Among the scholars of Roncalli may also be ranked Giovanni Antonio, father of Luigi Scaramuccia, who also saw and imitated the Caracci. His works are often met with in Perugia. The spirit and freedom of his pencil are more commended than his tints, which are too dark, and which in the churches easily distinguish him amidst a crowd of other artists. It is probable that he used too great a quantity of _terra d'ombra_, like others of his day. Girolamo Buratti, of the same school, painted in Ascoli the beautiful picture of the Presepio at the Carità, and some subjects in fresco, highly commended by Orsini. Of Alessandro Casolani, who belongs to this master, we spoke in the Sienese School. With him, too, was included Cristoforo his son, who, with Giuseppe Agellio of Sorrento, may be ranked with the inferior artists. Francesco Morelli, a Florentine, demands our notice only as having imparted the rudiments of the art to the Cav. Gio. Baglione of Rome. His pupil, however, did not remain with him for any length of time, but formed a style for himself from a close application to the works of the best masters, and was employed by Paul V., by the Duke of Mantua, and by persons of distinction. He is less vigorous in design and expression, than in colour and chiaroscuro. We meet with his works, not only in Rome, where he painted much, but also in several provincial towns, as the S. Stephen in the Duomo of Perugia, and the S. Catherine at the Basilica Loretana. In his colours he resembled Cigoli, but was far behind him in other respects. The picture which procured him great applause in the Vatican, the Resuscitation of Tabitha, is defaced by time; but both there and at the Cappella Paolina in S. Maria Maggiore, which was the most considerable work of Paul V., his pieces in fresco still remain, and are not unworthy of their age. He is not often found in collections, but in that of the Propaganda I saw a S. Rocco painted by him with great force of colour. He lived to a considerable age, and left behind him a compendium of the lives of professors of the fine arts, who had been his contemporaries in Rome from 1572 to 1642. He wrote in an unostentatious manner, and free from party spirit, and was on all occasions more disposed to commend the good than to censure the bad. Whenever I peruse him, I seem to hear the words of a venerable teacher, inclined rather to inculcate precepts of morals, than maxims on the fine arts. Of the latter, indeed, he is very sparing, and it would almost lead one to suppose that he had succeeded in his profession, more from a natural bias, and a talent of imitation, than from scientific principles and sound taste. It was, perhaps, in order that he might not be tied to treat of the art theoretically, and to write profoundly, that he distributed his work in five dialogues, in the course of which we do not meet with professors of art, but are introduced to a foreigner and to a Roman gentleman, who act the respective parts of master and