Carlo Saracino, or Saraceni, also called Veneziano, wishing to be thought a second Caravaggio, affected the same singular mode of dress as that master, and provided himself with a huge shagged dog, to which he gave the same name that Caravaggio had attached to his own. He left many works in Rome, both in fresco and oils. He too was a _naturalista_, but possessed a more clear style of colour. He displayed a Venetian taste in his figures, dressing them richly in the Levant fashion, and was fond of introducing into his compositions corpulent persons, eunuchs, and shaven heads. His principal frescos are in a hall of the Quirinal; his best oil pictures are thought to be those of S. Bonone, and a martyred bishop in the church dell'Anima. He is seldom found in collections; but, from the above peculiarities, I have more than once recognized his works. He returned to Venice, and soon afterwards died there; hence he was omitted by Ridolfi, and scarcely noticed by Zanetti. Monsieur Valentino, as he is called in Italy, who was born at Brie, near Paris, and studied in Rome, became one of the most judicious followers of Caravaggio. He painted in the Quirinal the Martyrdom of the Saints Processo and Martiniano. He was a young artist of great promise, but was cut off by a premature death. His easel pictures are not very rare in Rome. The Denial of S. Peter, in the Palazzo Corsini, is a delightful picture. Simone Vovet, the restorer of the French School, and the master of Le Brun, formed his style from the pictures of Caravaggio and Valentino. In Rome there are some charming productions by him both in public and private, particularly in the Barberini gallery. I have heard them preferred to many others that he painted in France in his noted rapid style. Angiolo Caroselli was a Roman, in whose works, consisting chiefly of portraits and small figures, if we except the S. Vinceslao of the Quirinal palace, and a few similar pictures, we find the style of Caravaggio improved by an addition of grace and delicacy. He was remarkable for not making his design on paper, or using any preparatory study for his canvass. He is lively in his attitudes, rich in his tints, and finished and refined in his pictures, which are highly prized, but few in number, when we consider the term of his life. Besides practising the style of Caravaggio, in which he frequently deceived the most experienced, he imitated other artists in a wonderful manner. A S. Elena by him was considered as a production of Titian even by his rivals, until they found the cipher A. C. marked on the picture in small letters, and Poussin affirms, that he should have taken his two copies of Raffaello for genuine pictures, if he had not known where the originals were deposited.