The states of the church possessed in this epoch painters of consideration, besides those in Perugia, where flourished the two Alfani and others, followers of a good style; but whether they were known or employed in Rome, I am not able to say. I included them in the school of Pietro, in order that they might not be separated from the artists of Perugia, but they continued to live and to work for many years in the 16th century. To these may be added Piero and Serafino Cesarei,[[66]] and others of less note. In the city of Assisi, there resided, in the beginning of the 16th century, a Francesco Vagnucci, and there remain some works by him in the spirit of the old masters. There, also, afterwards resided Cesare Sermei Cavaliere, who was born in Orvieto, and married in Assisi, and lived there until 1600, when he died at the age of 84. He painted both there and in Perugia, and if not in a grand style of fresco, still with a felicity of design, with much spirit in his attitudes, and with a vigorous pencil. He was a good machinist, and of great merit in his oil pictures. At Spello I saw a picture by him of the Beatified Andrea Caccioli; and it seems to me, that few other painters of the Roman School had at that time equalled him. His heirs, in Assisi, possess some pictures by him of fairs, processions, and ceremonies which occur in that city on occasion of the Perdono; and the numbers and variety and grace of the small figures, the architecture, and the humour displayed, are very captivating. At Spello, just above mentioned, in the church of S. Giacomo, is a picture which represents that saint and S. Catherine before the Madonna: where we read Tandini Mevanatis, 1580; that is, of Tandino di Bevagna, a place near Assisi; nor is it a picture to be passed over.
Gubbio possessed two painters, brothers of the family de' Nucci; Virgilio, who was said to be the scholar of Daniel di Volterra, whose Deposition he copied for an altar at S. Francis in Gubbio; and Benedetto, a disciple of Raffaellino del Colle, considered the best of the painters of Gubbio.[[67]] Both of them have left works in their native place, and in the neighbouring districts; the first of them always following the Florentine, and the second the Roman School. Of the latter there are many pictures at Gubbio, which shew the progress he had made in the style of Raffaello; and to see him in his best work, we must inspect his S. Thomas in the Duomo, which would be taken for a picture of Garofalo, or some such artist, if we were not acquainted with the master. A little time afterwards flourished Felice Damiani, or Felice da Gubbio, who is said to have studied in the Venetian School. The Circumcision at S. Domenico has certainly a good deal of that style; but in pencil he inclines more to the Roman taste, which he, perhaps, derived from Benedetto Nucci. The Decollation of St. Paul, at the Castel Nuovo, in Recanati, is by him: the attitude of the saint excites our sympathy: the spectators are represented in various attitudes, all appropriate and animated: the drawing is correct, and the colours vivid and harmonious. It is inscribed with the year 1584. About ten years afterwards, he painted two chapels at the Madonna de' Lumi, at S. Severino, with subjects from the life of Christ; and there likewise displayed more elegance than grandeur of style. His most studied and powerful work is at S. Agostino di Gubbio, the Baptism of the Saint, painted in 1594, a picture abounding in figures, and which surprises by the novelty of the attire, by its correct architecture, and by the air of devotion exhibited in the countenances. He received for this picture two hundred scudi, by no means a low price in those times; and it should seem that his work was regulated by the price, since in some other pictures, and particularly in one in 1604, he is exceedingly negligent. Federigo Brunori, called also Brunorini, issued, it is said, from his school, and still more decidedly than his master, followed the Venetian style. His portraits are natural; and he was a lover of foreign drapery, and coloured with a strong effect. The Bianchi have an Ecce Homo by him, in which the figures are small, but boldly expressed, and shew that he had profited from the engravings of Albert Durer. Pierangiolo Basilj, instructed by Damiani, and also by Roncalli, partakes of their more delicate manner. His frescos, in the choir of S. Ubaldo, are held in esteem; and at S. Marziale, there is by him a Christ preaching, with a beautiful portico in perspective, and a great number of auditors: the figures in this are also small, and such as are seen in the compositions of Albert Durer. The pictures appear to be painted in competition. Brunori displays more energy, Basilj more variety and grace.
