PAINTING. 93 
of Holofernes bore the features of the painter himself; by which he meant 
to intimate that love had deprived him of his senses. His mistress’s mother 
also appears in the picture as an attendant. He gained great celebrity by 
his portraits and his copies after Correggio’s Magdalen, which were fre- 
quently taken for originals. Matteo Roselli was preéminently a pupil of 
Pagani, whose works, when the latter died in 1605, he also completed. 
His fresco-paintings are famous ; and one of them was so beautiful, that when 
in 1773 the chapel whose vaulted ceiling it adorned was to be rebuilt, the 
whole vault on the 13th of April was removed by Paoletti the architect to 
another place without the slightest rent. Francesco Furini, a pupil of 
Roselli, perfected himself further in Rome and Venice. He afterwards 
entered the clerical order and became a curate. His profession, however, 
did not prevent him from zealously studying the female form and portray- 
ing it with a grace and truth of coloring worthy of the school of Albano. 
One of his best pictures is that of Andromeda chained to the rock and await- 
ing the approach of the sea-monster, in the Florentine Museum, a picture of 
which we have given a sketch (pl. 18, jig. 4). Yet Furini also painted 
some altar-pieces and frescoes in the serious style. The works of Carlo 
Dolce, who likewise belongs to this time and to this school, bear the 
character indicated by his name. They consist mostly of half figures of 
Madonnas, and saints of both sexes, which are full of a charming devotion 
and sofiness. Their execution is masterly. Carlo Dolce never painted pro- 
fane subjects and only a few large compositions. 
Pietro Berettini, better known by the name of Peter of Cortona, was 
born in the year 1596, and received his first instructions in art from differ- 
ent masters; by them however he was soon left to his own resources, and 
he formed himself on the works of Raphael, Michael Angelo, and other 
great painters. He soon had the good fortune to receive some consider- 
able commissions, in particular one to paint the ceiling of a grand hall in 
the Palazzo alle quattro Fontane, which Pope Urban VII. had purchased 
for his family, a task of great importance, which the young artist executed 
with equal good fortune and ability. The compositions display a wonderful 
ease, graceful drawing, a light and brilliant coloring, and an admirable 
distribution of light and shade. In the year 1637, he was summoned to 
Florence, to paint some chambers in the Pitti palace, for which the ideas 
were given to him by a scholar, the younger Michael Angelo Buonarotti. 
Pietro, to express his gratitude for the same, presented Angelo witht 
the whole of the cartoons for these paintings and the portraits of the eight 
most beautiful young girls of Florence, which he had painted in the palace 
in medallions containing two each. Two of these medallions, one repre- 
senting the Muses Polyhymnia and Erato, and the other Huterpe and 
Urania, are copied pl. 16, jigs. 9 and 10. The fifth of the chambers com- 
mitted to him he did not complete; for having been insulted by a nobleman, 
he returned to Rome. This chamber and the other works left uncompleted 
by Pietro were finished by his pupil Ciro Ferri. In Rome Peter of Cortona 
painted the cupola and the vault of the church of the Padri dell’ Oratorio 
and the Pamfili gallery, where he portrayed the deeds of Aineas. Pope: 
477 
