Alessandro Allori, the nephew and pupil of Bronzino, whose surname he sometimes inscribed on his pictures, is reckoned inferior to his uncle. Wholly intent upon anatomy, of which he gave fine examples in the Tribune of the Servi, and on which he composed a treatise for the use of painters, he did not sufficiently attend to the other branches of the art. Some of his pictures in Rome, representing horses, are beautiful; and his sacrifice of Isaac, in the royal museum, is coloured almost in the Flemish style. His power of expression is manifested by his picture of the Woman taken in Adultery in the church of the Holy Spirit. He was expert in portrait painting; but he abused this talent by introducing portraits in the modern costume in ancient histories, a fault not uncommon in that age. On the whole his genius appears to have been equal to every branch of painting; but it was unequally exercised, and consequently unequally expanded. He painted much for foreigners, and enjoyed the esteem of the ducal family, who employed him to finish the pictures at Poggio a Caiano, begun by Andrea del Sarto, Franciabigio, and Pontormo, and by them left more or less imperfect. Opposite to these pictures he painted, from his own invention, the Gardens of the Hesperides, the Feast of Syphax, and Titus Flaminius dissuading the Etolians from the Achæan league; all which historical subjects, as well as those of Cæsar and Cicero, were chosen as symbols of similar events in the lives of Cosmo and Lorenzo de' Medici. Such was the manner of thinking in that age; and moderns personified in ancient heroes obtained a less direct, but higher honour from the art. Giovanni Bizzelli, a disciple of Alessandro, of middling talents, painted in S. Gio. Decollato, at Rome, and in some Florentine churches. Cristofano, a son of Alessandro, became eminent; but he is to be considered hereafter.