Thus far of the less celebrated of this school. The three superior artists, whose works still attract us in the galleries of princes, are Cortesi, and the two elder scholars of the academy of Pietro, Romanelli and Ferri. Nor is it improbable that having competitors in some of his first scholars, he became indisposed to instruct others with the same degree of good will, as those noble minds are few, in whom the zeal of advancing the art exceeds the regret at having produced an ingrate or a rival. Guglielmo Cortesi, the brother of P. Giacomo, like him named Il Borgognone, was one of the best artists of this period; and a scholar rather than an imitator of Pietro. His admiration was fixed on Maratta, whom he followed in the studied variety of his heads, and in the sobriety of the composition, more than in the division of the folds of his drapery or in colour; in which latter he manifested a clearness partaking of the Flemish. His style was somewhat influenced by that of his brother, whose assistant he was, and by his study of the Caracci. He often appears to have imitated the strong relief and azure grounds of Guercino. His Crucifixion of S. Andrea, in the church of Monte Cavallo, the Fight of Joshua in the Quirinal palace, and a Madonna attended by Saints, in the Trinità de' Pellegrini, merit our attention. In these works there is a happy union of various styles, exempt from mannerism. Francesco Romanelli was born at Viterbo, and, as well as Testa, studied some time under Domenichino. He afterwards placed himself with Pietro, whose manner he imitated so successfully, that on Pietro going on a journey into Lombardy, he left him, together with Bottalla (called Bortelli by Baldinucci) to supply his place in decorating the Barberini palace. It is reported that the two scholars, in the absence of their master, endeavoured to have the work transferred to themselves, and were on that account dismissed. It was at this time that Romanelli, assisted by Bernini, changed his style, and adopted by degrees a more elegant and a seductive manner in his figures, but possessing less grandeur and science than that of Pietro. He used more slender proportions, clearer tints, and a more minute taste in folding his drapery. His Deposition in S. Ambrogio, which was extolled as a prodigy, stimulated Pietro to paint opposite to it that wonderful picture of S. Stephen, on seeing which Bernini exclaimed, that he then perceived the difference between the master and the scholar. Romanelli was twice in France, having found a patron in the Cardinal Barberini, who had fled to Paris; and he participated in the spirited manner of that country, which gave an animation before unknown to his figures. This at least is the opinion of Pascoli. He decorated a portico of Cardinal Mazarine with subjects from the metamorphoses of Ovid, and afterwards adorned some of the royal saloons with passages from the Æneid. He was preparing to return to