But another scion of the same stock sprung up to support the name and credit of the school of Ciro, transferred from Florence to Rome. We mentioned in the first book, that when Ciro was in Florence he formed a scholar in Gabbiani, who became the master of Benedetto Luti. Ciro was only just dead when Luti arrived in Rome, who not being able to become his scholar, as he had designed when he left his native place, applied himself to studying the works of Ciro, and those of other good masters, as I have elsewhere remarked. He thus formed for himself an original style, and enjoyed in Rome the reputation of an excellent artist in the time of Clement XI., who honoured him with commissions, and decorated him with the cross. It is to be regretted that he attached himself so much to crayons, with which he is said to have inundated all Europe. He was intended by nature for nobler things. He painted well in fresco, and still better in oils. His S. Anthony in the church of the Apostles, and the Magdalen in that of the Sisters of Magnanapoli, which is engraved, are highly esteemed. Nor would it add a little to his reputation, if we had engravings of his two pictures in the Duomo of Piacenza, S. Conrad penitent, and S. Alexius recognised after death; where, amidst other excellences, a fine expression of the pathetic predominates. Of his profane pieces, his Psyche in the Capitoline gallery, is the most remarkable, and breathes an elegant and refined taste. Of the few productions which Tuscany possesses by him, we have written in the school of Gabbiani. We shall here mention a few of his scholars, who remained in Rome, noticing others in various schools. Placido Costanzi is often mentioned with approbation in the collections of Rome for the elegant figures he inserted in the landscapes of Orizzonte; he also painted some altarpieces in a refined style. In the church of the Magdalen is a picture of S. Camillo attended by Angels, so gracefully painted, that he seems to have aspired to rival Domenichino. He also distinguished himself in fresco, as may be seen in the S. Maria in Campo Marzio, where the ceiling in the greater tribune is the work of Costanzi. Pietro Bianchi resembled Luti more than any of his scholars in elegance of manner, and excelled him in large compositions, which he derived from his other master, Baciccio. His extreme fastidiousness and his early death prevented him from leaving many works. A very few of his pictures are found in the churches of Rome. At Gubbio is his picture of S. Chiara, with the Angel appearing, a piece of grand effect, from the distribution of the light. The sketch of this picture was purchased by the King of Sardinia at a high price. He painted for the church of S. Peter a picture, which was executed in mosaic in the altar of the choir: the original is in the Certosa, in which the Cav. Mancini had the greatest share, as Bianchi did little more than furnish the sketch.