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their eyes on Petrarca and his followers alone; they contracted a strong similarity of style, and differed from each other only according to their individual talents and genius. As we have above remarked, they began to exhibit some diversity after the age of Titi; but they were still languid colourists, and required to be impelled into another career. About 1580 the period had at length arrived, when they began to abandon the manner of their countrymen for that of foreign artists; and then, as we shall have occasion to shew in treating of this epoch, the Florentine styles became firm and varied. This revolution originated with two young artists, Lodovico Cigoli and Gregorio Pagani. We learn from Baldinucci, that, attracted by the celebrity of Barocci, and a picture which he had recently sent from Urbino to Arezzo, which is now in the royal gallery at Florence, they went together to see it; they examined it attentively, and were so captivated with the style, that they immediately renounced the manner of their master. Passignano followed their steps, continues Baldinucci, and Cigoli, in his company, took a second journey as far as Perugia, when Barocci had completed his celebrated Deposition from the Cross; but here the historian fell into a chronological error, inasmuch as Bellori, the accurate writer of Barocci's life, describes his picture at Perugia as anterior to that at Arezzo by several years. In whatever way the mistake ought to be cleared up, it is certain that Passignano promoted the views of Cigoli. Their example turned the rising generation from the old manner to a more vigorous style. This was more especially the case with Empoli, with Cav. Curradi, and some of those above mentioned, who were followed by Cristofano Allori, and Rosselli, artists that transmitted the new method to their new disciples. They did not, however, imitate Barocci so much as Correggio, who was the model of Barocci. Unable to visit Lombardy, they studied the few copies of his pictures, and still fewer originals, that were to be met with in Florence, in order to acquire his management of chiaroscuro, a branch of the art then neglected in Florence, and even at Rome. To this end they began to model in clay and wax; they wrought in plaster; they studied attentively the effects of light and shade; they paid less attention to practical rules, and more to nature. Hence arose a new style which, in my opinion, is among the best hitherto attempted in Italy; corrected upon the model of the Florentine school; soft and well relieved on that of Lombardy. If their forms had approached to Grecian elegance, if their expression had been more refined, the improvement of painting, which about this time took place in Italy, should have been ascribed no less to Florence than to Bologna.

Some favourable circumstances assisted the progress of the Florentine school; among these we may mention a succession of princes friendly to the art;[212] the readiness with which the celebrated Galileo imparted to artists his discoveries, and the laws of perspective; the travels of several Florentine masters to Venice, and through Lombardy; and the long residence of foreign artists, eminent as colourists, at the court of Florence. But it was chiefly owing to Ligozzi, who studied under the Venetian masters, then considered as the best in Italy, and who animated the old Florentine style with greater spirit and brilliancy than it had hitherto displayed. After noticing the good style of that period, we must not omit to mention one less praiseworthy; a sombre manner, which usurped the place of the other, and at this day renders many pictures of that period of little or no value. Some ascribe the fault to the method of mixing the colours, which was everywhere changed; and hence it is not peculiar to the Florentines, but is found diffused over Italy. It was partly owing likewise to the rage for chiaroscuro carried to excess. It is the characteristic of every school of long standing to carry to an erroneous excess the fundamental maxims of its master: this we have remarked in the preceding epoch, this we shall find exemplified in every period of painting, and this, if it were consistent with our present undertaking, we might demonstrate to have happened in literature; for a good rule extravagantly pursued leads to the corruption of taste. We shall now direct our attention to the fourth epoch, in which, omitting the two older authorities, Vasari and Borghini, we shall chiefly follow Baldinucci, who was acquainted with the artists we are now to consider, or with their successors.[213]

