Lazzari, the secret of the art died with the Fontani, and the practice daily declined until it ended in a common manufactory and object of merchandize. Whoever wishes for further information on this subject, may consult the above cited Passeri, who inserted his treatise in the fourth volume of the Calogeriani, not forgetting the Dizionario Urbinate, and the Cronaca Durantina. The art of painting on leather deserves little attention; nevertheless, as Baglione mentions it with commendation in his life of Vespasian Strada, a fresco painter of some merit in Rome, I did not think it right to pass it over without this slight notice. [Footnote 56: Dolce, Dial. della Pittura, p. 11.] [Footnote 57: We shall notice him again in the school of Bologna, where he passed his best years, and also in the Roman School, in which he was a master. Sebastiano had also another scholar, or imitator, as we find a Communion of S. Lucia, painted in his style, in the collegiate church of Spello. The artist inscribes his name, _Camillus Bagazotus Camers faciebat_.--_Orsini Risposta_, p. 16.] [Footnote 58: He painted the S. Catherine in S. Agostino, the Presepio in S. Silvestro at Monte Cavallo, and left works in many other churches.] [Footnote 59: He painted some façades in Rome. In the oratory of S. Giovanni Decollato, there remains the Dance before Herod, not very correctly designed, and feeble in colouring; but the perspective, and the richness of the drapery in the Venetian style, may confer some value on the picture.] [Footnote 60: Bellori, Vite de' Pittori, p. 20.] [Footnote 61: Idea de' Pittori, Scultori, e Architetti, reprinted in the Lett. Pitt. tom. vi. p. 147.] [Footnote 62: The charming poet Lasca noticed this work as soon as the Cupola was opened to public view, in a madrigal inserted in the edition of his poems in the year 1741. He blamed Giorgio d'Arezzo (Vasari) more than Federigo, that for sordid motives he had designed and undertaken a work, which in the judgment of the Florentines, injured the Cupola of Brunellesco, which was the admiration of every one, and which Benvenuto Cellini was accustomed to call, _la Maraviglia delle cose belle_. He concludes by saying, that the Florentine people "Non sarà mai di lamentarsi stanco Se forse un dì non le si dà di bianco."] [Footnote 63: This is not the large picture of the Calumny of Apelles painted in distemper for the Orsini family, and engraved, and which is now to be seen in the Palazzo Lante, and is one of the most finished productions of Federigo.]