The schools most in repute, after the death of Sacchi, in 1661, and of Berrettini, in 1670, when the best scholars of the Caracci were dead, were reduced to two, that of Cortona supported by Ciro, and that of Sacchi, by Maratta. The first of these expanded the ideas, but induced negligence; the second enforced correctness, but fettered the ideas. Each adopted something from the other, and not always the best part; an affected contrast pleased some of the scholars of Maratta, and the drapery of Maratta was adopted by some of the followers of Ciro.[85] The school of Cortona exhibited a grand style in fresco; the other school was restricted to oils. They became rivals, each supported by its own party, and were impartially employed by the pontiffs until the death of Ciro, that is, until 1689. From that time a new tone was given to art by Maratta, who, under Clement XI., was appointed director of the numerous works which that pontiff was carrying on in Rome and in Urbino. Although this master had many able rivals, as we shall see, he still maintained his superiority, and on his death, his school continued to flourish until the pontificate of Benedict XIV., ultimately yielding to the more novel style of Subleyras, Batoni, and Mengs. Thus far of the two schools in general: we shall now notice their followers. Besides the scholars whom Pietro formed in Tuscany, as Dandini of Florence, Castellucci of Arezzo, Palladino of Cortona, and those whom he formed in other schools, where we shall see them as masters, he educated others in the Roman state, of whom it is now time to speak. The number of his scholars is beyond belief. They were enumerated by Sig. Cav. Luzi, a nobleman of Cortona, who composed a life of Berrettini with more accuracy than had been before done, but his death prevented the publication of it. Pietro continued to teach to the close of his life, and the picture of S. Ivo, which he left imperfect, was finished by Gio. Ventura Borghesi, of Città di Castello. Of this artist there are also at S. Niccola, two pictures, the Nativity, and the Assumption of the Virgin, and I am not acquainted with any other public specimens of his pencil in Rome. His native place possesses many of his performances, and the most esteemed are four circles of the History of S. Caterina, V. M., in the church of that saint. Many of his works are to be found also in Prague, and the cities of Germany. He follows Pietro with sufficient fidelity in design, but does not display so much vigour of colour. Carlo Cesi, of Rieti, or rather of Antrodoco, in that neighbourhood, was also a distinguished scholar of Pietro. He lived in Rome, and in the Quirinal gallery, where the best artists of the age painted under Alexander VII., he has left a large picture of the Judgment of Solomon. He worked also in other places; as at S. M. Maggiore, at the Rotunda, and was patronized by several cardinals. He was correct in his design, and