In the former edition of this work I made mention of Castel Durante, now Urbania, in the state of Urbino. I noticed Luzio Dolce among the ancient painters, of whom I had at that time seen no performance, except an indifferent picture, in the country church of Cagli, in 1536. Since that period Colucci has published (tom. xxvii.) a Cronaca di Castel Durante, wherein he gives a full account of Luzio, and of others that belong to that place. Bernardino, his grandfather, and Ottaviano, his father, excelled in stucco, and had exercised their art in other places; and he himself, who was living in 1589, is commended for his altarpieces and other pictures, in the churches, both in his native city and other places: and further, it is stated that he was employed by the duke to paint at the Imperiale. He also makes honourable mention of a brother of Luzio, and extols Giustino Episcopio, called formerly de' Salvolini, who, in conjunction with Luzio, painted in the abbey the picture of the Spirito Santo, and the other pictures around it. He also executed many other works by himself in Castel Durante and elsewhere, and in Rome as well, where he studied and resided for a considerable time. It is probable that Luzio was, in the latter part of his life, assisted by Agostino Apolonio, who was his sister's son, married in S. Angelo in Vado, and who removed and settled in Castel Durante where he executed works both in stucco and in oils, particularly at S. Francesco, and succeeded alike to the business and the property of his maternal uncle.
At Fratta, which is also in the state of Urbino, there died young, one Flori, of whom scarcely any thing remains, except the Supper of our Lord, at S. Bernardino. But this picture is composed in the manner of the best period of art, and deserves commemoration. Not far from thence is Città di Castello, where, in the days of Vasari, flourished Gio. Batista della Bilia, a fresco painter, and another Gio. Batista, employed in the Palazzo Vitelli, (tom. v. p. 131). I know not whether it was from him, or some other artist, that Avanzino Nucci had his first instructions, who repairing to Rome, designed after the best examples, and was a scholar and fellow labourer in many of the works of Niccolo Circignano. He had a share in almost all the works under Sixtus, and executed many others, in various churches and palaces. He possessed facility and despatch, and a style not very dissimilar to that of his master, though inferior in grandeur. He resided some time in Naples, and worked also in his native place. There is a picture by him, of the Slaughter of the Innocents, at S. Silvestro di Fabriano. Somewhat later than he, was Sguazzino, noticed by Orlandi for the pictures painted at the Gesù in Perugia; though he left better works in Città di Castello, as the S. Angelo, in the Duomo; and the lunettes, containing various histories of our Lady, at the Spirito Santo, besides others in various churches. He was not very correct in his drawing, but had a despatch and a contrast of colours, and a general effect that entitled him to approbation.
Another considerable painter, though less known, was Gaspare Gasparrini, of Macerata. He was of noble birth, and followed the art through predilection, and painted both in fresco and oils. From the information which I received from Macerata,[[68]] it seems he learned to paint from Girolamo di Sermoneta.[[69]] However this may be, Gasparrini pursued a similar path, although his manner is not so finished, if we may judge from the two chapels at S. Venanzio di Fabriano, in one of which is the Last Supper, and in the other the Baptism of Christ. Other subjects are added on the side walls, and the best is that of S. Peter and S. John healing the Sick, a charming composition, in the style of Raffaello. We find by him, in his native place, a picture of the Stigmata, at the Conventuals, and some cabinet pictures, in the collection of the Signori Ferri, relations of the family of Gaspare. Others too are to be found, but either doubtful in themselves, or injured by retouching. Padre Civalli M. C., who wrote at the close of the sixteenth century, mentions this master with high commendation, as may be seen on reference to the Antichità Picene, tom. xxv. In a recent description of the pictures at Ascoli, I find that a Sebastian Gasparrini, of Macerata, a scholar of the Cav. Pomaranci, decorated a chapel of S. Biagio in that city with historical paintings in fresco. But it is probable that this may be Giuseppe Bastiani, the scholar of Gasparrini. Another chapel at the Carmelites in Macerata, contains many pictures by him, with the date of 1594.
