We now come to the Caracci and their school. Before Annibale arrived in Rome, he had already formed a style which left nothing to be desired, except to be more strongly imbued with the antique. Annibale added this to his other noble qualities when he came to Rome; and his disciples, who trod in his steps, and continued after his death to paint in that city, are particularly distinguished by this characteristic from those who remained in Bologna under the instruction of his cousin Lodovico. The disciples of Annibale left scholars in Rome; but no one except Sacchi approached so near in merit to his master, as they had done to Annibale, nor did there appear, like them, any founder of an original style. Still they were sufficient to put a check on the mannerists, and the followers of Caravaggio, and to restore the Roman School to a better taste. We shall now proceed to enumerate their scholars in their various classes. Domenichino Zampieri, to his talents as a painter, added commensurate powers of instruction. Besides Alessandro Fortuna, who under the direction of his master painted some fables from Apollo, in the villa Aldobrandini in Frescati, and died young, Zampieri had in Rome two scholars of great repute, mentioned only by Bellori; Antonio Barbalunga, of Messina, and Andrea Camassei of Bevagna, both of whom honoured their country with their name and works, although they did not live many years. The first was a happy imitator of his master, who had long employed him in copying for himself. In the church of the P. P. Teatini, at Monte Cavallo, is his picture of their Founder, and of S. Andrea Avellino, attended by angels, which might be ascribed to Zampieri himself, whose forms in this class of subjects were select, and his attitudes elegant, and most engaging. To him I shall return in the fourth book. The second, who had also studied in the school of Sacchi, lived longer in Rome; and whoever wishes justly to appreciate him, must not judge from the chapel which he painted whilst yet young in his native place, but must inspect his works in the capital. There, in S. Andrea della Valle, is the S. Gaetano, painted at the same time, and in competition with the S. Andrea of Barbalunga, before mentioned with commendation; the Assumption at the Rotonda, and the Pietà at the Capucins; and many excellent frescos in the Baptistery of the Lateran, and in the church of S. Peter; which evince that he had almost an equal claim to fame with his comrade. If, indeed, he was somewhat less bold, and less select, yet he had a natural style, a grace, and a tone of colour, that do honour to the Roman School, to which he contributed Giovanni Carbone, of S. Severino, a scholar of some note. It has been remarked, that his fate resembles that of Domenichino, as his merits were undervalued, and himself persecuted by his relatives, and he was also prematurely cut off by domestic afflictions.