Rutilio Manetti, or, as Pecci writes it, Mannetti, followed Caravaggio with less discrimination, but with greater force in the shadows. His pictures at Siena are easily recognized by invariably partaking of a certain sombre hue, which deranges the due balance and participation of light and shade. The same objection lies against many of his contemporaries of every school. The method of purifying colours, and of composing vehicles,[302] had degenerated; and the injury sustained from this defect was not observed in the pictures: the artist only looked to the grand effect, to which the age so much aspired. Manetti united an improved design to ideas above the common order, and beautiful architecture; and hence, at times, he approaches rather to Guercino than to Caravaggio. In the cathedral of Siena is his Elijah under the juniper tree, in which the historian of that church commends the force of the colouring, which is juicy and natural. Many of his works remain in the Carthusian monastery of Florence, and in several churches of Siena, the most admired of which is the Repose of the Holy Family, in S. Peter's of Castelvecchio. In private collections, where pictures are better preserved than in churches, we find very beautiful Madonnas by this artist; and there is a most exquisite Lucretia in the possession of the Bandinelli family. He sometimes departed from his usual manner, as in the Triumph of David, in the ducal gallery, in which the shadows are not so dark, and the tone of the whole is more lively. Mention is made in the _Lettere Pittoriche_,[303] of Bernardino Capitelli, a scholar of Manetti, and an etcher: and in the third volume there is casual mention of one Domenico Manetti, probably of the same family, but not to be mistaken for the great individual of the same name. He appears rather to have employed himself in ornamenting private collections, and painted a Baptism of Constantine for the casa Magnoni, that has been much commended.