France with his family for the third time, when he was intercepted by death at Viterbo. He left in that city, at the grand altar of the Duomo, the picture of S. Lorenzo, and in Rome, and in other cities of Italy, numerous works both public and private, although he died at about forty-five years of age. He had the honour of painting in the church of the Vatican. The presentation which he placed there is now in the church of the Certosa, the mosaic in S. Peter. He did not leave behind him any scholars who inherited his reputation. Urbano, his son, was educated by Ciro after the death of his father. He is known for his works in the cathedral churches of Velletri and Viterbo: those in Viterbo are from the life of S. Lorenzo, the patron saint of the church, and prove him to have been a young man of considerable promise, but he was cut off prematurely. Ciro Ferri, a Roman by birth, was, of all the disciples of Cortona, the one the most attached in person, and similar to him in style; and not a few of the works of Pietro were given to him to complete, both in Florence and in Rome. There are indeed some pictures so dubious, that the experienced are in doubt whether to assign them to the master or the scholar. He displays generally less grace in design, a less expansive genius, and shuns that breadth of drapery which his master affected. The number of his works in Rome is not proportioned to his residence there, because he lent much assistance to his master. There is a S. Ambrogio in the church of that saint just mentioned, and it is a touchstone of merit for whoever wishes to compare him with the best of his fellow scholars, or with his master himself. His works in the Pitti palace have been already mentioned in another place, and we ought not to forget another grand composition by him in S. M. Maggiore in Bergamo, consisting of various scriptural histories painted in fresco. He speaks of them himself in some letters inserted in the Pittoriche, (tom. ii. p. 38,) from which we gather, that he had been reprehended for his colouring, and contemplated visiting Venice in order to improve himself. He did not leave any scholar of celebrity in Rome. Corbellini, who finished the Cupola of S. Agnes, the last work of Ciro, which has been engraved, would not have found a place in Titi and Pascoli, if it had not been to afford those writers an opportunity of expressing their regret at so fine a composition being injured by the hand that attempted to finish it.