The Cav. Gio. Lanfranco came to Rome whilst yet young, and there formed that free and noble style, which served to decorate many cupolas and noble edifices, and which pleases also in his cabinet pictures when he executed them with care. Giacinto Brandi di Poli was his most celebrated scholar in Rome. He at first adopted his master's moderate tone of colour, the variety and contrast of his composition, and his flowing pencil; but in consequence of his filling, as he did, Rome and the state with his works, he neglected correctness of design, and never arrived at that grandeur of style which we admire in Lanfranc. He sometimes indeed went beyond himself, as in the S. Rocco of the Ripetta, and in the forty martyrs of the Stigmata in Rome; but his inordinate love of gain would not allow him to finish many works in the same good style. I have been informed by a connoisseur, on whose opinion I can rely, that the best works of this artist are at Gaeta, where he painted at the Nunziata a picture of the Madonna with the Holy Infant; and where, in the inferior part of the Duomo, he painted in the vault three recesses and ten angles, adding over the altar the picture of the martyrdom of S. Erasmus, bishop of the city, who was buried in that church. Brandi did not perpetuate the taste of his school, not leaving any pupil of eminence except Felice Ottini, who painted in his youth a chapel at the P. P. di Gesù e Maria, and did not long survive that work. Orlandi also mentions a Carlo Lamparelli di Spello, who left in Rome a picture at the church of the Spirito Santo, but nothing further. An Alessandro Vaselli also left some works in another church in Rome. After Brandi, we ought to commemorate Giacomo Giorgetti, of Assisi, who is little known beyond his native city, and the neighbouring towns. He is said to have first studied the art of design in Rome, when he learned colouring from Lanfranc, and became a good fresco painter. There is by him in a chapel of the Duomo at Assisi, a large composition in fresco, and in the sacristy of the Conventuals, various subjects from the Life of the Virgin, also in fresco; works coloured in a fine style, and much more finished than was usual with Lanfranc. If there be any fault to be found with them, it is the proportions of the figures, which not unfrequently incline to awkwardness. His name is found in the _Descrizione della Chiesa di S. Francesco di Perugia_, together with that of Girolamo Marinelli, his fellow citizen and contemporary, of whom I never found any other notice.