[Footnote 176: A similar composition is to be seen in an altar-piece in the cathedral of Volterra. It is inscribed, _Opus Leonardi Pistoriens. an. 1516_. This, however, ought not to be passed over on account of an historical doubt started by the Cavalier Tolomei, whether there flourished, at the same period, two Lionardi da Pistoja; thus insinuating they were of different families. And this would appear to be the case. The painter of the piece in Volterra was not Grazia, at Naples, probably, surnamed Guelfo; since his master Penni, if we are to believe Vasari, was in that year, 1516, still the scholar and assistant of Raffaello; nor does it seem probable that he educated a pupil of so much merit. The Leonardo, therefore, who painted in Volterra, must have been some other of more proficiency.] [Footnote 177: "Hic invenies quidquid diversorum colorum generibus et mixturis habet Græcia ... quidquid in fenestrarum varietate pretiosa diligit Francia."] [Footnote 178: Zanetti, Nuova Raccolta delle Monete e Zecche d'Italia, (tom. iv. p. 158). In this work we meet with a long Latin document, which makes mention of a brother of Marco, named Paolo, also a painter; qui habet in cartâ designatam mortem S. Francisci, et Virginis gloriose, sicut picte sunt ad modum theutonicum in pano (i. e. panno) ad locum minorum in Tarvisio.] [Footnote 179: Tom. iii. p. 25.] [Footnote 180: Bellori vite de' Pittori, &c. page 392.] FLORENTINE SCHOOL. EPOCH III. _The Imitators of Michelangiolo Bonarruoti._ After the time of the five great masters above mentioned, the Florentines were so rich in fine specimens of art that they had no occasion to apply to foreign schools for improvement. They had only to select the best specimens from the works of native artists; as, for instance, grandeur from Michelangiolo, grace from Andrea, and spirit from Rossi; they could learn colouring and casting of draperies from Porta, and chiaroscuro from Vinci. They appear, however, to have assiduously applied to design, but to have paid little attention to the other branches of painting. Even in that branch they imagined that every thing was to be found in Bonarruoti; and imitated him alone. Their choice was influenced by the celebrity,[181] the success, and very long life of this artist, who, having survived all his eminent fellow citizens, naturally recommended to employment the followers of his maxims, and the adherents of his manner; hence it has been observed by some, that Raffaello lived too short a time for the progress of the fine arts, Michelangiolo too long. But artists ought to keep in mind the opinion, or rather prophecy of Bonarruoti--that his style would be productive of inept artists, which has invariably been the character of those who have imitated him without judgment.