Cosimo Ulivelli is also a good historical painter; and his style is sometimes mistaken for that of his master by less skilful judges; but a good connoisseur discovers in him forms less elegant, a colouring less strong and clear, a character approaching to mannerism and to meagreness. We ought to form an opinion from the works of his best period, such as his semicircular pieces in the cloister of the Carmine. Antonio Franchi, a native of Lucca, who lived at Florence, is reckoned by many inferior to Ulivelli; but he is generally more judicious, if I do not mistake, and more diligent. His S. Joseph of Calassanzio, in the church of the Fathers of Scolopi, is a picture of good effect, and is commended also for the design. Another of his fine works is in the parish church of Caporgnano, in the state of Lucca; it represents Christ delivering the keys to S. Peter, and I am informed by an experienced artist that it is the most esteemed of his productions; many more of which may be found in the account of his Life, published at Florence, by Bartolozzi. He was painter to the court, by which he was much employed, as well as by private individuals. He was a moderate follower of Cortona. He wrote a useful tract on the _Theory of Painting_, in which he combated the prejudices of the age, and enforced the necessity of proceeding on general principles. It was printed in 1739; and afterwards defended by the author against certain criticisms made on it. Giuseppe and Margherita, his two sons, have met with some commendation, and I am told there is a fine altar-piece by the former, which adorns the parish church at Borgo Buggiano. It is retouched, however, by his father, who honourably makes mention of the fact. I repeat, honourably; because many fathers are known to have aided their sons with a view of obtaining for them a reputation beyond their deserts. Michelangiolo Palloni da Campi, a pupil of Volterrano, is well known in Florence by a good copy of the Furius Camillus, of Salviati, in the old palace; which was placed by the side of the original. He resided long, and was much employed in Poland. An eminent pupil of Baldassare, named Benedetto Orsi, was omitted by Baldinucci. A fine picture of S. John the Evangelist, in the church of S. Stephen, at Pescia, his native place, is attributed to him. He also painted the Works of Mercy, for the religious fraternity of nobles. These oil paintings were shewn to strangers among the curiosities of that city; but they were dispersed on the suppression of the order. There still exists a large circular picture which he produced at Pistoia for S. Maria del Letto, enumerated by good judges among the finest works of Volterrano, until an authentic document discovered the real author. Last in this list I have to mention Arrighi, the fellow citizen of Franceschini, and his favourite pupil. He has nothing remaining in public, in which his master cannot boast a great share.[218]