Vincenzio Dandini went from the school of his brother Cesare into that of Cortona, or rather into the Roman school, where he copied, as well as he could, with unwearied assiduity, the finest specimens in painting, sculpture, and architecture. On this foundation, aided by practice in anatomy, at the academy for the naked figure, which still flourished at Florence, he became superior to his brother in design and in softness of colouring: he also finished more highly than Cesare, was more studious in his drapery, and in the other branches of the art. In All Saints there is a Conception of the Virgin, and three other pictures by his hand. He was employed in the ducal villas: in that of Poggio Imperiale he painted a beautifully foreshortened figure of Aurora, attended by the Hours, in a recess he had erected; and at Petraia painted in oil the Sacrifice of Niobe. In him the pupil of Cortona is very manifest. A similar style, but degenerated both in execution and in manner, is discoverable in Pietro, his son and scholar. This artist was superior to all the other Dandini; and by more extensive travels he obtained a greater knowledge of foreign painters: it would have been well if he had not attempted to surpass them also in his emoluments. From avarice he undertook too many works, and contented himself with a certain mediocrity in study; for which he, in some measure compensated by a freedom of pencil that is always admirable. Where well paid, he demonstrated his abilities; as in the cupola of S. Mary Magdalen; in several frescos in the ducal palace at Florence, in the royal villas, and in the copious historical picture of the taking of Jerusalem, which he painted in the public palace at Pisa. He also painted some altar-pieces worthy of himself; as the S. Francis in S. Maria Maggiore or the Beato Piccolomini in the attitude of saying mass, in possession of the Servi; a beautiful picture, full of spirited attitudes. His son, Ottaviano, appears his follower in some semicircular pictures in the cloister of S. Spirito, in a piece representing various saints in the church of S. Lorenzo; and wherever he was employed. One of his grandest works may be seen in S. Mary Magdalen at Pescia, the ceiling of which he painted in fresco.