This artist taught Vanni the principles of painting; but his greatest pupil was Felice Ficherelli; a man of the most indolent disposition, lazy in every occupation, and, as if afraid of disturbing his tongue, usually silent unless when asked a question: hence he was named Felice Riposo by the Florentines. He executed few pictures; but what proceeded from his studio may be held up as an example of industry in the art; simple, natural, and studied, without appearing to be so. There is a picture of S. Anthony by him in S. Maria Nuova, where he seems to have been directed by his intimate friend Cristofano, whose work it strongly resembles. He is rare in collections; but always makes a good figure there by his graceful design, his full body of colouring, and his softness. The Adam and Eve driven out of Paradise, in the gallery of the Rinuccini palace, is worthy such a collection. He copied Pietro Perugino, Andrea del Sarto, and some other masters so well, that his work might pass for the originals; and to this employment we may chiefly attribute the exquisite finish of his pictures. To this period we may assign some other artists, who, from whatever cause, are, perhaps, less commended by historians than they deserve. Of this number is Giovanni Martinelli, of whom there is a capital work in the Conventualists of Pescia, viz. the Miracle of S. Anthony, a subject mentioned a little above, as having been also executed by Cigoli. His Feast of Belshazzar, in the ducal gallery at Florence, and his Guardian Angel at S. Lucia de' Bardi, are pictures of note, but inferior to that at Pescia. Of the same class also is Michel Cinganelli, a scholar of Poccetti, who was employed in the metropolitan church of Pisa, where he ornamented the corbels of the cupola, and strove to emulate the best Tuscan artists of his age in an historical picture of Joshua. Such is Palladino, mentioned in the Guide of Florence in reference to a S. Giovanni Decollato; a work deserving notice, for its freedom from the beaten track of his school. He seems to have studied the Lombard more than native artists, and to have been acquainted with Baroccio. I saw his altar-piece at S. Jacopo a' Corbolini. I suspect that this artist is the same as Filippo Paladini, pointed out by Hackert, born and educated at Florence, and who resided in foreign parts. He was compelled to fly from Milan on account of some disturbance, and took refuge in Rome, where he was received by Prince Colonna, and being pursued he went to Sicily, and resided at Mazzarino, an estate belonging to the Colonna family. There, as well as at Syracuse, Palermo, Catania, and elsewhere, he left works that display much elegance and fine colouring, but not free from mannerism, the fault also of the picture above cited at Florence. Benedetto Veli painted in the cathedral of Pistoia an Ascension of Christ, placed at the entrance to the presbytery, upon an immense scale. It is the companion to one of the Pentecost by Gregorio