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other. In that of Peruzzi one recognizes, even at that time, that elegance of design which he delighted afterwards to exhibit in his figures, especially in the Chigi, now called the Farnese palace.

[289] It is a fresco, and, though retouched, surprises at once by the novelty and expression of the figures. A. Caracci designed it for one of his studies.

[290] Lett. vii.

[291] Siena Illustre.

[292] The expression in the original is: "condotto con quella bella grazia che si vede-non murato, ma veramente nato." Vasari.

[293] P. 191.

[294] Serlio, 1. c.

[295] Lettere Senesi, tom. iii. lett. 6. See also lett. 8. page 223, where there are many observations on the design of Mecherino, and on the execution committed to the Martini, brothers, and eminent sculptors of that period. For the prints from their works by Andreani and Gabuggiani, see the notes of Bottari on the life of Mecherino, p. 435.

[296] See Lett. Pittoriche, tom. i. p. 311, and tom. iv. p. 344. See also Notes on Vasari, tom. iv. p. 436. Ed. Fiorentin.

[297] He inscribed the monument, "Francisco Vannio … Michael Angelus … novæ hujus in petrâ pingendi artis inventor et Raphael … Filii parenti optimo m. p. a. 1656.

[298] See the note of Bottari on Gallaccini's letter. tom. i. p. 308.

      SIENESE SCHOOL.

      EPOCH III.

       Table of Contents

      The art having declined in Siena through the disasters of the state, is revived by the labours of Salimbeni and his sons.

      We have related the progress and best works of the Sienese school from the beginning, to about the middle of the sixteenth century; but we have not yet considered a circumstance that adds greatly to the merit of the artists and works of that period. If we search into the history of that half century, we shall find that all Italy groaned under the pressure of public calamities; but Siena, to a greater degree, and for a longer period than any other place, endured an accumulation of the most terrible evils. Famine, pestilence, and a suspension of commercial intercourse, afflicted other states, but here they seem to have exhausted their rage: civil commotions and external enemies agitated other states, but here, during a period of many years, they allowed not a moment of tranquillity. The republic of Siena, strong in the valour of her citizens, was feeble in every thing besides; and hence it resembled a gulph, where tempests are more frequent and more violent than on the ocean. The usurpation of the Petrucci, the dissensions between the nobles and the people, and jealousy of foreign powers, who sought her subjugation, kept Siena in constant alarm, and often incited to arms and to bloodshed. The remedy which they now expected in the protection of the emperor, at another time from France, only served to aggravate internal commotion and foreign aggression. Amid this perpetual agitation, I know not whether most to admire the genius of the people, ever directed to the decoration of their houses and public edifices, or the spirit of the artists, who could summon all the powers of their minds to such efforts: this I know, that similar instances are rare in other countries. The year 1555 at length arrived, when Cosmo I. deprived the Sienese of their long defended liberty. To any enemy but the Florentines they would have submitted with less reluctance; and on this account our astonishment is lessened on finding that, on this occasion, two thirds of the inhabitants abandoned their native soil, refusing to live subject to enemies so abhorred.

At this time, and in the disasters above alluded to, the city lost many able artists, and also several families, from whom eminent artists were descended, and whose Sienese origin is confirmed by history. Baglione says of Camillo Mariani, that he was born at Vicenza, and that his father was a native of Siena, who had expatriated himself on account of the wars; and he praises the cabinet pictures of this artist, who died at Rome with the reputation of an excellent sculptor. I likewise find at Bologna an Agostino Marcucci, of Siena, who is wholly unknown in that place, probably because he was the son of an emigrant. He was a disciple of the Caracci, till a schism arose in that school, which we shall notice in its proper place, when he ranged himself with the foremost adherents of Facini, the leader of the party, and they had the boldness to set up a new academy in opposition to that of the Caracci. He continued to reside in Bologna, and to teach to the time of his death, and is reckoned by Malvasia among "the first men" of that age. Of his scholars Malvasia mentions only Ruggieri, and he only notices one of his pictures at the Concezione;[299] to which several others, however, are added in the New Guide.

Siena, in the mean time, began to breathe from her misfortunes, and to be reconciled to the new government, which, through the prudence of Cosmo, appeared rather a reformation in the old, than a new domination. No long time elapsed before the void left in the city by the artists who had emigrated was filled up by others. Rustico had remained there, as well as his superior, Riccio, who painted the celebrated scene, already noticed, on the coming of Cosmo. Siena also possessed Tozzo and Bigio, whom Lancillotti reckons "among the most famous painters," I believe, in small figures; and it is not easy to distinguish between those two artists, who had an extraordinary similarity of style. Arcangiolo Salimbeni, who is expressly said by Baldinucci to be a "scholar of Federigo Zuccari," may have received the rudiments of the art from one of them. Perhaps, as the historian goes on to say, during his residence at Rome he might contract an intimate friendship with Zuccari; but the style of Salimbeni discovers very opposite principles from those of that master; and notwithstanding all researches, no one has succeeded in finding pictures of his that bear indications of that school. He loved precision more than fulness of design; and we may even observe in him an attachment to the manner of Pietro Perugino, as was observed by Della Valle with regard to a Crucifixion attended by six Saints, in the parish church of Lusignano. In his other pictures at Siena, especially in the S. Peter-Martyr, in possession of the Dominicans, he appears wholly modern;[300] but diligent, and free from the defects which we often observe in Federigo, who may be considered as a professed mannerist of that period. It was the good fortune of the Sienese school, that Riccio was succeeded by this artist, who, if he had not a lofty genius, possessed, at least, the judgment to avoid the faults of his contemporaries. Hence, amid the degeneracy of the neighbouring schools this remained uncontaminated, or but slightly infected; and the new disciples it sent forth contributed to the improvement of the art in Italy. They were not so much attached to home as Mecherino; they painted equally well beyond the territory of Siena; they visited very distant cities, and in them all left specimens of their art, both in public and in private, which are still preserved. After receiving the first instruction from Salimbeni, or some less known artist, each chose his own guide. We shall here proceed with their history.

      After receiving the rudiments of the art at Siena, Pietro Sorri went to Florence, under Passignano, and became his son-in-law, and the associate of his labours in that place and in Venice. He emulated the style of Passignano, which partook, as we have observed, of the Florentine and the Venetian: he succeeded so well, that their works bear a perfect resemblance, and are held in equal estimation. He painted less expeditiously than his father-in-law; but his colouring was more durable, and, if I mistake not, his design

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