Another method of painting on glass, or rather on crystal, was much in fashion in the last century, and was employed for ornamenting mirrors, caskets, and other furniture of the chambers of the great. Maratta and his contemporaries on crystal for such works in the same style that they employed in painting on canvass; and above all Giordano, who taught it to several pupils. Among these, the best was Carlo Garofalo, who was invited to the court of Charles II. of Spain, to practise this species of painting,[180] the era of which does not embrace a great number of years. [Footnote 128: Although Vasari, Borghini, and Baldinucci, have also treated of other schools, they have chiefly illustrated that of Florence, with which they were best acquainted. To them succeeded the respectable authors of the _Florentine Museum_, and of the _Series of the most celebrated Painters_, containing choice anecdotes of those masters, which are now republished, and accompanied by a print from the work of each painter, in the _Etruria Pittrice_ of the learned Sig. Ab. Lastri. Other anecdotes are to be found in the work of P. Richa _On the Churches of Florence_, and in Sig. Cambiagi's _Guide_ to that City. Pisa too, has its _Guide_ by the Cav. Titi; to which has succeeded the much larger work of Sig. da Morrona, above noticed. Siena has one by Sig. Pecci, Volterra another by Ab. Giachi, and Pescia and Valdinievole by the Ab. Ansaldi. Sig. Francesco Bernardi, an excellent connoisseur in the fine arts, prepared a guide to Lucca after Marchiò; it remains inedited since his death, together with his anecdotes of the painters, sculptors, and architects of his native country. Meanwhile the _Diario_ of Mons. Mansi affords considerable information.] [Footnote 129: Condivi promised to publish them, but this was never performed. See Bottari's notes on the life of Michelangiolo, p. 152, in Florent. edit. 1772.] [Footnote 130: See the fine eulogy on him by Sig. Durazzini, among his Panegyrics on illustrious Tuscans, where he corrects Vasari, his annotators and others, who have fixed the birth of Lionardo before this year. Tom. iii. n. 25.] [Footnote 131: See Sig. Piacenza, in his edition of Baldinucci, t. ii. p. 252. He has dedicated a long appendix to Vinci, in which he has collected all the anecdotes scattered through Vasari, Lomazzo, Borghini, Mariette, and other modern authors.] [Footnote 132: "Leonardo seems to have trembled whenever he sat down to paint, and therefore never finished any of the pictures he began; for by meditation on the perfection of art, he perceived faults in what to others appeared admirable." Lomazzo, _Idea del Tempio della pittura_, page 114.] [Footnote 133: Both have perished, after serving as models to the best painters of that age, and even to Andrea del Sarto. See what has been written by Vasari, and by M. Mariette, in the long letter concerning Vinci, which is inserted in tom. ii. of _Lett. Pittoriche_.]