There _is_ a second Francisco Vieira, also a historical painter; but, to distinguish him from his predecessor, he is called Vieira Portuense--Vieira of Oporto, the place where he was born, 1765. In 1789 he went to Rome. After about two years' study there, he repaired to Parma, where he was elected one of the directors of the Academy, and gave lessons in drawing to a daughter of the Duke. In 1794 he returned to Rome, where he staid three years more, and then proceeded to Dresden. Few of his works are found in his native city. Mr Allen possesses two or three. There is one at the house of the British Association--Eleanor of Castille extracting the poison from the arm of our Edward the First. The outline of the two figures is not ungraceful, but the effect is tame. The queen looks more asleep than the king; her lips do not touch the wound, yet are so close to it as to seem to express that action. In this, as in most of this artist's productions, the colouring is fluent but weak. Yet some of his church-pictures at Lisbon, and one also of the few at Oporto--St Margaret on her deathbed confessing to a Monk--are stamped with a holy fervour of intention, a deep and unaffected sentiment of piety, that is strength in itself, and not always to be found in religious paintings of higher name. Of his lighter performances, a Cupid and Venus in a landscape, very elegant, and not unworthy of Albani, was engraved at Lisbon by his friend Bartolozzi. His life, it is said, was embittered by the malice of Sequeira his rival. They went to Rome about the same time. Taborda, Fusquini, and Cyrillo, their contemporaries, also studied at Rome. We agree with M. Raczynski in his estimate of Sequeira, whose St Bruno and other ambitious displays are so highly extolled by his countrymen. He is a clever and disagreeable performer on canvass, except in some few of his minor pictures, such as the Translation of St Francis. In his large and finished works he strains at intenseness of effect, and vulgarises his art. But his numerous sketches have quite a contrary character. They appear to have cost him no trouble; and the best of them, if always true to proportion, would be almost as valuable as those of the elder Vieira, the Lusitanian, of which many, in red crayon, are preserved in the library at Evora. As to Taborda, Fusquini, and Cyrillo, and some other recent artists, we would say, to the inquirer, "Go to the palace of Ajuda, and by their works you shall know them! They are as precious there as flies in amber."