Ranieri; and it is the most admired among the larger paintings of the cathedral. Luti sent it to Gabbiani for his correction before it was exposed to the public; a circumstance highly honourable to the modesty of the scholar and the abilities of the master.[234] His portrait is in the ducal gallery; and the more rigid critics, on looking at it, have been known to say, "Behold the last painter of his school." Tommaso Redi was a pupil of the same master; and is noticed in the _Lettere Pittoriche_, as a good composer of historical pictures, and is also praised for design, colouring, and spirit. From the school of Gabbiani he went under the tuition of Maratta and Balestra, both artists respectable for their style, and declared enemies to the innovations which have occupied and debased our schools for so long a period. Redi also visited the most celebrated schools, but for the sole purpose of studying the old masters, and of making copies of their works, some of which, with a few pieces of his own invention, remain in his family. In the eulogy of Anton Domenico we find honourable mention made of his nephew, Gaetano Gabbiani; of Francesco Salvetti, his intimate friend; of Gio. Antonio Pucci, a painter and a poet; of Giuseppe Baldini, whose promising career was cut short by death, and of Ranieri del Pace, a native of Pisa, who afterwards yielding to the torrent of fashion, became a complete mannerist. Ignatius Hugford, born in Florence, but whose father was a native of England,[235] was admirably skilled in recognizing the hands of different masters, and likewise painted in a good manner a picture of S. Raphael at S. Felicità, and some other pieces, which were mostly small, and have been admitted into the royal museum. The feeble paintings in possession of the Vallombrosani at Forli, and some of the same stamp at Florence, are likewise by this artist.