Raffaelle had many scholars and many imitators; of the former, the principal were Giulio Romano, Gianfrancesco Penni (with Giulio, Raffaelle's principal heir), and Perino del Vega : these painters coin. pleted. from Raffaelle's designs, the great works in the Vatican, which he had left unfinished.
Giulio Pippi, called Giulio Romano, certainly the most eminent of all Randle's' scholars and imitators, was conspicuous for the correct and powerful design of his master, but in other respects he never approached him. Although he had great powers of invention, an unpicasing expression and an evident absence of sentiment prevail throughout his works, lie is also heavy both in design and colour ing; but his particular employment under Raffaelle, that of dead colouring and preparing his works in oil, may have greatly contributed to this effect. Giulio left Rome during the pontificate of Clement VII., shortly after the completion of the Constantine series in the Vatican, and, at the invitation of Fedcrigo Gonzaga, repaired to Mantua, where he founded a school and painted his famous works, the Fall of the Giants, and the Loves of Cupid and Psycho. [Grotto ROMANO, in. Bloc). Div.] Gianfrancesco Penni, with little less vigour than Giulio, was con spicuous for more of the grace of his master. Pierino Buonaccorsi, called Perino del Vega, displayed nearly equal powers. Other pupils and assistants of Raffaelle in the stanza and the loggie of the Vatican, were—Giovanni da Udine:;'Polidoro Caldara da Caravaggio, celebrated for his imitations of ancient bassi rilicvi ; Pellegrino da Modena ; Bar tolomeo Ramenghi, called II Bagnacavallo ; Vincenzio di S. Gimignano; Timoteo della Vito; Raffaellino del Celle; Benvcnuto Tisi, called II Garofalo ; and many others too numerous to mention here.
The accession of Adrian VI. to the papal chair had for a time paralysed the arts, but they were shortly inspired with new vigour by his successor Clement VII., Guinan de' Medici, who continued the works that had been interrupted by Adrian. But a more serious interruption succeeded in the sack of Rome, in 1527, by the soldiers of Marton. The vast school of painters farmed by Raffaelle was totally dispensed : it spread 'weever the elements of his style all over Italy, although warmly a single beauty of the original was to any extent presorted in the copies.
In the pontificate of Paul III., the site commenced again to revive In Rome. Michel Angelo his great work of the Last Judg ment, the labour of eight years, by the orders of this pontiff: it was completed lu 1541. The effect however of this work was for a time fetid to painting ; hosts of copyist, and mannerista arose, who, pos sewed with a mania for representing the naked figure, and sacrificing everythlog to anatomical endplay, Imagined the perfection of design to seesaw In violent action and muscular protuberance; and in imitating the 014111111?, they imagined they had acquired the ere of Michel Angelo.
This great painter. who in the time of Julius II. bad himself been chiefly instrumental in ralsiug painting nearer to perfection than it has ever attained in modern times, lived also to see it degenerate, greatly through his own influence, Into a mere handicraft in the time of Pius IV., when a reference to nature was considered as an acknowlegment of a want of genius.
The most distinguished mannerists of this school and period, whose style was a species of compound of those of Raffaelle and 3liehel Angelo, without the correctness or purity of the former, and with only the manner of the latter, were Taddeo and Federigo Zuccari. The former died young. The latter executed vast works at Florence, which were, however, remarkable for their vastnees alone ; and he hits left soecimens of his pencil in the principal cities of Italy. He sue reedied (lirolamo Munano as president of the Academy of St. Luke at Rome, which had been lately founded by Gregory XIII. at the instance of Iluziano. Gregory was elected in 1572.
The following exceptions should be mentioned, as being distinguished for their greater propriety of style, from the general host of man nerist. Girolamo Siciolante of Sennoneta, Marcell° Venusti, and Livid Agresti, all scholars of Perino del Vega; also Scipione I'ulzone, called Gaetano, the scholar of Giacopo del Conte, both excellent in portrait.