Giuseppe Chiari of Rome, who finished some pictures of Berrettoni and of Maratta himself, was one of the best painters of easel pictures of that school. Many of his works found their way to England. He painted some pictures for the churches of Rome, and probably the best is the Adoration of the Magi in the church of the Suffragio, of which there is an engraving. He also succeeded in fresco. Those works in particular, which he executed in the Barberini palace, under the direction of the celebrated Bellori, and those also of the Colonna gallery, will always do him credit; he was sober in his colours, careful and judicious; rare qualities in a fresco painter. He did not inherit great talents from nature, but by force of application became one of the first artists of his age. Tommaso Chiari, a pupil also of Maratta, and whose designs he sometimes executed, did not pass the bounds of mediocrity. The same may be observed of Sigismond Rosa, a scholar of Giuseppe Chiari. To Giuseppe Chiari, who was the intimate friend of Maratta, we may add two others, who were, according to Pascoli, the only scholars whom he took a pleasure in instructing; Giuseppe Passeri, the nephew of Giambatista, and Giacinto Calandrucci of Palermo. Both were distinguished as excellent imitators of their master. Passeri worked also in the state. In Pesaro is a S. Jerome by him, meditating on the Last Judgment, which may be enumerated among his best works. In the church of the Vatican, he painted a pendant to the Baptism of Maratta, S. Peter baptizing the centurion, which after being copied in mosaic, was sent to the church of the Conventuals in Urbino. This picture, which was executed under the direction of Maratta, is well coloured; but in many of his works his colouring is feeble, as in the Conception at the church of S. Thomas in Parione, and in other places in Rome. Calandrucci, after having given proof of his talents in the churches of S. Antonio de' Portoghesi, and S. Paolino della Regola, and in other churches of Rome, and after having been creditably employed by many noble persons, and by two pontiffs, returned to Palermo, and there, in the church del Salvatore, placed his large composition of the Madonnas, attended by S. Basil and other saints, which work he did not long survive. He left behind him in Rome a nephew, who was his scholar, called Giambatista; and he had also a brother there of the name of Domenico, a disciple of Maratta and himself; but there are no traces of their works remaining.