opposed, both in person and by his precepts and example, the fatal and prevailing facility of his time. Pascoli has preserved some of his axioms, and this among others, that the beautiful should not be crowded, but distributed with judgment in the composition of pictures; otherwise they resemble a written style, which by the redundancy of brilliant and sententious remarks fails in its effect. Francesco Bonifazio was of Viterbo, and from the various pictures by him, which Orlandi saw in that city, I do not hesitate to rank him among the successful followers of Pietro. We may mention Michelangiolo Ricciolini, a Roman by birth, although called of Todi, whose portrait is in the Medici gallery, where is also that of Niccolo Ricciolini, respecting whom Orlandi is silent. Both were employed in decorating the churches of Rome; the second had the reputation of a better designer than the first, and in the cartoons painted for some mosaics for the Vatican church, he competed with the Cav. Franceschini. Paolo Gismondi, called also Paolo Perugino, became a good fresco painter, and there are works remaining by him in the S. Agata, in the Piazza Nova, and at S. Agnes, in the Piazza Navona. Pietro Paolo Baldini, of whose native place I am ignorant, is stated by Titi to have been of the school of Cortona. Ten pictures by him are counted in the churches of Rome, and in some of them, as in the Crucifixion of S. Eustace, a precision of style derived from another school is observable. Bartolommeo Palombo has only two pictures in the capital. That of S. Maria Maddelena de' Pazzi, which is placed at S. Martino a' Monti, entitles him to rank with the best of his fellow scholars, the picture possesses so strong a colouring, and the figures are so graceful and well designed. Pietro Lucatelli, of Rome, was a distinguished painter, and is named in the catalogue of the Colonna gallery, as the scholar of Ciro, and in Titi, as the disciple of Cortona. He is a different artist from Andrea Lucatelli, of whom we shall shortly speak. Gio. Batista Lenardi, whom, in a former edition, I hesitated to place in the list of the pupils of Pietro, I now consider as belonging to that school, though he was instructed also by Baldi. In the chapel of the B. Rita, at S. Agostino, he painted two lateral pictures as well as the vault; he also ornamented other churches with his works, and particularly that of Buonfratelli, at Trastevere, where he painted the picture of S. Gio. Calibita. That of the great altar was ascribed to him, probably from a similarity of style; but is by Andrea Generoli, called Il Sabinese, a pupil either of Pietro himself, or of one of his followers.