The immature death of Lauri was compensated for by the lengthened term of years accorded to Luigi Garzi and Carlo Maratta, who continued to paint to the commencement of the eighteenth century; enemies to despatch, correct in their style, and free from the corrupt prejudices which afterwards usurped the place of the genuine rules of art. The first, who is called a Roman by Orlandi, was born in Pistoja, but came while yet young to Rome. He studied landscape for fifteen years under Boccali, but being instructed afterwards by Sacchi, he discovered such remarkable talents, that he became highly celebrated in Naples and in Rome in every class of painting. In the former city, his decoration of two chambers of the royal palace is greatly extolled; and in the latter, where he ornamented many churches, he seemed to surpass himself in the Prophet of S. Giovanni Laterano. He is praised in general for his forms and attitudes, and for his fertile invention and his composition. He understood perspective, and was a good machinist, though in refinement of taste he is somewhat behind Maratta. In his adherence to the school of Sacchi we may still perceive some imitation of Cortona, to whom some have given him as a scholar, as well in many pictures remaining in Rome, as in others sent to various parts; among which is his S. Filippo Neri, in the church of that saint at Fano, which is a gallery of beautiful productions. But on no occasion does he seem more a follower of Cortona, or rather of Lanfranco, than in the Assumption in the Duomo of Pescia, an immense composition, and which is considered his masterpiece. It is mentioned in the _Catalogo delle migliori Pitture di Valdinievole_, drawn up by Sig. Innocenzio Ansaldi, and inserted in the recent History of Pescia. Mario, the son of Luigi Garzi who is mentioned twice in the _Guida di Roma_, died young. We may here also mention the name of Agostino Scilla of Messina, whom we shall hereafter notice more at length.