Note 109 — BOOK IV.

I here subjoin a list of them. Deodato Guinaccia may be called the Giulio of this new Raffaello, on whose death he inherited the materials of his art, and supported the fame of his school: and like Giulio, completed some works left unfinished by his master; as the Nativity in the church of Alto Basso, which passes for the best production of Polidoro. In this exercise of his talents he became a perfect imitator of his master's style, as in the church of the Trinità a' Pellegrini, and in the Transfiguration at S. Salvatore de' Greci. He imparted his taste to his scholars, the most distinguished of whom for works yet remaining, are Cesare di Napoli, and Francesco Comandè, pure copyists of Polidoro. With regard to the latter, some errors have prevailed; for having very often worked in conjunction with Gio. Simone Comandè, his brother, who had an unequivocal Venetian taste, from having studied in Venice, it not unfrequently happens, that when the pictures of Comandè are spoken of, they are immediately attributed to Simone, as the more celebrated artist; but an experienced eye cannot be deceived, not even in works conjointly painted, as in the Martyrdom of S. Bartholomew, in the church of that saint, or the Magi in the monastery of Basicò. There, and in every other picture, whoever can distinguish Polidoro from the Venetians, easily discovers the style of the two brothers, and assigns to each his own.

Polidoro had in his academy Mariano and Antonello Riccio, father and son. The first came in order to change the manner of Franco, his former master, for that of Polidoro; the second to acquire his master's style. Both succeeded to their wishes; but the father was so successful a rival of his new master, that his works are said to pass under his name. This is the common report, but I think it can only apply to inexperienced purchasers, since if there be a painter, whose style it is almost impossible to imitate to deception, it is Polidoro da Caravaggio. In proof, the comparison may be made in Messina itself, where the Pietà of Polidoro, and the Madonna della Carità of Mariano, are placed near each other.

Stefano Giordano was also a respectable scholar of Caldara, and we may mention, as an excellent production, his picture of the Supper of our Lord in the monastery of S. Gregory, painted in 1541. With him we may join Jacopo Vignerio, by whom we find described, as an excellent work, the picture of Christ bearing his Cross, at S. Maria della Scala, bearing the date of 1552.

We may close this list of the scholars of Polidoro with the infamous name of Tonno, a Calabrian, who murdered his master in order to possess himself of his money, and suffered for the atrocious crime. He evinced a more than common talent in the art, if we may judge from the Epiphany which he painted for the church of S. Andrea, in which piece he introduced the portrait of his unfortunate master.

Some writers have also included among the followers of Polidoro, Antonio Catalano, because he was a scholar of Deodato. We are informed he went to Rome and entered the school of Barocci; but as Barocci never taught in Rome, we may rather imagine that it was from the works of that artist he acquired a florid colouring, and a sfumatezza, with which he united a portion of the taste of Raffaello, whom he greatly admired. His pictures are highly valued from this happy union of excellences; and his great picture of the Nativity at the Capuccini del Gesso is particularly extolled. We must not mistake this accomplished painter for Antonio Catalano il Giovane, the scholar of Gio. Simone Comandè, from whose style and that of others he formed a manner sufficiently spirited, but incorrect, and practised with such celerity, that his works are as numerous as they are little prized.