fate of his Crucifixion of St. Peter, which he executed for the great church in Rome, under Paul V. and of the Presentation of M. V. which he also painted at the same place under Urban VIII. Several pictures, however, remain in some Italian cities, that were begun by his scholars and finished by him, with a degree of care that hands him down to posterity as a great artist. A dead Christ, in the chapel of Mongradone, at Frascati, is in this style; as are an Entombing of Christ, in the Borghese palace, at Rome; a Christ bearing the Cross, in the college of S. Giovannino, and some other works of his at Florence. Passignano, his native place, possesses what is perhaps his most perfect work, in the font of the Church of the Fathers of Vallombrosa. He there painted a Glory, that proclaims him an excellent artist, and worthy of a place with his pupils, Lodovico Caracci, the founder of the Bolognese school, and Tirani, one of its great ornaments. His Tuscan pupils did not attain equal celebrity. Sorri of Siena, whom we reserve for that school, is the one best known in Italy; having painted with applause in several of her cities. Here we must consider those artists connected with Florence.
Fabrizio Boschi is a spirited painter, whose characteristic excellence appears to consist in novelty of composition, united to a precision superior to the generality of his school. A S. Bonaventura in the act of celebrating mass, in All Saints' church at Florence, is much praised: and, perhaps, his two historical frescos of Cosmo II. which he painted in the palace of Cardinal Gio. Carlo de' Medici, in emulation of Rosselli, are superior to any of his other works. Ottavio Vannini became eminent in colouring and was very attentive to every other branch of painting; but he was sometimes poor and cold; and although good in each part of his pictures, was not happy in the whole. Cesare Dandini, a disciple of several schools, imitated Passignano in design, in brilliancy, and also in the perishable nature of his colours: he was diligent in other things, and very assiduous. His best picture is a S. Carlo, surrounded by other saints, in the church of Ancona: the composition is fine, and the whole in good preservation. Many works of this artist, and of Vannini, decorate collections.
Nicodemo Ferrucci, the favourite pupil of Passignano, and the companion of his labours at Rome, possessed much of the boldness and spirit of his master. By his example he was led to affix a good price to his pictures, mostly frescos executed at Florence, Fiesole, and for the State. He died young at Fontebuoni; but many of his works, too good to be here omitted, still remain in Rome; one of the most esteemed of which is found at S. Gio. de' Fiorentini, besides two histories of Maria S. S. which, if I mistake not, have suffered from being retouched.
Cristofano Allori was at perpetual variance with Alessandro, his father and preceptor, on account of his attachment to the novel maxims of the three masters we have just commended. In the opinion of many he is the greatest painter of this epoch. When the excellence he attained, during a long life, is considered, he appears to me in some degree, the Cantarini of his school. They resembled each other in the beauty, grace, and exquisite finish of their figures; with this difference, that the beauty of Cantarini partakes more of the ideal, and that the flesh tints of Allori are more happy. This circumstance is the more surprising, inasmuch as he knew nothing of the Caracci, nor of Guido; but supplied all by a nice discrimination, and an unwearied perseverance; for it was his custom never to lift his pencil from the canvass until his hand had obeyed the dictates of his fancy. From this method, and from vicious habits that often seduced him from his labours, his pictures are extremely rare, and he himself is little known. The S. Julian of the Pitti palace is the grandest effort of his genius; and if it is not among the finest pictures in this magnificent collection, it undoubtedly claims the highest rank in the second class. His picture of Beato Manetto, in the church of the Servi, a small piece, but excellent in its kind, is reckoned the next in merit.
Many young men were sent to be instructed by him in the art of painting; but few of them remained long: most of them were disgusted at the dissipation of the master, and the insolence of some of their fellow students. He formed some landscape painters, whom we shall notice under their class; and also some copyists, whose labours may boast of hues and retouching, the work of his hand. Of this class were Valerio Tanteri,[215] F. Bruno Certosino, and Lorenzo Cerrini. These, and other artists of this school, continued the Giovian series of the later race