[Footnote 81: Passeri, Vite de' Pittori, page 363. He was remarkable for being the first to adopt a new style in trees in landscapes, where by a strong character of truth and attention to the forms of the trunk, foliage, and branches, he denoted the particular species he wished to express.] [Footnote 82: He painted for his _studio_ a landscape enriched with views from the Villa Madama, in which a wonderful variety of trees was introduced. This he preserved for the purpose of supplying himself, as from nature, with subjects for his various pictures, and refused to sell it to the munificent pontiff, Clement IX., although that prince offered to cover it with pieces of gold.] [Footnote 83: V. Salvator Rosa, sat. iii. p. 79, where he reprehends not only the artists, but also the great, for affording such pictures a place in their collections.] [Footnote 84: He was the ancestor of the Sig. Giuseppe Rosa, director of the imperial gallery in Vienna, who has given us a catalogue of the Italian and Flemish pictures of that collection, and who will, we hope, add the German. Of this deserving artist he possesses a portrait, engraved in 1789, where we find a list of the various academies that had elected him a member, and these are numerous, and of the first class in Europe. We find him also amongst those masters whose drawings were collected by Mariette; and he is also mentioned in the Lessico Universale delle Belle Arti, edited in Zurich, in 1763.] ROMAN SCHOOL. FIFTH EPOCH. _The Scholars of Pietro da Cortona, from an injudicious imitation of their Master, deteriorate the art. Maratta and others support it._