collections, and which in the course of time renders them dark and almost worthless. His true name is unknown to the greater number of the lovers of art, by whom he is called Il Viviani; and who seem to have confounded him with Ottavio Viviani of Brescia, who is mentioned by the Dictionaries; a perspective painter also, but in another branch, and in a different style, as we shall hereafter see. [Footnote 71: He excelled chiefly in architecture, although he had given a proof of his talents in painting, in some subjects in the gallery, executed under Gregory XIII.] [Footnote 72: In the, not very accurate, catalogue of the pictures in Fabriano, besides the above mentioned fourteen, seven more are mentioned by the same master.] [Footnote 73: Mention is also made of one Basilio Maggieri, an excellent painter of portraits.] [Footnote 74: V. Le Pitture pubbliche di Piacenza, p. 81.] [Footnote 75: In a letter of the Oretti correspondence, written in 1777, from Andrea Zanoni to the Prince Ercolani, I find Marini classed in the school of Ferraù da Faenza, and there still remain many pictures by him in the style of that master.] [Footnote 76: Pascoli has restored to him the picture of S. Rosalia at the Maddalena, which Titi had ascribed to Michele Rocca, called _Il Parmigianino_, an artist of repute, and proper to be mentioned, as by those who are not acquainted with his name and style, he might be mistaken for Mazzuola, or perhaps Scaglia. The same author, soon afterwards, mentions Grecolini, and thereby renders any further notice of that artist on my part unnecessary.] [Footnote 77: We ought to judge of him from the Visitation, at the church of the Orfanelli, rather than from the picture of various Saints, in _Ara Coeli_. This kind of observation may be extended to many other artists, who are commemorated for the sake of some superior work.] [Footnote 78: Memoirs of this painter have been long a desideratum, as may be seen from the Lett. Pitt. tom. v. p. 257. I give such information as I have been able to procure in his native place, assisted by the researches of the very obliging Monsignore Massajuoli, Bishop of Nocera. Gio. Batista was born in Sassoferrato on the 11th July, 1605, and died in Rome on the 8th August, 1685. And I may here correct an error of my first edition, where it is printed 1635.] [Footnote 79: There is a picture of the Rosario in the church of the Eremitani, with his name, and the year 1573. It is a large composition.] [Footnote 80: In the Oretti Correspondence there is a letter from an anonymous writer to Malvasia respecting this painter, who is there called Francesco, and is declared to be _Pittore di molta stima_. He then painted in Ancona, as appears from letters under his own hand to Malvasia, where he invariably subscribes himself Francesco.]