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in the church of S. Francis, and the Repose in Egypt in that of the Madonna della Umiltà. This latter place is a most majestic octagonal temple, executed by Ventura Vitoni of Pistoia, the great pupil of Bramante, and surmounted by a cupola, which is reckoned among the noblest in Italy. Baldi finally established his abode in Rome; where he was much employed, as well as in other parts of the states of the Church. One of the most studied pictures he ever painted is at S. Camerino, and represents S. Peter receiving the pontifical power. A still more recent artist is Gio. Domenico Piastrini, a scholar of Luti, who in the porch of Madonna della Umiltà, filled two large spaces with pictures, illustrative of the history of this church, and who rivalled the best followers of Maratta, in S. Maria in Via Lata, at Rome. It is not foreign to this period to notice Gio. Batista Cipriani, who was born in Florence, but descended from a family of Pistoia;[237] especially as he left specimens of his pencil in the neighbourhood of the places we have just mentioned. Two of his altar-pieces were in the abbey of S. Michael-on-the-Sea; one of S. Thesaurus, the other of S. Gregory VII. which are valuable, as Cipriani painted but little. His excellence lay in design, which he acquired from the collection of the studies of Gabbiani, beforementioned. Having afterwards gone to London, he was much employed by the celebrated Bartolozzi, who has immortalized the painter by engraving his inventions. We might augment our catalogue with the two Giusti and Michele Paoli, a Pistoian of the school of Crespi; but they did not attain maturity, if we depend on the information afforded by the continuator of Felsina Pittrice.[238]

      Of those within the Florentine territory, the Pisans, and of those beyond it, the artists of Lucca, yet remain to be considered. Camillo Gabrieli, a scholar of Ciro, was the first who transplanted the style of Cortona into Pisa; and in this manner executed a good oil painting at the convent of the Carmelites, and also several for private individuals; in this kind of painting he was more happy than in fresco. In this line, however, his memory is honoured in his native place, both for his works in the grand saloon of the Alliata palace, and in the apartments of other noblemen's houses; and likewise on account of his pupils, the two Melani, who have contributed much to his reputation. We shall notice Francesco among the professors of architectural design: Giuseppe his brother, and a knight of the golden spur, became no common artist in figures, and was worthy of painting in the cathedral a large oil picture of the death of S. Ranieri. Although this piece ranks in the scale of mediocrity in this sanctuary of the arts, it does honour to its author; the invention is good, the perspective is regular, and exhibits no marks of carelessness, as is so often the case. But his place is among the painters in fresco; in which department he ornamented with figures the architectural works of his brother; and has shewn himself tenacious of the manner of Cortona, both in what is commendable in it, as the perspective, colouring, and harmony; and also where it is less praiseworthy, as in the heaviness and imperfect finish of the figures.

      With a similar instance we shall commence the series of artists of Lucca: the two brothers, Ippolito and Giovanni Marracci, obtained equal applause in very different branches of the art; the former was a painter of architecture, the latter of figures; and of him only we shall here speak. Although little known beyond Lucca, he is reckoned among the eminent scholars and most successful imitators of Pietro da Cortona; and merits this name, either when he painted in fresco, as in the cupola of S. Ignatius, at S. Giovanni; or when he wrought in oil, 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

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