Torregiani, who died young, and who excelled in landscape, but was not accomplished enough to add the figures. Giovanni Ghisolfi, of Milan, a master of perspective, adopted in his figures the style of Salvator. Gaspar Dughet, or Poussin, of Rome, or of the Roman School, did not much resemble Rosa, except in despatch. Both these artists were accustomed to commence and finish a landscape and decorate it with figures on the same day. Poussin, contrary to Salvator, selected the most enchanting scenes, and the most beautiful aspects of nature; the graceful poplar, the spreading plane trees, limpid fountains, verdant meads, gently undulating hills, villas delightfully situated, calculated to dispel the cares of state, and to add to the delights of retirement. All the enchanting scenery of the Tusculan or Tiburtine territory, and of Rome, where, as Martial observes, nature has combined the many beauties which she has scattered singly in other places, was copied by this artist. He composed also ideal landscapes, in the same way that Torquato Tasso, in describing the garden of Armida, concentrated in his verses all the recollections of the beautiful which he had observed in nature. Notwithstanding this extreme passion for grace and beauty, it is the opinion of many, that there is not a greater name amongst landscape painters. His genius had a natural fervour, and as we may say, a language, that suggests more than it expresses. To give an example, in some of his larger landscapes, similar to those in the Panfili palace, we may occasionally observe an artful winding of the road, which in part discovers itself to the eye, but in other parts, leaves itself to be followed by the mind. Every thing that Gaspar expresses, is founded in nature. In his leaves he is as varied as the trees themselves, and is only accused of not having sufficiently diversified his tints, and of adhering too much to a green hue. He not only succeeded in representing the rosy tint of morning, the splendour of noon, evening twilight, or a sky tempestuous or serene; but the passing breeze that whispers through the leaves, storms that tear and uproot the trees of the forest, lowering skies, and clouds surcharged with thunder and rent with lightning, are represented by him with equal success. Niccolas, who had taught him to select the beauties of nature, instructed him also in the figures, and the accessary parts of the composition. Thus in Gaspar every thing displays elegance and erudition, the edifices have all the beautiful proportions of the antique; and to these may be added arches and broken columns, when the scene lay in the plains of Greece or Rome; or, if in Egypt, pyramids, obelisks, and the idols of the country. The figures which he introduces are not in general shepherds and their flocks, as in the Flemish pictures, but are derived from history, or classic fables, hawking parties, poets crowned with laurel, and other