the Palazzo Vecchio in Florence, where he has illustrated the battles of the Florentines, and in several other rooms of the same palace; he having continued all the later years of his life in the service of Duke Cosimo, by whom the palace was restored and decorated. His works are too numerous and not sufficiently important to catalogue or describe, his composition is overcrowded and wanting in perspective. There is generally a superabundance of flesh; muscular limbs in all attitudes form a great part of his pictures, but as the flesh tints he used were wanting in mellowness and shadow, and have turned pink with age, they compare disadvantageously with those of the more solid masters who preceded him. After all, Vasari's name and fame rest principally on the labours of his pen, not those of his brush. His "_Lives of the Painters,_" although not a model of precision in facts or chronology, is nevertheless the mine from which all subsequent art historians quarry to obtain their information. One of the most valuable books of the day is probably the new edition of Vasari with corrections and notes taken from the archives by Signer Gaetano Milanesi. FRANCESCO ROSSI, DE' SALVIATI (born at Florence, 1510--died at Borne, 1563) was a great friend of Vasari; his real name was Rossi, his father being a weaver of velvets, but he obtained the name of Salviati from being the protégé of the Cardinal of that name. His first master was Raffaello del Brescia, but in 1529 he, with his friend Nannoccio, entered the school of Andrea del Sarto, with whom they stayed during the siege. Becoming known by some paintings done for the friars of the Badia, Cardinal Salviati took him into his house, gave him a stipend of four crowns a month, and an apartment at the Borgo Vecchio, he painting any works the Cardinal wished. Francesco was not idle, a great number of frescoes, altar-pieces, and portraits, &c., &c., testifying to his industry. In his later years he was employed with his friend Vasari in the Palazzo Vecchio, where he painted the frescoes in the smaller Hall of Audience. These are principally scenes from the _Life of Camillus_. The story of the schoolmaster of Falerii is very spirited, and the _Triumph of Camillus_ varied and pleasing in colouring. Although melancholy and suspicious, often making enemies and losing patronage by misunderstandings, Rossi and Vasari were always faithful to their first boyish friendship, often working together, but never with any spirit of rivalry. Salviati's style was bold and spirited; he was rich in invention, but perhaps a little wild in the matter of draperies and bizarre costumes. His colouring is more pleasing than that of Vasari, but is diffusive and wanting in depth.