Andrea Procaccini and Pietro de' Petri, also hold a distinguished place in this school, although their fortunes were very dissimilar. Procaccini, who painted in S. Giovanni Laterano, the Daniel, one of the twelve prophets which Clement XI. commanded to be painted as a trial of skill by the artists of his day, obtained great fame, and ultimately became painter to the court of Spain, where he remained fourteen years, and left some celebrated works. Petri on the contrary continued to reside in Rome, and died there at a not very advanced age. He was employed there in the tribune of S. Clement, and in some other works. He did not, however, obtain the reputation and success that he deserved, in consequence of his infirm health and his extreme modesty. He is one of those who engrafted on the style of Maratta, a portion of the manner of Cortona. Orlandi calls him a Roman, others a Spaniard, but his native place in fact was Premia, a district of Novara. Paolo Albertoni and Gio. Paolo Melchiorri, both Romans, flourished about the same time; less esteemed, indeed, than the foregoing, but possessing the reputation of good masters, particularly the second. At a somewhat later period, the last scholar of Maratta, Agostino Masucci presents himself to our notice. This artist did not exhibit any peculiar spirit, confining himself to pleasing and devout subjects. In his representations of the Virgin he emulated his master, who from his great number of subjects of that kind, was at one time called Carlo dalle Madonne; as he himself has commemorated in his own epitaph. Like Maratta he imparted to them an expression of serene majesty, rather than loveliness and affability. In some of his cabinet pictures I am aware that he occasionally renounced this manner, but it was only through intercession and expostulation. He was a good fresco painter, and decorated for pope Benedict XIV. an apartment in a casino, erected in the garden of the Quirinal. He painted many altarpieces, and his angels and children are designed with great elegance and nature, and in a novel and original style. His S. Anna at the Nome S. S. di Maria, is one of the best pictures he left in Rome; there is also a S. Francis in the church of the Osservanti di Macerata, a Conception at S. Benedetto di Gubbio, in Urbino a S. Bonaventura, which is perhaps his noblest composition, full of portraits (in which he was long considered the most celebrated painter in Rome), and finished with exquisite care. Lorenzo, his son and scholar, was very inferior to him.