lived, nay, still do live together, in all the love which is usually found to exist between a good parent and his child. Alessandro then, in the pictures and portraits executed up to his present age of thirty years, has proved himself to be the worthy disciple of so great a master, and is constantly seeking to attain by diligence and perpetual study, to that highest perfection to which all noble and elevated minds aspire. He has painted the Chapel of the Montaguti, in the Church of the Nunziata, entirely with his own hand; the Altar-piece in oil that is to say, and the walls and ceiling in fresco. On the Altar-piece we have Christ and the Madonna in the heavens; they are seated in judgment and beneath them are numerous figures, well executed, and in various attitudes, which are copied from the Last Judgment of Michelagnolo Buonarroti. On the same side of the Chapel are four large figures, representing Prophets, or perhaps Evangelists; and on the ceiling are Sibyls and Prophets, executed with infinite thought and care, Allori having endeavoured to imitate Michelagnolo in the figures.[1]
On the wall to the right, as you face the Altar, is Christ disputing with the Doctors in the Temple. The Child, whose attitude is good, appears to be replying to the arguments of the Doctors, all of whom, with other figures standing near, exhibit a rich variety in the countenances, attitudes, and vestments: there are among them numerous portraits ot the friends of Allori, which are very faithful as to resemblance.
On the wall, opposite to this picture, is Christ driving the Traders from the Temple, a work wherein there are many parts which merit praise. Over these two pictures are Stories from the Life of the Virgin; and in the ceiling are figures of no great size, but graceful and well arranged; there are besides landscapes and buildings, which prove the love which Allori bears to art, and the care with which he seeks perfection in design and invention.[2]
In the upper part of the wall opposite the Altar is the Story of Ezekiel with the dry bones, which become re-
- ↑ All the painters here mentioned by Vasari belonged to the School of Michael Angelo; Alessandro Allori, who was the nephew of Bronzino, being one of those who most deserve mention. He had a son called Cristofano, who would never follow the paternal manner, but, adhering to that of Correggio, declared that in painting his father was a heretic.
- ↑ Those pictures have been retouched.