Of Marcantonio di Tolentino, mentioned by Borghini in his account of the Tuscan artists, and after him by Colucci (tom. xxv. p. 80), I do not know whether or not he returned to practise his art in his native country. In Caldarola, in the territory of Macerata, flourished a Durante de' Nobili, a painter who formed himself on the style of Michelangiolo. A picture of a Madonna by him is to be seen in Ascoli, at S. Pier di Castello, on which he inscribed his name and country, and the year 1571. From another school I believe arose a Simon de Magistris, a painter as well as sculptor, who left many works in the province. One of his pictures of S. Philip and S. James, in the Duomo of Osimo, in 1585, discovers a poverty in the composition, and little felicity of execution; but he appears to greater advantage, at a more advanced period of life, in the works he left at Ascoli. There is one, of the Rosario, at S. Domenico, where Orsini found much to commend in the arrangement of the figures, in the design, and in the colouring. There is another, of the same subject, at S. Rocco, which is preferred to the former, except for the shortness of the figures, and which we have described in writing of Andrea del Sarto, and afterwards of Taddeo Zuccaro. For the same reason he reproaches Carlo Allegretti, who, in the same city, committed a similar fault. He painted in various styles, as may be seen from an Epiphany, in Bassano's manner, which he placed in the cathedral, a picture which will apologize for the others. Baldassini, in his Storia di Jesi, speaking of Colucci, records there the priest Antonio Massi, who studied and gave to the world some pictures in Bologna; and Antonio Sarti, whom I esteem superior to Massi; praising highly his picture of the Circumcision, in the collegiate church of Massaccio. This city gave birth to Paolo Pittori, who ornamented his native place and its vicinity. These may serve as an example of the provincial painters of this age. I purposely omit many names, several of whom are fresco painters, who were indifferent artists; and others who were below mediocrity. It is indeed true, that many have escaped, from being unknown to me, and there still remain, in the Roman state, many works highly beautiful, deserving of research and notice.
From the time of the preceding epoch, the art became divided into various departments; and at this period, they began to multiply, in consequence of many men of talent choosing to cultivate different manners. After Jacopo del Conte and Scipione da Gaeta, the portraits of Antonio de' Monti, a Roman, are celebrated, who was considered the first among the portrait painters under Gregory; as also those of Prospero and Livia Fontana, and of Antonio Scalvati; all three of the School of Bologna; to whom may be added Pietro Fachetti, of Mantua.
With regard to perspective, it was successfully cultivated by Jacopo Barocci, commonly called Il Vignola, an illustrious name in architecture; owing to which his celebrity in the other branches has been overlooked. But it ought to be observed that his first studies were directed to painting, in the school of Passarotti, in Bologna; until he was led by the impulse of his genius, to apply himself to perspective, and by the aid of that science, as he was accustomed to say, to architecture, in which he executed some wonderful works, and amongst others the palace of Caprarola. There, and I know not whether in other places, are to be seen some pictures by him. As a writer, we shall refer to him in the second index, where, omitting his other works, we shall cite the two books which he wrote in this department of art. Great progress was made in Rome, in the art of perspective, after Laureti, by the genius of Gio. Alberti di Città S. Sepolcro, whose eulogy I shall not here stop to repeat, having already spoken of it in the first volume. Baglione names two friends, Tarquinio di Viterbo and Giovanni Zanna, of Rome; the first of whom painted landscapes, and the second adorned them with figures. He mentions the two brothers, Conti, of Ancona; Cesare, who excelled in arabesques, and Vincenzio in figures: these artists painted for private persons. Marco da Faenza was much employed under Gregory XIII., in arabesques, and the more elegant decorations of the Vatican, and had also the direction of other artists. Of him we shall make more particular mention amongst the artists of Romagna.
The landscapes in the Apostolic palace, and in various places of Rome, were many of them painted by Matteo da Siena, and by Gio. Fiammingo, with whom Taja makes us acquainted, in the ducal hall, and particularly the two brothers Brilli, of Flanders, who painted both in fresco and oil. Matteo always retained his ultramontane manner, rather dry, and not very true in colour. Paolo, who survived him, improved his style, from the study of Titian and the Caracci, and was an excellent artist in every department of landscape, and in the power of adapting it to historical subjects. Italy abounds with his pictures. Two other landscape painters also lived in Rome at this time, Fabrizio of Parma, who may be ranked with Matteo, and Cesare, a Piedmontese, more attached to the style of Paolo. Nor ought we to omit Filippo d'Angeli, who, from his long residence in Naples, is called a Neapolitan, though he was born in Rome, where, and as we have observed in Florence, he was highly esteemed. His works are generally of a small size; his prospects are painted with great care, and ornamented with figures admirably introduced. There are also some battle pieces by him.
But in battles and in hunting pieces, none in these times equalled Antonio Tempesti. He was followed, though at a considerable interval, by Francesco Allegrini, a name not new to those who have read the preceding pages. To these we may add Marzio di Colantonio, a Roman, though he has left fewer works in Rome than in Turin, where he was employed by the Cardinal, prince of Savoy. He was also accomplished in arabesque and landscapes, and painted small frescos in an agreeable manner.