      Lodovico Cardi da Cigoli, the scholar of Santi di Tito, first awakened his countrymen to a nobler style, as we have already observed. The additional observation of Baldinucci, that he perhaps surpassed all his contemporaries, and that few or none derived such benefit as he did, from the study of Correggio, will not readily be granted by those who are conversant with Schedone, the Caracci, or even Barocci, when they chose to imitate the manner of that great master. From the pictures that have reached our time, Cigoli appears to have acquired a fine effect of light and shade from Correggio; to have united this to a scientific design, to a judicious perspective, the rules of which were previously taught him by Buontalenti, and to a vivacity of colouring superior to his countrymen, among whom he unquestionably holds a high rank. His works, however, exhibit not that contrast of colouring, that mellowness and clearness, that grace in foreshortenings and features, that characterize the ornament of the Lombard school. In short he was the inventor of a style always beautiful, but not always equal; especially if we compare his early works with his pictures executed after his visit to Rome. His general colouring savours of the school of Lombardy, his draperies sometimes resemble those of Paolo Veronese, and he often rivals the bold style of Guercino.

Independent of the great number of his pictures in the royal gallery, and many in the possession of the noble family of Pecori, there are a few in some private houses in Florence. The following are his most esteemed pictures: the Trinity, in S. Croce; the S. Alberto, in S. Maria Maggiore; the Martyrdom of St. Stephen, in the nunnery of Monte Domini, which Pietro da Cortona considers one of the finest pictures in Florence. Of the same class is the picture which he placed in the church of the Conventualists at Cortona, in which S. Anthony is represented in the act of converting an unbeliever, by a miracle of a mule that is seen kneeling before the holy sacrament: in this piece he aspired at surpassing any work of art in that highly decorated city. In the Vatican he painted S. Peter healing the Lame, a wonderful production, which, among the pictures in Rome, was reckoned by Sacchi next in excellence to the Transfiguration by Raffaello, and the S. Girolamo by Domenichino. The Florentine school may well be proud of this opinion, pronounced as it was by a profound connoisseur, by no means usually lavish of his commendations. This masterpiece, which obtained him the honour of knighthood, is, however, utterly ruined by the dampness of the church, and the ignorance of one who undertook to repair it: but his frescos in the church of S. Maria Maggiore at Rome still remain; and there, by some error in perspective, he appears inferior to himself;[214] nor was he permitted to retouch them, notwithstanding that he employed both interest and entreaties to that effect. Fortune, in some degree, persecuted this great artist; for had those frescos perished, and that oil painting remained to our times, Cigoli would have enjoyed a higher fame, and Baldinucci obtained more credit.

      Andrea Comodi and Giovanni Bilivert, nearly approached Cigoli; Aurelio Lomi followed at a greater distance. Of the latter, I shall speak among the Pisan artists, a few pages further on; and of two Romans, belonging to the same school, in the third book. Comodi, the associate rather than the scholar of Cigoli, is almost unknown at Florence; but there are many of his copies after celebrated masters, which often pass for originals, both in that city and at Rome. This was his peculiar talent; in this he was unrivalled; and it employed his best years. He produced, however, several original works that are highly valuable for the design, the exquisite finish, and the strong body of colouring they display. In these we may trace the friend of Cigoli, and the copyist of Raffaello. They are chiefly Madonnas, and are greatly admired for the disposition of the fingers, which are somewhat spread out, for the graceful slender neck, and a certain virgin air peculiarly his own. The Corsini family at Rome possess a very fine one. Some of his fresco pictures remain in the church of S. Vitale, in that city; and there is a picture of the Titular saint in S. Carlo a' Catinari, which appears dark and cloudy; an uncommon circumstance with so good a colourist.

      Gio. Bilivert is a name which we in vain look for in Orlandi, who has transformed him into two painters, one of whom he calls Antonio Biliverti, and the other, in imitation of Baglione, whose knowledge of him was inaccurate, Gio. Ballinert; both Florentines, and pupils of Cigoli. Like the preceding artist, Bilivert is not always equal to himself. He finished some pictures that had been left imperfect by Cigoli, to whose design and colouring he endeavoured

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