Stefano Pozzi received his first instructions from Maratta, and afterwards became a scholar of Masucci. He had a younger brother, Giuseppe, who died before him, ere his fame was matured. Stefano lived long, painting in Rome with the reputation of one of the best masters of his day; more noble in his style of design than Masucci, and if I err not, more vigorous, and more natural in his colouring. We may easily estimate their merits in Rome in the church just mentioned, where we find the Transito di S. Giuseppe of Pozzi, near the S. Anna of Masucci. Of the Cav. Girolamo Troppa, I have heard from oral tradition that he was the scholar of Maratta. He was certainly his imitator, and a successful one too, although he did not live long. He left works both in oil and fresco in the capital, and in the church of S. Giacomo delle Penitenti, he painted in competition with Romanelli. I have found pictures by him in the state; and in S. Severino is a church picture very well conducted. Girolamo Odam, a Roman of a Lorena family, is reckoned among the disciples of the Cav. Carlo, and is eulogized in a long and pompous article by Orlandi, or perhaps by some friend of Odam, who supplied Orlandi with the information. He is there described as a painter, sculptor, architect, engraver, philosopher, mathematician, and poet, and accomplished in every art and science. In all these I should imagine he was superficial, as nothing remains of him except some engravings and a very slender reputation, not at all corresponding to such unqualified commendation. Of other artists who are little known in Rome and its territories, such as Jacopo Fiammingo, Francesco Pavesi, Michele Semini, there is little information that can be relied on. Respecting Subissati, Conca is silent, though information might possibly be obtained of him in Madrid, at which court he died. In Urbino, which was his native place, I find no picture of him remaining, except the head of a sybil: Antonio Balestra of Verona and Raffaellino Bottalla will be found in their native schools, but I must not here omit one, a native of the state, who after being educated in the academy, returned to his native country, and there introduced the style of Carlo, at that time so much in vogue. Orlandi mentions with applause Gioseffo Laudati of Perugia, as having contributed to restore the art, which after the support it had found in Bassotti and others, had fallen into decay.