The fine copies that so often pass for originals, in Florence and other places, are chiefly the work of the above mentioned artists; nor does it seem credible that Andrea copied so closely his own inventions, and reduced them with his own hand from the great scale to small dimensions. I have seen one of his Holy Families, in which S. Elizabeth appears, in ten or twelve collections; and other pictures in three or four private houses. I found the S. Lorenzo surrounded by other saints, at the Pitti Palace, in the Albani gallery; the Visitation, in the Giustiniani palace; the Birth of our Lady, in the convent of the Servi, in the possession of Sig. Pirri, at Rome: all these are beautiful little pictures, all on small panels, all of the old school, and all believed the work of Andrea. It seems to me not improbable that the best of these were at least painted in his studio, and retouched by him, a practice adopted by Tiziano, and even by Raffaello. Rosso, who contended in the cloisters of the Nunziata, with the best masters, and who appears in his Assumption to have aimed at a work not so much superior in beauty as in size to the productions of the other artists, is among the greatest painters of his school. Endowed with a creative fancy, he disdained to follow any of his countrymen or strangers; and indeed one recognizes much originality in his style: his heads are more spirited, his head dresses and ornaments are more tasteful, his colouring more lively, his distribution of light and shade broader, and his pencilling more firm and free, than had been hitherto seen in Florence. He appears in short to have introduced into that school a peculiar spirit, that would have been unexceptionable, had it not been mingled with something of extravagance. Thus, in the Transfiguration at Città di Castello, instead of the Apostles he introduced a band of gypsies at the bottom of the picture. His picture in the Pitti palace, however, is far removed from any such fault. It exhibits various saints, grouped in so excellent a manner, that the chiaroscuro of one figure contributes to the relief of another; and it has such beautiful contrasts of colour and of light, such energy of drawing and of attitude, that it arrests attention by its originality. He likewise painted for the State: an unfinished Descent from the Cross may be seen in the oratory of S. Carlo, in Volterra; and another in the church of S. Chiara at Città S. Sepolcro; in the cathedral of which there are many old pictures. Its great merit consists in the principal group, and that twilight, or almost nocturnal tint, that gives a tone to the whole piece, sombre, true, and worthy of any Flemish artist. The works of this painter are very scarce in Italy; for he went to France into the employment of Francis I. during his best time, and superintended the ornamental painting and plaster work then going on at Fontainebleau. Whilst engaged in this work, he unhappily put an end to