\paperw19995 \margr0\margl0 \plain \fs20 \f1 Italian painter. \par
He painted historical pictures, according to traditional schemes. Although he went to meetings at the
CaffΦ Michelangelo, haunt of the Macchiaioli, his adoption of their style of painting in patches was slow and gradual. The \i Ambush of the Italian Bersaglieri\i0 (Milan, private collection), shown at the Italian Exhibition of 1861, was still painted i
n chiaroscuro, but the subject was a new one, representing an obscure episode from the war. His adherence to the Macchiaioli style was complete in a series of landscapes (\i Vegetable Gardens at Pergentina\i0 , ca. 1863, Rapallo, Collection Cora and \i Pass t
he Provisions\i0 , 1864, Milan, Galleria dÆArte Moderna). Yet he retained his love of pure line and the light palette of a Tuscan primitive, as apparent when the artist depicted scenes from daily petit bourgeois life û \i Singing the Stornello\i0 (1867,
Florence, Collection Marchi) or \i The Visit\i0 (1868, Rome, Galleria dÆArte Moderna). Later, this was superseded by the use of ever more vivid color, erasing the outlines (\i The Visit to the Studio\i0 , Florence, Galleria dÆArte Moderna).
