The character, in fact the manners and the talents of Salvator Rosa came out in strong relief, as opposed to the servile deportment and mere professional acquirements of the herd of artists of all nations then under the protection of the Medici. He was received at the Palazzo Pitti not only as a distinguished artist, but as a guest; and the Medici, at whose board Pulci (in the time of their Magnifico) had sung his Morgante Maggiore with the fervor of a rhapsodist, now received at their table another improvisatore, with equal courtesy and graciousness. The Tuscan nobility, in imitation of the court, and in the desire to possess Salvator's pictures, treated him with singular honor.
SATIRES OF SALVATOR ROSA.
The boldness and rapidity of Salvator Rosa's pencil, aided by the fertility of his highly poetical imagination, enabled him to paint an immense number of pictures while he was at Florence; but not finding sufficient leisure to follow his other pursuits, he retired to Volterra, after having resided at Florence nine years, respected and beloved by all who knew him. The three succeeding years were passed in the family of the Maffei, alternately at Volterra and their villa at Monte Ruffoli, in which time he completed his Satires, except the Sixth, "L'Invidia;" which was written after the publication of the others. He also painted several portraits for the Maffei, and among others one of himself, which was afterwards presented to the Grand Duke of Tuscany, and placed in the Royal Gallery at Florence.
SALVATOR ROSA'S HARPSICHORD.
Salvator Rosa's confidence in his own powers was as frankly confessed as it was justified by success. Happening one day to be found by a friend in Florence, in the act of modulating on a very indifferent old harpsichord, he was asked how he could keep such an instrument in his house. "Why," said his friend, "it is not worth a scudo." "I will wager what you please," said Salvator, "that it shall be worth a thousand before you see it again." A bet was made, and Rosa immediately painted a landscape with figures on the lid, which was not only sold for a thousand scudi, but was esteemed a capital performance. On one end of the harpsichord he also painted a skull and music-books. Both these pictures were exhibited in the year 1823 at the British Institution.
RARE PORTRAIT BY SALVATOR ROSA.
While Salvator Rosa was on a visit to Florence, and refused all applications for his pictures he was accidentally taken in to paint what he so rarely condescended to do a portrait.