Francesco Cozza was born in Calabria, but settled in Rome. He was the faithful companion of Domenichino during the life of that master, and after his death completed some works left unfinished by that artist, and executed them in the genuine spirit of his departed friend, as may be seen in Titi. He appears to have inherited from his teacher his learning rather than his taste. One of his most beautiful pictures is the Virgin del Riscatto at S. Francesca Romana a Capo alle Case. Out of Rome there are few public or private works to be met with by him. He was considered exceedingly expert in his knowledge of the hands of the different masters, and on disputed points, which often arose on this subject in Rome, his opinion was always asked and acted on, without any appeal from his judgment. Of Pietro del Po, also a disciple of Domenichino, and of his family, we shall speak more at large in the fourth book. Giannangiolo Canini, of Rome, was first instructed by Domenichino, and afterwards by Barbalunga, and would have obtained a great reputation for his inventive genius, if, seduced by the study of antiquities, he had not for his pleasure taken a short way to the art; which led him to neglect the component parts, and to satisfy himself with a general harmonious effect. He possessed, however, great force and energy in subjects which required it, as in the Martyrdom of S. Stephen at S. Martino a' Monti. The works which he executed with the greatest labour and care, were some sacred and profane subjects, which he was commissioned to paint for the Queen of Sweden. But although he was appointed painter to that court, and was also a great favourite with the queen, it should seem that he did not much exercise his profession either for her or others, as his great pleasure was in designing from the antique. He filled a large volume with a collection of portraits of illustrious ancients, and heads of the heathen deities, from gems and marbles. This book, the Cardinal Chigi having carried it with him into France, he presented to Louis XIV., and received a collar of gold as a remuneration for it. On his return to Rome he was intending to eulogize the queen in verse, and to continue in prose the lives of the painters, which he had in part prepared when he died. His biographical work probably afforded assistance to Passeri or to Bellori, his intimate friends.