Domenico Bruschi

Bruschi also designed tapestries, Renaissance revival wooden furniture, sculptures in stucco and stained glass windows.

[2] Bruschi served as the chair of Ornamentor at the Institute of Fine Arts in Rome, was made an official Academician of the Accademia di San Luca, and named Commandatore for his excellence in painting.

[8] Through trips to London and Paris, and after his early Macchiaioli theories, Costa concluded that a national art could be properly achieved only by looking to the Renaissance.

Costa's final group, In Arte Libertas was formed in 1885 and its exhibitions included such celebrated artists as Arnold Böcklin, Edward Burne-Jones, Anselm Feuerbach, Puvis de Chavannes and Dante Gabriel Rossetti.

[10] Among his colleagues at the studio of Valeri were Alessandro Vertami, Domenico Belimi, Guglielmo Mangiarelli, Tito Moretti, Annibale Mariani, Lemma Rossi-Scotti, and Pasquale Frenguelli.

Italian historian Alessandra Migliorati claims that Domenico Bruschi and Giovanni Costa were particularly responsible for the "aesthetic decadence" in Rome during the end of the century.

During the risorgimento a Guida per I Giovani was compiled by Romeo Palazzi and Domenico Bruschi to teach the youth of Italy the methods of fine art in the new nation.

[14] Domenico Bruschi claimed in a speech delivered in 1885 that "studious artists" do not produce large papers, grand canvases or labor over copies.