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Of the Ghibelline faction were the Uberti, Manelli, Ubriachi, Fifanti, Amidei, Infangati, Malespini, Scolari, Guidi, Galli, Cappiardi, Lamberti, Soldanieri, Cipriani, Toschi, Amieri, Palermini, Migliorelli, Pigli, Barucci, Cattani, Agolanti, Brunelleschi, Caponsacchi, Elisei, Abati, Tidaldini, Giuochi, and Galigai.
Michael, in the houses of the Abati; it thence extended to those of the Capoinsacchi, and consumed them, with those of the Macci, Amieri, Toschi, Cipriani, Lamberti, Cavalcanti, and the whole of the New Market; from thence it spread to the gate of St.
What he discovered, he faithfully committed first to paper in water colours, and then to copperplate with the burin, so that we enjoy the privilege of seeing Correggio's masterpieces as Toschi saw them, with the eyes of genius and of love and of long scientific study.
That man was Paolo Toschi a name to be ever venerated by all lovers of the arts; since without his guidance we should hardly know what to seek for in the ruined splendours of the domes of Parma, or even seeking, how to find the object of our search. Toschi's labour was more effectual than that of a restorer however skilful, more loving than that of a follower however faithful.
The engraving presents a design which we doubt not was Correggio's, for it corresponds in all particulars to the style and spirit of the master. To be critical in dealing with so successful an achievement of restoration and translation is difficult. Yet it may be admitted once and for all that Toschi has not unfrequently enfeebled his original.
In a word, the engraver was a man of a more common stamp more timid and more conventional than the painter. But this is after all a trifling deduction from the value of his work. Our debt to Paolo Toschi is such that it would be ungrateful not to seek some details of his life. The few that can be gathered even at Parma are brief and bald enough.
To the piety of his pupil Carlo Raimondi, the bearer of a name illustrious in the annals of engraving, we owe a striking portrait of Toschi. The master is represented on his seat upon the scaffold in the dizzy half-light of the dome. The shadowy forms of saints and angels are around him. He has raised his eyes from his cartoon to study one of these.
This fire did enormous damage, as Villani tells us, destroying not only the houses of the Abati, the Macci, the Amieri, the Toschi, the Cipriani, Lamberti, Bachini, Buiamonti, Cavalcanti, and all Calimala, together with all the street of Porta S. Maria, as far as Ponte Vecchio and the great towers and houses there, but also Or San Michele itself.
In truth the world created by Correggio and interpreted by Toschi is very far removed from that of actual existence. No painter has infused a more distinct individuality into his work, realising by imaginative force and powerful projection an order of beauty peculiar to himself, before which it is impossible to remain quite indifferent.
These frescoes have suffered so much from neglect and time, and from unintelligent restoration, that it is difficult in many cases to determine their true character. Yet Toschi did not content himself with selections, or shrink from the task of deciphering and engraving the whole.
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