With regard to perspective, it was successfully cultivated by Jacopo Barocci, commonly called Il Vignola, an illustrious name in architecture; owing to which his celebrity in the other branches has been overlooked. But it ought to be observed that his first studies were directed to painting, in the school of Passarotti, in Bologna; until he was led by the impulse of his genius, to apply himself to perspective, and by the aid of that science, as he was accustomed to say, to architecture, in which he executed some wonderful works, and amongst others the palace of Caprarola. There, and I know not whether in other places, are to be seen some pictures by him. As a writer, we shall refer to him in the second index, where, omitting his other works, we shall cite the two books which he wrote in this department of art. Great progress was made in Rome, in the art of perspective, after Laureti, by the genius of Gio. Alberti di Città S. Sepolcro, whose eulogy I shall not here stop to repeat, having already spoken of it in the first volume. Baglione names two friends, Tarquinio di Viterbo and Giovanni Zanna, of Rome; the first of whom painted landscapes, and the second adorned them with figures. He mentions the two brothers, Conti, of Ancona; Cesare, who excelled in arabesques, and Vincenzio in figures: these artists painted for private persons. Marco da Faenza was much employed under Gregory XIII., in arabesques, and the more elegant decorations of the Vatican, and had also the direction of other artists. Of him we shall make more particular mention amongst the artists of Romagna. The landscapes in the Apostolic palace, and in various places of Rome, were many of them painted by Matteo da Siena, and by Gio. Fiammingo, with whom Taja makes us acquainted, in the ducal hall, and particularly the two brothers Brilli, of Flanders, who painted both in fresco and oil. Matteo always retained his _ultramontane_ manner, rather dry, and not very true in colour. Paolo, who survived him, improved his style, from the study of Titian and the Caracci, and was an excellent artist in every department of landscape, and in the power of adapting it to historical subjects. Italy abounds with his pictures. Two other landscape painters also lived in Rome at this time, Fabrizio of Parma, who may be ranked with Matteo, and Cesare, a Piedmontese, more attached to the style of Paolo. Nor ought we to omit Filippo d'Angeli, who, from his long residence in Naples, is called a Neapolitan, though he was born in Rome, where, and as we have observed in Florence, he was highly esteemed. His works are generally of a small size; his prospects are painted with great care, and ornamented with figures admirably introduced. There are also some battle pieces by him.