At the end of the 16th century a new style was introduced by Ludovico Cardi, commonly called Cigoli, which combined careful drawing with brilliant colouring. Sauti di Titi preceded him in his indifference towards the 'anatomical school, and he was greatly assisted in establishing his own style by Gregorio Pagani and Domenico da Passignano. This school was founded upon the style of Baroccio and that of Coreggio, and had much in common with the eclectic school of the Carucci. Its ascendency was promoted by the works of the Venetian Ligozzi at Florence, and by the school of Francesco Venni at Siena. These painters were followed by younger artists, by Giovanni Biliverti, Fabrizio Boschi, Christofano Allori, Jacopo da Empoli, Giovanni Battista Venni ; also Matted Reselli and his scholars Giovanni Manozzi da San Giovanni, Baldassare Franceschini, called Il Voltcrrano, and Francesco Boschi, an excellent portrait painter; like wise by Francesco Turini and his scholar Simone Pignone ; and Lorenzo Lippi, like his friend Salvator Rosa, poet and painter.
Also in a somewhat similar taste of colouring and design, though in a very different style of execution, painted Carlo Dolci; his elaborate finish however is the principal merit of his works; his colouring is often green, yet some of his female heads are executed in exquisite taste. He died in 1686. ' In about the middle of the 17th century another change took place in the style of the Florentine painters, as well as in that of the Roman, through the extensive and attractive works of Pietro Berret tini da Cortona, in Florence and in Rome. Cortona was invited to Florence about the year 1637, and was occupied for several following years over his great allegorical frescoes in the Pitti Palace ; he left them however unfinished : they were completed by Ciro Ferri, his most distinguished follower. In Florence the style of Cortona attained completely the ascendency, and prevailed the whole of the 17th century and the greater part of the 18th. Cortona paid little atten tion to expression ; his object was to produce a grand effect on the whole : his style was decorative, and his workfi will not bear inspection in the parts. He is the head of those artists called reachinisti by the Italians. His principal followers in Florence were the three Dandini and their scholars, Antonio Domenico Gabbiani and others, and his scholar Benedetto Luti • also Salvi Castelluci, Giacinto and Ludovico Gimignani, Lazzaro Baldi, Allessandro Gherrardini, and Sebastiano Galeotti. Two of the most distinguished Florentine artists of the end of the 18th century were Gio Battista Cipriani and the landscape painter Francesco Zuccherelli, who both spent some time in this country : also Tommaso Gherardini, who died iu 1797, and Pietro Pedroui, who died in 1803, are reckoned among the best painters of their period.
Venctian Sehool.—The historians of Venetian art date the commence ment of modern painting in Venice from the 11th century, or about 1070, when the Doge Sclvo invited some Greek mosaic-workers to Venice to adorn the church of St. Mark ; and in the 13th century, after the taking of Constantinople by the Venetians, in 1204, not only works of art, but artists also, are said to have been plentiful in Venice, Venetians as well as Greeks; only two however of the former can now be named, Giovanni da Venezia and Martinello da Murano. On an old wooden sarcophagus of the Beata Giuliana, in the monastery of San Biagio alla Giudecca, there is a painting of about the year 1262; but the painter's name is not known : it is in a rough style, but Lauzi is of opinion that it is not Greek.
It was not until after the time of Giotto, who executed some works in Padua and Verona in the beginning of the 14th century, that the painters of the Venetian states began to make themselves known by their works. The oldest known works at Padua are by painters of the school of Giotto. The extensive paintings in the church of San Giovanni Battista at Padua are attributed to Giusto Padovano, a scholar of Giotto and a Florentine by birth, though naturalised at Padua. Guariento of Padua was also a follower of Giotto, and was celebrated about 1360: some of his works are still remaining. There are also some works still extant of two celebrated Veronese painters of the same time : of Alticherio da Zevio, near Verona, in the old church of San Giorgio, illustrating the life of St. James ; and others of the life of St.. John by Sebeto of Verona, in the same church, much in the style of Giotto, especially the former. To these may be added a Jacopo of Verona, who painted some frescoes in San Michel at l'adua ; and a Gio. Miretto of Padua, who executed some works in the great hall of that place. There were however some painters about this time in Venice and Treviso who painted in what may be tenned a national style; and among them may be included the miniature-painters, who were numerous at this time. Among these 7Anetti mentions a Maestro Paolo, whom name he found recorded in an ancient parchment with the date of 1346. He is the earliest of the Venetian painters whose time and name am known : there is in the church of St. Mark a picture, or anemia, as It is called, by him and his two sons, divided into several compartments. illustrating the history of our Saviour, with the following inscription :—" Magister Paulus cum Jambe" ct Johanna fillis fecit two *ease Lanai mys his style reminds us much of the Greek specimens of art. There Is another painting by him in the merimy of the Padri Coerentuali at Vicenza, inscribed as follows :— •• 1333, Panhis de Venetiit pinxit hoe opus." One of the earliest Venetian painters also was a Lorene') of Venice, who amending to 7.anetti. was pail 300 gold ducats for an altarpiece, formerly in the church of Sant' Antemio di Cestello, now in the Academy, on which la his name and the date 1353. There is likewise in the house of the Krcolani family at Bologna • picture inscribed "Mann lAurcntibde Venetils, 1363:" he was abo moat probably the painter of the fresco of Daniel in the Lion's Den, in the church' of Mezzaratta, near lislogna, marked laurentius, P.: it was painted about 1370. Another Vasetian painter of this time was Meech° Semitecolo : his name is inscribed as follows upon a painting in the Chapter Library of Padua : —"Nicoleto Setnitecolo de. N'eniexia impense, 1367." This work is a good specimen of the school : it represent. the Trinity with the Virgin, and erne stories of St. Sebastian : the nude is tolerably well expressed, and the design is bold ; but it bears no resemblance to the school of Giotto : it is inferior in design, yet equal In colouring. There are also two picture. by this master in the Academy at Venice. The celebrated Antonio N'eneziano mentioned by Vasari executed some works in Venice about this time, but it is disputed whether he was a Venetian or a Florentine. There are a few other old painters of merit of this period whose names are known : Simon da Cusighe, Niceolo Friulano, and Pecino and Pietro de Nova.