84. THE FINE ARTS. 
copyists of Michael Angelo, mannerists who mixed up his style with their 
own, by some of whom the manner of the great master was degraded to 
caricature. There were but few who, true to the precepts of Raphael, strove 
to combine with his grace the seriousness of Michael Angelo; and still 
fewer was the number of those who steadfastly adhered to the genuine 
Roman school. One of the best and most celebrated masters of that time 
was Federico Barozzi (born 1528, died 1612), who had formed his style on 
that of Titian, and afterwards on that of Raphael. His best pictures are a 
Descent from the Cross in Perugia, and a Laying in the Tomb in Sinigaglia. 
In the first third of the 16th century, the state of painting in Rome was 
very critical. The corruption of taste gained ground daily, and painters, 
no longer concerning themselves about thorough preparatory studies, merely 
strove to acquire an easy dexterity ; so that painting became almost a simple 
mechanical art, and fantastic conceits remained the only means of obtaining 
a certain repute. The style of Raphael was no longer known, and the 
highest attempts were confined to different imitations of Michael Angelo. 
Venice possessed good colorists; but this had no influence on Rome, where 
everything, even chiaroscuro, was neglected. The only painter of note at 
this time was Giuseppe Cesari, called il Cavaliere Giuseppino; for then 
every painter possessed of a little talent and considerable popularity was. 
dubbed chevalier ; which induced Salvator Rosa in his pictorial Satire te 
call this ‘‘ the chevalier age of painting.” He had a great deal of fire; but 
his compositions are crowded and unnatural, and his coloring only tolerable. 
It was reserved for Michael Angelo Amerighi da Caravaggio to combat 
the monster of mannerism and lead painters back again to the study of 
nature, although he too went to extremes. To the painters who resigned 
themselves the most completely to the perverse taste we have spoken of, 
and who debased their fine talents to the production of wretched caricatures, 
belongs Peter Laar (il Bamboccio), who created a genre of his own, which 
unhappily found in Rome both patrons and imitators (Bambocciadi). 
Andrew Sacchi was a contemporary of Laar, but an artist of a different 
stamp inspired with the true spirit of the Roman school. His Vision of St. 
Romualdo is one of the four finest paintings in Rome; the others are the 
Transfiguration by Raphael, the Descent from the Cross by Daniel of 
Volterra, and the Communion of St. Jerome by Domenichino: there still 
exist in Rome many beautiful paintings by this master. His drawing is 
remarkable for correctness and breadth, his draperies are artistic and 
dignified, and everywhere we perceive in him a profound study of nature. 
Richness of composition was his most prominent characteristic. The most 
celebrated of his pupils was Carlo Maratti (born 1625), who from his boy- 
hood displayed a remarkable talent for painting. His first work given to 
the public was a Christ in the Manger (1650). Pope Clement IX. showed 
him marks of favor, and Innocent IX. made him superintendent of the 
Vatican chambers. Our best information as to the course of his studies is 
furnished by a drawing which he made for the Marchese del Carpio and 
which has been engraved by Dorigny. In this drawing Maratti depicted 
an academy, in which a number of persons are engaged in the studies per- 
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