[Footnote 240: It was necessary to confine myself thus in the preceding edition. In the present we may give free scope to our commendation of Tommaso Gherardini, a Florentine, and pupil to Meucci; and who, having completed his studies in the schools of Venice and Bologna, succeeded admirably in basso-relievo and chiaroscuro. He decorated a large hall in the Medicean gallery in fresco, and painted likewise much in oil for the imperial gallery of Vienna, for German and English gentlemen, and various countries that have ornamented their collections. He shewed, at least for his age, no less skill in fresco histories, which are seen in many Florentine palaces and villas. The best of these are such as he executed in mature age, or at his own suggestion; like his _Parnaso in Toscana_, placed in the Casa Martelli, one of his patrons from his early years; besides others in the noble houses of Ricciardi and Ambra. He died in 1797; the senator Martelli, on the decease of the Archbishop his uncle, and that of his father, continued his patronage to the artist, and considers him as one who has reflected the greatest degree of credit on his house. The clients of that family, from the time of Donatello, have been numerous, a taste for the fine arts being hereditary in the family. The master of the academy, Pietro Pedroni, ought not to be here omitted; an oil painter of merit, whose four pictures, executed subsequent to his studies at Parma and Rome, are an ornament to his native place. Owing to ill health, he produced little during his residence at Florence, which, added to other disappointments, induced him, always the best resource, to travel. If not a rare painter, he was at least an able master: profound in theory, and eloquent in conveying his knowledge to his pupils, of whom history will treat in the ensuing age. Their success, their affection and esteem for Pedroni, is the best eulogy on him which I can transmit to posterity.] [Footnote 241: See _Il Saggio Istorico_ of Sig. Pelli, towards the conclusion.] [Footnote 242: See _Le Notizie su la Scoltura degli antichi e i vari suoi stili_, p. 39. This short tract, illustrative of many marbles in the ducal gallery, is inserted in the third volume of _Saggio di Lingua Etrusca_. It was intended as a preface to a full Description of the Museum, which was then in the press, but it was suspended in consequence of the numerous changes and additions made in that place.]