92 THE FINE ARTS. 
school of art of his own. One of his pupils was Francesco di Rossi, also 
called Salviati, who had previously studied under Andrea del Sarto, and 
who almost surpassed his master. 
About this time a new revolution occurred in the Florentine school. 
Grace and coloring, and above all that charming harmony which attracts 
and satisfies the eye, had been kept by Michael Angelo and most of his 
followers completely subordinate; but at length these more sensual advan- 
tages of other schools, especially of that of Lombardy, had the effect of 
producing a reform in Tuscany also, the glory of which was reserved for 
Ludovico Cardi and Gregorio Pagani. 
Ludovico Cardi, called also Cigoli after his birthplace, was born in 1559 
and died in 1603. _He was a pupil of Allori, but soon united himself to 
Gregorio Pagani in common studies, especially of the works of Barozzio 
and Correggio. Cardi had laid a good foundation in anatomy, and Pagani 
in coloring. The anatomical figure often met with in the painter’s studio 
is a production of Cigoli’s, who first made it of colored wax. The most 
celebrated among his numerous works is the Martyrdom of St. Stephen, 
which he painted in 1587 for the Monastery of Montedomini. An oil- 
painting in the Paris Museum, an Lece homo, of which we have given a 
sketch in pl. 15, jig. 3, is also highly esteemed. There are commonly 
remarked in the works of Cigoli a vigorous style and a beautiful gradation 
of coloring ; he knew how to give variety to the tints in Correggio’s manner, 
and showed great industry both in planning and in execution. He likewise 
applied himself to architecture and perspective, as is proved by his work on 
the latter subject. In Rome too, although he there experienced much ill will, 
Cigoli found work in the Vatican, and at last had the Maitese order of 
knighthood conferred upon him. 
The succeeding time produced among the pupils of Cigoli and Pagani 
many capital painters, who, however, gradually transferred to the Floren- 
tine a great deal of the characteristic peculiarity of the Venetian school, as 
is shown for instance in the works of Passignano, whose figures in their 
attitudes remind us of Tintoretto, while the draperies reproduce Paul 
Veronese. Jacob Chimenti (better known by the name of Jacopo di Em- 
poli) took Andrea del Sarto for his model. Comodi, a pupil of Cigolli, 
copied the pictures of Correggio and other Venetians with such truth and 
spirit, that many of these copies are preserved as originals of that master in 
the galleries of Italy. It was at this time that the Salimbeni (Arcangiolo 
and Ventura) and Raphael and Michael Angelo distinguished themselves. 
A decided reputation was likewise gained by their contemporary Francesco 
Rustici, called Rustichino; he was exceedingly skilful in the management 
of chiaroscuro, and in some pictures which he painted the illumination of 
wax candles is imitated with surprising fidelity. In the gallery at Florence 
there is seen a very beautiful Dying Magdalen by him (pl. 17, jig. 5), and 
in the Borghese Gallery in Rome a S¢. Sebastian. Christoforo Allori, who 
was born in Florence in 1577, also took the works of Cigoli and Pagani for 
his models, and his picture of Judith with the head of Holofernes was . 
highly prized. He here portrayed his mistress Mazza Firra, and the head 
476 
