A more arduous task than recording the names of the Italian artists now awaits us in the enumeration of strangers. About the beginning of the century Peter Paul Rubens came young to Rome, and left some oil pictures at the Vallicella, and in S. Croce in Gerusalemme. Not many years afterwards Antonio Vandyck arrived there also, with an intention of remaining for a long period; but many of his fellow countrymen, who were there studying, became offended at his refusing to join them in their convivial tavern parties and dissipated mode of life; he in consequence left Rome. Great numbers too of that nation who professed the lower school of art, remained in Italy for a considerable period, and some are mentioned in their classes. Others were employed in the churches of Rome, and the ecclesiastical state. The master is unknown who painted at S. Pietro in Montorio, the celebrated Deposition, which is recommended to students, as a school of colour in itself; by some he is called Angiolo Fiammingo. Of Vincenzio Fiammingo there is at the Vallicella a picture of the Pentecost; of Luigi Gentile, from Brussels, the picture of S. Antonio at S. Marco, and others in various churches in Rome; he painted also at the church of the Capucins, at Pesaro, a Nativity and a S. Stephen, pictures highly finished and of a beautiful relief. He executed others at Ancona, and in various cities, with his usual taste, which is still more to be admired in his easel pictures. He excelled, says Passeri, who was very sparing in his praise of artists, in small compositions; since besides finishing them with great diligence, he executed them in an engaging style, and he concludes with the further encomium, that he equalled, if not surpassed, most artists in portrait painting.