Jacopo Borgognone remained long in Florence, and was highly respected by Prince Matthias; whose military achievements in Germany and in Italy, and the places where they happened, he represented to the life, as an historian would have described them. This artist's battle-pieces are not rare in Florence; but I do not know that he had any pupils in that place. The person who promoted most the imitation of Jacopo, and whose works are everywhere, was Pandolfo Reschi, of Danzig, who was one of his best scholars; eminent in landscape in the style of Salvator Rosa, and in architectural subjects. In the hands of Dr. Viligiardi, I saw a picture by him, with a view of the Pitti palace, and the additions to it then wanting; but which were afterwards supplied by the Austrian princes, to the great ornament of the royal residence. Those additions were from a design of Giacinta Marmi; but the whole picture was the work of Pandolfo. He enlivened it with figures, and excites surprise by the whole, excepting the distribution of the light and shadow, in which he is not so happy. One Santi Rinaldi, surnamed Il Tromba,[224] a painter of battle-pieces and of landscapes, formed himself under Furini: he was contemporary with Pandolfo; but is less known in Florence. Baccio del Bianco, having become a good designer and tolerable painter in the school of Bilivert, went into Germany with Pieroni, the imperial architect and engineer, from whom he learnt perspective. He afterwards taught it with applause in Florence, as we have said; and did not omit to exercise his pencil, especially in fresco. Naturally facetious, he became distinguished by his burlesques, which, for the most part, were only designed with the pen. He coloured some small oil pictures of much force, which were portraits in the style of the Caracci, and sometimes painted freaks of scaramouches, and similar abortions of nature. Gio. Batista Brazze, called Il Bigio,[225] a scholar of Empoli, employed his genius in another branch of the capricious style: it consisted of what appeared human figures when seen at a distance, but a nearer approach shewed them to be composed of different sorts of fruit, or machines, artfully arranged. Baldinucci reckons him the inventor of this art; but to me it appears, that prior examples may be found in the Milanese school, in which I treat of them fully at the end of the second epoch.