The works of Pietro in Rome, and in the states of the church, are not at all rare. They are to be found also in other states of Italy, and those pieces are the most attractive in which he had the greatest opportunity of indulging his love of architecture. His largest compositions, which might dismay the boldest copyist, are S. Ivo at the Sapienza of Rome, and the S. Charles in the church of that saint, at Catinari, in the act of relieving the infected. The Preaching of S. James in Imola, in the church of the Domenicans, is also on a vast scale. The Virgin attended by S. Stephen, the Pope, and other saints in S. Agostino, in Cortona, is a picture of great research, and is considered one of his best performances. There is an enchanting picture of the Birth of the Virgin, in the Quirinal palace; and the Martyrdom of S. Stephen, at S. Ambrogio, in Rome, and Daniel in the Den of Lions, in the church of that saint, in Venice, are most beautiful works, superior to those of most of his competitors in this school, in regard to composition, and equal to them in colour. His historical subjects are not met with in the galleries of the Roman nobility. In that of the Campidoglio, is the battle between the Romans and the Sabines, full of picturesque spirit; and in possession of the Duke Mattei, is the Adultery, half figures, more studied and more highly finished than was customary with him. This brief notice of him may suffice for the present. Of the scholars whom he formed in the Roman School, I shall speak more opportunely in the subsequent epoch. At this period we find three Veronese artists, Ottini, Bassetti, and Turchi, studying in Rome; and we shall speak of them more at length in the Venetian School. The first returned home without executing any public work. The second left, in the church dell'Anima, in Rome, two pictures in fresco, the Birth, and the Circumcision of Christ. The third, known under the name of Orbetto, took up his residence, and died in that capital; but I am not aware that he left there any disciples of merit, except some of his own countrymen, who returned to their native place. This engaging and elegant painter, who possessed great originality and beauty of colour, worked still more in Verona than in Rome, and we ought to see his works in the former city, in order justly to appreciate them. But he is not on that account held in the less esteem in Rome for his cabinet pictures, which are highly prized, as the Sisara de' Colonnesi, and for his scriptural subjects, as the Flight into Egypt, in the church of S. Romualdo, and the S. Felice Cappuccino, at the Conception, where, as we before observed, the Barberini family employed the most eminent artists.