Sir Balthazar died in 1667, at Hempsted-Marshall House, which he had himself designed, the seat of Lord Craven, and was buried in the chancel of the adjoining church. Portraits of Gerbier were painted by Dobson[2]--the picture was sold for L44 at the sale of Betterton the actor--and by Vandyke. The work by Vandyke also contained portraits of Gerbier's family, and was purchased in Holland by command of Frederick, Prince of Wales, and brought to Leicester House. [2] A portrait of Gerbier, Sir Charles Cotterel, and W. Dobson, painted by Dobson, the property of the Duke of Northumberland, was exhibited at South Kensington in 1868. For something like half-a-century after Sir Balthazar Gerbier's time we find no trace of another Art Academy in England. VERRIO AND LAGUERRE. Pope, denouncing the vanity of wealth and the crimes committed in the name of taste, visits Lord Timon's villa, and finds plenty of pegs on which to hang criticism--ample scope for satire. With depreciating eyes he surveys the house and grounds, their fittings and garniture, almost as though he were going to make a bid for them. 'He that blames would buy,' says the proverb. Then he passes to the out-buildings, taking notes like a broker in possession under a _fi. fa_. 'And now the chapel's silver bell you hear, That summons you to all the pride of prayer: Light quirks of music, broken and uneven, Make the soul dance upon a jig to heaven. On painted ceiling you devoutly stare, Where sprawl the saints of Verrio or Laguerre, On gilded clouds in fair expansion lie, And bring all paradise before the eye,' etc. Who was Verrio? Who was Laguerre? ANTONIO VERRIO was born in Lecce, a town in the Neapolitan province of Terra di Otranto, in the year 1639. Early in life he visited Venice to study the colouring of the Venetian masters. He returned a successful, not a meritorious painter. In 1660 he was at Naples, where he executed a large fresco work, 'Christ healing the Sick,' for the Jesuit College. This painting, we are told, was conspicuous for its brilliant colour and forcible effect. Subsequently the artist was in France, painting the high altar of the Carmelites at Toulouse. Dominici says that 'Verrio had such a love for travelling that he could not remain in his own country.'