Giulio Romano (1492?-1546) was content to imitate the works of Raphael;
and Daniele da Volterra (1509-1566) tried, as we have seen in his
_David overcoming Goliath_ (No. 1462), to reproduce the swelling
muscles of Michelangelo. Baroccio (1526-1612) in his _Circumcision_
(No. 1149), which is signed and dated 1570, and in his _Virgin in
Glory, with St. Anthony and St. Lucy_ (No. 1150), sought to reproduce
the ineffable grace of Correggio; while others endeavoured to
repeat the enigmatic smile, the “greyhound” eye, and the mysterious
chiaroscuro of Leonardo da Vinci.
Although the “Mannerists” were to be met with in most of the centres of
painting in the sixteenth century, they made Rome the centre of their
operations. Domenico Feti (1589-1624) is represented in the Louvre by
four canvases, _Nero_ (No. 1286), _Life in the Country_ (No. 1287),
_Melancholy_ (No. 1288), and _The Guardian Angel_ (No. 1289), the
subjects being highly significant.
In the _Holy Family_ (No. 1493) by Sassoferrato (1605-1685) are shown
the shallowness and empty formalism which produced the fair-haired,
blue-eyed, hyper-sentimental _Madonnas_ with which his name is
associated. Carlo Dolci is not represented in the Louvre.
One of the more estimable artists in the Late Roman school is Carlo
Maratta (1625-1713), who may be judged by the unsigned _Portrait of
Marie Madeleine Rospigliosi_ (No. 1379) and _His Own Portrait_ (No.
1380).
Two paintings of _Fruit_ (Nos. 1254, 1255) stand to the credit of M.
A. Cerquozzi (1602-1660), and the art of G. B. Castiglione, of Genoa
(1616-1670), is seen in his _Abraham and Melchizedek_ (No. 1250) and
_Animals and Utensils_ (No. 1252).