Two other artists, unknown in their native place, are made known to me by their signatures. On a Last Supper, in the convent of the Angioli, below Assisi, I discovered _Franciscus Antonius Senensis_, 1614, or thereabouts. The style has enough of Baroccio to lead me to suspect that he was the scholar of Vanni, or of Salimbeni: nor must he be reckoned the meanest of that school, for he was master of expression in a degree superior to mediocrity. The figure of the departing Judas is the image of desperate resolve, and would be much better had he not given it the feet of a bat; a grotesque conceit. In the same neighbourhood, at the church of Foligno, I read, beneath a Holy Family, the name of _Marcantonio Grecchi_, and the date 1634. The style is solid, expressive, and correct; more resembling Tiarini di Bologna than any master of Siena. Niccolo Tornioli, lately mentioned, painted in the church of S. Paul, at Bologna, in various cities of Italy: in Siena he left, perhaps, no picture in public but the Vocation of S. Matthew, still remaining in the custom-house. Towards the close of the century, painting was practised at Siena chiefly by foreigners. Annibale Mazzuoli, a fresco painter of rapid execution but of little merit, was most employed: he afterwards went to Rome, and is the last name inserted in the Eulogies of Pio. Painting, however, came again into repute at Siena, about 1700, when its credit was restored by Cav. Giuseppe Nasini, a scholar of Ciro Ferri. Nasini possessed the qualities for which I have commended many of his nation, a fervid genius, a fertile imagination, and a poetic vein; but his poetry was of the species that prevailed in Italy during his younger days, a composition unrestrained by fixed rules. To this spirit we not unfrequently discover some analogy in his paintings, in which we could desire to find more order, a more choice design, and colouring less vulgar. He always shews, however, a taste for allegory, great command of pencil, and an imposing air on the whole; and the observation of Redi, that "he stuns the beholder," is not without some foundation.[305] This remark was made when Nasini had finished the cupola of the chapel of S. Anthony, in the church of the Apostles at Rome; in which chapel there is a picture by Luti. He afterwards entered into a competition with Luti, and the first artists then in Rome, in the large prophets of the lateran cathedral. His masterpiece is supposed to be the S. Leonard, in Madonna del Pianto, at Foligno, the ceiling of which he painted with good frescos. Siena contains some of his finest productions of every kind; above all, the pictures of the Novissimi, intended for the Pitti palace, but transferred from it to the church of the Conventuals of Siena. It contains a great number of figures neither so select nor so well arranged as to arrest the eye of the spectator; but he who would contemptuously overlook it, let him say how many painters then in Italy