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Updated: June 23, 2025
These were secretly told by Piggiello and Baroccio Cavicciulli, who, being admonished, lived in Florence, that if they came to the city they should be concealed in their house; from which they might afterward issue, slay Maso degli Albizzi, and call the people to arms, who, full of discontent, would willingly arise, particularly as they would be supported by the Ricci, Adimari, Medici, Manelli, and many other families.
The obnoxious two were withdrawn accordingly. The name of one was Il Tira, of the other Baroccio, and in their stead were elected Giorgio Scali and Francesco di Michele. The company of the lowest trade was also dissolved, and its members deprived of office, except Michael di Lando, Lorenzo di Puccio and a few others of better quality.
The gates of the temple were forced without much trouble; part of the conspirators were slain defending themselves; the remainder were made prisoners and examined, but none were found implicated in the affair except Baroccio and Piggiello Cavicciulli, who were put to death with them. Shortly after this event, another occurred of greater importance.
Truly a moving picture, by a painter who owes much of his fame to Robert Browning. His Lucrezia is a pretty portrait of his faithless wife. There are Lotto, Parmigianino, Baroccio, Tintoretto, Bassano, Veronese, Domenico Tiepolo, and his celebrated father the fantastic Giambattista Tiepolo not startling specimens any of them. In the Spanish section Ribera comes at you the strongest.
Federigo Baroccio, of Urbino, born in 1528, died in 1612, was also a follower of Correggio's, and made a stand against the decline of art in his day. He was tender and idyllic, though apt in his turn to be affected and sentimental. When painting in the Vatican, Rome, his rivals sought to take his life by poison.
Francesco Mazzola, called Il Parmigianino, followed him so closely that his frescoes at Parma are hardly distinguishable from the master's; while Federigo Baroccio at Urbino endeavoured to preserve the sensuous and almost childish sweetness of his style in its integrity. But the real attraction of Correggio was only felt when the new barocco architecture called for a new kind of decoration.
The last of those windows contain painted glass given by Lord Carlisle in 1804, and bought from a church at Rouen. It is a representation of the Visitation, Mr Winton says, taken from a picture by Baroccio, and dates from the end of the sixteenth century. The upper lights contain the original glass. The east window of this aisle is very fine in colouring, and fairly coherent in design.
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