Many other Italians worked in Rome in the time of the Caracci, but their schools, as well as the places of their birth, are uncertain; and of these, in a city so abounding in pictures, a slight notice will suffice. In the Guida di Roma, we find only a single notice of Felice Santelli, a Roman, in the church of the P. P. Spagnuoli del Riscatto Scalzi, where he painted in competition with Baglione; he is a painter full of truth, and one of his pictures in Viterbo, in the church of S. Rosa, is inscribed with his name. In Baglione, we read of Orazio Borgianni, a Roman, the rival of Celio, and we find pictures and portraits by him in a good natural style. Gio. Antonio Spadarino, of the family of Galli, painted in S. Peter's, a S. Valeria, with such talent, that Orlandi complains of the silence of biographers respecting him. He had a fellow disciple in Matteo Piccione, of the March, and Titi mentions their peculiar style. Nor is Grappelli much known, whose proper name or country I cannot accurately ascertain; but his Joseph Recognized, which is painted in fresco, in the Casa Mattei, commands our admiration. Mattio Salvucci, who obtained some reputation in Perugia, came to Rome, and although he was graciously received by the Pope, yet, from his inconstant temper, he did not remain there, nor does Pascoli, his fellow countrymen and biographer, mention any authentic pictures by him. Domenico Rainaldi, nephew of the architect, Cav. Carlo Rainaldi, who was employed by Alexander VII., is mentioned in the Roman Guida, as also Giuseppe Vasconio, praised too by Orlandi. In the same description of books, and particularly in those which treat of the pictures of Perugia, mention is made in this epoch of the Cav. Bernardino Gagliardi, who was domiciled for many years in that city, though born in Città di Castello. Although a scholar of Avanzino Nucci, he adopted a different style, after having seen in his travels the best works of every school of Italy, from Rome to Turin. In historical composition he particularly followed the Caracci and Guido, but in what I have seen of him, both in his own and his adopted city, he appears exceedingly various. The noble house of Oddi, in Perugia, amongst some feeble productions of his, have a Conversazione of young people, half figures, and truly beautiful. In the Duomo of Castello is a Martyrdom of S. Crescenziano, a picture of fine effect, though inferior in other respects. He there appears more studied and more select in the two pictures of the young Tobias, which are included among his superior works. His best is perhaps the picture of S. Pellegrino, with its accompaniments, in the church of S. Marcello in Rome. I do not recollect any other provincial painters of this period whom I have not assigned to one or other of the various masters.