In the cabinet of cameos and engraved gems, there are figures in mezzo-relievo, and entire little statues in hard stone, fabricated by the same company of artists; not to mention what is in the Pitti palace and the church of S. Lorenzo. A similar company still exists, under the direction of the Signori Siries, and abounding in subordinate artists, which is supported with royal magnificence by the prince, for whom it is constantly employed. [Footnote 212: The new style began in the reign of Francesco I., who was greatly skilled in design, which he had learnt of Buontalenti. He was succeeded by Ferdinando I., Cosmo II., Ferdinando II., all of them celebrated for their magnificent works in ornamenting the city and the palace: Cardinals Gio. Carlo and Leopoldo de' Medici also flourished there, both of them patrons of the arts; and the latter is recorded in history for his knowledge of them, and the splendid collection which he formed. We may add to these Prince Mattia, and others of that family.] [Footnote 213: He was born in 1624, and died in 1692, leaving materials for the completion of the work, which were afterwards arranged by Saverio, his son, a gentleman of the law, who put the finishing hand to the whole. Piacenza. Ristretto della Vita di Filippo Baldinucci, p. xvi.] [Footnote 214: In this branch of the art, indeed, he was not so greatly skilled; and the Cav. Titi, after commending his Assumption, which is exhibited in the entablature of the cathedral at Leghorn, adds, that not having been conducted according to the rules of foreshortening, some exceptions may be made to it.] [Footnote 215: There is a Visitation by this artist, and inscribed with his name, in the church of S. Anthony of Pisa, which he executed in a weak style in 1606.] [Footnote 216: In the great saloon he has poetically represented the protection afforded to literature by Lorenzo de' Medici. With some licences peculiar to that age, and usual with him, the composition and the figures are very beautiful; and there is an imitation of basso-relievo in his painting, that would deceive the most skilful, and tempt them to believe it absolutely raised from the wall. This work, left imperfect by him, was completed by Pagani, by Montelatici, and by Furini, with some semicircular pieces.] [Footnote 217: This is expressed by the Italians by "il possesso del sotto in su." Tr.] [Footnote 218: See tom. ii. of Signor Giachi, p. 202.] [Footnote 219: The Ragged Cloak recovered.] [Footnote 220: It was published with notes by Dr. Paolo Minucci, and was reprinted with other illustrations of Sig. Antonio Biscioni.]