Of the _Arte di Vedere_, I have already made mention on two or three occasions. Milizia had probably been disgusted by the extravagant praises so lavishly bestowed on Michael Angelo, and echoed from one writer to another; and in this book he sees nothing but his defects. No wonder then, that it offended the “stupid adorers of Buonarroti,” and the sensible ones too. On this, and several other occasions, Milizia gives to Mengs a degree of praise which the present age disclaims. In the _Roma delle belle Arti_, praise and blame are more mixed. The offence seems to have been taken from the force and spirit of the remarks, rather than their direction; he may sometimes exaggerate, but he rarely blames on grounds either insufficient or mistaken. The _Dictionary_ is by no means a mere compilation; Milizia could not write without criticising, and no man was less disposed to adopt implicitly the observations and sentiments of another. He has in these works frequently repeated himself, but they all contain much original matter. It seems ridiculous to compare the advantages which an English student in architecture may derive from our academy, with those offered at Paris or Rome, but the spirit and energy of individuals makes up what is wanting in public instruction. A most important part of an architect’s education, is that which he receives abroad, but perhaps a little more assistance at home might enable him to employ his time to greater advantage. It is impossible to give any precise rules, because the best possible line of conduct will vary with the talents, the acquirements, and disposition of the individual; some observations however may be made which will apply to all.