what he knew;" and indeed this academy in all its branches partakes strongly of his style. A similar doctrine, as we have observed, already prevailed at Florence; but it would have been better that every one followed the master whom his genius pointed out. In the choice of a style nature ought to direct, not to follow; every one should make his election according to his talents. It is true that the error of the Florentines is common to other nations; and has given rise to an opinion, that academies have had a baneful influence on the arts; since they have only tended to constrain all to follow the same path; and hence Italy is found fruitful in adherents to systems, but barren in true painters. To me the institution of academies has always appeared highly useful, when conducted on the plan of that of the Caracci, of which we shall treat under their school. In the mean time I return to the Florentine school. The contemporaries of Vasari were Salviati and Jacopo del Conte, both of whom lived also with Andrea del Sarto, and Bronzino, the scholar of Pontormo. Like Giorgio, their genius led them to an imitation of Michelangiolo. Francesco de' Rossi, called Salviati, from the surname of his patron, was the fellow student of Vasari, under Andrea del Sarto and Baccio Bandinelli. The last mentioned artist was an excellent sculptor, who usually taught design to students in painting, an art which, like Verrocchio, he sometimes practised for amusement. While at Rome, Salviati, contracting an intimate friendship with Giorgio, pursued the same studies, and adopted the same fundamental principles of the art. He finally became a painter more correct, more elevated, and more spirited than his companion, and Vasari classes him among the best artists then in Rome. There he was employed in the palace of his patron, in the Farnese and Riccio palaces, in the Chancery, in the church of S. Gio. Decollato, and in various other places, where he filled extensive walls with historical frescos, an employment which was his chief delight. His invention was very fertile, his compositions varied, his architecture grand; he is one of the few who have united celerity of execution with scientific design, in which he was deeply versed, although occasionally somewhat extravagant. His best production now in Florence is the battle and triumph of Furius Camillus, in the saloon of the old palace, a work full of spirit, that appears from the representations of armour, draperies, and Roman customs, conducted by an able antiquary. There is also in the church of Santa Croce, a Descent from the Cross; to him a familiar subject, which he repeated at the Panfili palace at Rome, and in the _Corpus Domini_ at Venice; and it may be seen in some private collections, in which his Holy Families and portraits are not rare. The octagonal picture of Psyche, in the possession of the Grimani family, is highly celebrated, and Giorgio pronounces it the "finest picture in all