as are likewise the paintings in ckiaro-scuro, which decorate the house of Carlo Ginori, situate in the street which takes its name from that family; the subject of this last-named work has been chosen from the Life of Sampson, and the stories represented therein, are executed in a manner that may be truly called admirable. Nor can it be doubted that Mariano, had he been permitted to enjoy a longer life than was accorded to him, would have become a most excellent painter.
Another disciple of Ridolfo was Toto del Nunziata,[1] who, in company with his master, painted a picture of Our Lady, with the Infant Christ in her arms, and accompained by two saints, in the Church of San Pietro Scheraggio.
But above all the other disciples of Ridolfo, the one most dear to him was a certain Michele, who had been with Lorenzo di Credi, and was afterwards with Antonio del Ceraiuolo. This youth was one of admirable ability, he worked with the utmost boldness, and was never weary of his labours; continually imitating the manner of Ridolfo, Michele approached him so closely, that whereas he had for a time only a third of the gains, he subsequently received the half of the profit which they made in common. Michele paid to Ridolfo the observance due to a father, nay, he loved and was beloved by his master to such a degree, that he was ever considered as something belonging to Ridolfo, and is still, as he ever has been, known by no other name than that of Michele di Ridolfo.
These two artists then, loving each other as I have said,
- ↑ Toto del Nunziata subsequently went to England, as has been related in the Life of Perino del Vaga. Lanzi and other writers speak of him as one of the most distinguished painters who appeared in this country during the sixteenth century, temp. Henry VIII. He was one of the king’s Serjeant painters (Henry had three), and in a book signed monthly by the king himself we have an entry to the following effect:—“An. reg, xiii., Jan. 23, paid to Antony Toto, by the king’s commandment, £20.” And again, in a different book:—“To Antony Toto and Bartilmew Penn (Bartolommeo Penne), payntours £12 10s., their quarterly payment between them.” Also the following:—“To Antony Toto, his servant, that brought the king a depicted table of Colonia, 7s. 8d.” No works of Toto can now be authenticated, so far as is known to the present writer; some of those attributed to Holbein, ‘‘whose pencil,” remarks Dr. Sarsfield Taylor, “appears, like Aaron’s rod, to have swallowed all its contemporaries are believed to be by Toto.” See Origin, Progress, and Present Condition of the Fine Arts in England and Ireland, vol. i. p. 220.
