Virgilio Ducci, of Città di Castello, is little known among the scholars of Albano, though he does not yield to many of the Bolognese in the imitation of their common master. Two pictures of Tobias, in a chapel of the Duomo, in his native place, are painted in an elegant and graceful style. An Antonio Catalani, of Rome, is mentioned to us by Malvasia, and with him Girolamo Bonini, of Ancona, the intimate friend of Albani. These artists resided in Bologna, and were employed there, as we shall see in our history of that school. Of the second we are told that he painted both in Venice and in Rome; and Orlandi praises his works in the Sala Farnese, which either no longer exist, or are neglected to be mentioned in the Guida of Titi. Lastly, from the studio of Albani issued Andrea Sacchi, after its chief the best colourist of the Roman School, and one of the most celebrated in design, in the practice of which he continued until his death. Profoundly skilled in the theory of art, he was yet slow in the execution. It was a maxim with him that the merit of a painter does not consist in giving to the world a number of works of mediocrity, but a few perfect ones; and hence his pictures are rare. His compositions do not abound with figures, but every figure appears appropriate to its place; and the attitudes seem not so much chosen by the artist, as regulated by the subject itself. Sacchi did not, indeed, shun the elegant, though he seems born for the grand style--grave miens, majestic attitudes, draperies folded with care and simplicity; a sober colouring, and a general tone, which gave to all objects a pleasing harmony, and a grateful repose to the eye. He seems to have disdained minuteness, and, after the example of many of the ancient sculptors, to have left some part always unfinished; so at least his admirers assert. Mengs expresses himself differently, and says, that Sacchi's principle was to leave his pictures, as it were, merely indicated, and to take his ideas from natural objects, without giving them any determinate form: on this matter the professors of the art must decide. His picture of S. Romualdo surrounded by his monks, is ranked among the four best compositions in Rome; and the subject was a difficult one to treat, as the great quantity of white in the vestures tends to produce a sameness of colour. The means which Sacchi adopted on this occasion have always been justly admired. He has placed a large tree near the foreground, the shade of which serves to break the uniformity of the figures, and he thus introduced a pleasing variety in the monotony of the colours. His Transito di S. Anna at S. Carlo a' Catinari, his S. Andrea in the Quirinal, and his S. Joseph at Capo alle Case, are also beautiful pictures. Perugia, Foligno, and Camerino, possess altarpieces by him which are the boast of these cities. He enjoyed the reputation of an amiable and learned instructor. One of his lectures, communicated by his