feebly, by introducing some figures that were wanting, and the family received 5,000 crowns as its price. Girolamo is rarely to be met with in Pisan collections, and still more rarely in other places. He was, however, well known in his day, having been invited to Naples to ornament the chapel of S. Gennaro, and to the court of Paris by the queen. From among many Pisan artists of this period recorded by Sig. da Morrona, or Sig. Tempesti, we shall select some of the most considerable. Ercole Bezzicaluva is worthy of notice, both for his engravings and his picture representing various saints in the choir of St. Stephen's at Pisa. So likewise is Gio. del Sordo, otherwise called Mone da Pisa; but his colouring seems superior to his invention. Zaccaria Rondinosi, I believe, of the Florentine school, was more skilled in ornamental than in any other branch of painting. He repaired the pictures in the Campo Santo, and on that account was honoured by the citizens with a tomb there, and near it an inscription on the marble. I know not whether any picture of Arcangela Paladini, an excellent embroiderer, except her own portrait, has reached our times. It was hung in the ducal gallery among the portraits of illustrious painters: to be deposited in such a place, and to remain there from 1621, is an unequivocal proof of its merit; since it is the custom of the place not lightly to refuse the portraits of tolerably good painters, but to keep them there as if only lodgers, and then send them to some villa of the prince, when new guests arrive, to take a place in the cabinets which are named _de' Pittori_. Gio. Stefano Marucelli, both an engineer and a painter, was not born in Pisa, but he may be reckoned a Pisan from his long residence and attachment to the place. Having come from Umbria into Tuscany, according to the tradition of the Pisans, he became a pupil of Boscoli, and remaining at Pisa, he contended with the celebrated artists whom we have noticed as employed from time to time in ornamenting the tribune of the cathedral. The Abraham entertaining the three angels is a work of his, commended for felicity of invention, and beauty of colouring. In the church of S. Nicolas at Pisa, there remains a memorial of Domenico Bongi of Pietrasanta, who was a follower of Perino del Vaga. He flourished in 1582.