their era, and the practice of that splendid court, which was in the habit of engaging in its service the first masters of Italy or their scholars. But not possessing positive information, nor finding any indication of their style, I dare not assign these two to Barocci. I feel a pleasure however in restoring them to the glorious country from which they had been separated. Passing from the fellow countrymen of Barocci to foreigners, some persons have imagined Andrea Lilio, of Ancona, to have been his disciple. I rather consider him to have been an imitator of him, but more in respect to colour than any thing else. He had a share in the works which were carried on under Sixtus, and painted for the churches, chiefly in fresco, and sometimes in partnership with Viviani of Urbino. He went to Rome when young, and lived there until the reign of Paul V., but suffered both in body and mind from domestic misfortunes, which interrupted not a little his progress in art. Ancona possesses several of his pictures in fresco, varying in their merit, as well as some of his oil pictures at the Paolotti in S. Agostino, and in the sacristy some pieces, from the Life of S. Nicholas, highly prized. The most celebrated is his Martyrdom of S. Lorenzo, by many ascribed to Barocci, for which I refer to the _Guida_ of Montalboddo, and the church of S. Catherine, where it is placed. His greatest work is the altarpiece in the Duomo at Fano, representing all the saints, containing a vast number of figures well grouped and well contrasted, and if not very correctly designed, still possessing Barocci's tone of colour.