Agnolo Bronzino (1502?-1572) was a pupil of Pontormo, and an imitator of Michael Angelo, painting in rather heavy colors with a thin brush. His characters were large, but never quite free from weakness, except in portraiture, where he appeared at his best. Vasari (1511-1574)--the same Vasari who wrote the lives of the painters--had versatility and facility, but his superficial imitations of Michael Angelo were too grandiose in conception and too palpably false in modelling. Salviati (1510-1563) was a friend of Vasari, a painter of about the same cast of mind and hand as Vasari, and Federigo Zucchero (1543-1609) belongs with him in producing things muscularly big but intellectually small. Baroccio (1528-1612), though classed among the Mannerists as an imitator of Correggio and Raphael, was really one of the strong men of the late times. There was affectation and sentimentality about his work, a prettiness of face, rosy flesh tints, and a general lightness of color, but he was a superior brushman, a good colorist, and, at times, a man of earnestness and power. [Illustration: FIG. 53.--BAROCCIO. ANNUNCIATION.] THE ECLECTICS: After the Mannerists came the Eclectics of Bologna, led by the Caracci, who, about 1585, sought to "revive" art. They started out to correct the faults of the Mannerists, and yet their own art was based more on the art of their great predecessors than on nature. They thought to make a union of Renaissance excellences by combining Michael Angelo's line, Titian's color, Correggio's light-and-shade and Raphael's symmetry and grace. The attempt was praiseworthy for the time, but hardly successful. They caught the lines and lights and colors of the great men, but they overlooked the fact that the excellence of the imitated lay largely in their inimitable individualities, which could not be combined. The Eclectic work was done with intelligence, but their system was against them and their baroque age was against them. Midway in their career the Caracci themselves modified their eclecticism and placed more reliance upon nature. But their pupils paid little heed to the modification.