On turning to the other parts of Tuscany, we find them from the beginning of the eighteenth century full of the followers of Cortona; San Sepolcro boasted one Zei, of whom I find no further account than that of his painting an altar-piece representing the souls in purgatory, for the cathedral of that place, a work extremely well coloured, and conducted in the maxims of the school, though the countenances are of a common cast; and if we except the liberating angel, of poor expression. Among this sect we cannot include Gio. Batista Mercati, one of the latest painters of that city, not unknown at Rome, and much noted in his native place, where he painted either at a more mature time of life, or with greater pains. Two of his historical frescos, representing our Lady, are in S. Chiara; and at S. Lorenzo there is a picture of the titular with other saints; in both there is an air apparently drawn from the school of the Caracci, especially in the breadth of the drapery, which is well cast, and skilfully varied. In the Guides to Venice and to Rome, several of his works are mentioned, and in that of Leghorn, the only picture in the cathedral esteemed worthy of notice is that of the Five Saints, painted by Mercati with great care. Orlandi notices Tommaso Lancisi, a scholar of Scaminossi, and two of his brothers, and adds, that painting was an hereditary honour in this family. One only of the countrymen of Berrettini is known to me as his follower; his name is Adriano Palladino; he is mentioned by Orlandi, which is the only trace of him that I have discovered; I never saw any of his works, nor heard them mentioned by any one. Arezzo abounds with pictures in the manner of Cortona. Salvi Castellucci, the scholar of Pietro, either at Florence or at Rome, was a great imitator of his style, and painted with expedition, according to the practice of the school. He executed many good pieces in the cathedral, and other churches, besides numerous cabinet pictures that are in private houses, which are estimable for the facility and good taste of their colouring. One of his frescos, representing our Lady surrounded by the patron saints of the city, is in the public palace; but he is greater in oil painting. He had a son, on whom he bestowed the name of Pietro, probably in honour of his master. He also was a follower of Cortona, but never equalled his father.