Our obligations are due to the Sig. Batista Ponfredi, his scholar, for the memoirs of this eminent man. They were addressed to the Count Niccola Soderini, a great benefactor of Benefial, and more rich in his works than any other Roman collector. His letter is in the fifth volume of the _Pittoriche_, and is one of the most instructive in the collection, although altered by the editor in some points. I shall transcribe a passage from it, as it may be satisfactory to see the actual state of the art at that time, and the way in which Marco contributed to its support. "He was so anxious to revive the art, and so grieved to see it fall into decay, that he frequently consumed several hours in the day in declaiming against the prevailing conception of style, and urging the necessity of shunning mannerism, and adopting a style founded in truth, which few did, or if they did, attempted not to imitate its simplicity, but adapted it to their own manner. He directed the particular attention of his pupils to the difference between the production of a mannerist, and one which was studied and simple, and founded in nature; that the first, if it were well designed, and had a good chiaroscuro, had at first sight a striking effect from the brilliancy of its colours, but gradually lost ground at every succeeding view, while the other appeared the more excellent the longer it was inspected."--These and other precepts of the same kind he delivered in terms perhaps too cynical; not only in private, but in the school of design at the Campidoglio, at the time that he presided there; the consequence was that the inferior artists combined against him, deprived him of his employment, and suspended him from the academy. Some further information respecting Benefial was communicated to the public in the _Risposta alle Lett. Perugine_, p. 48. From a scholar also of Cignani, (Franceschini,) Francesco Caccianiga received instructions in Bologna, whence he came to Rome, where he perfected his style and established himself. He was a painter to whom nothing was wanting, except that natural spirit and vigour which are not to be supplied by industry. He was employed by several potentates, and two of his works executed for the king of Sardinia were engraved by himself. Ancona possesses four of his altarpieces, among which are the Institution of the Eucharist, and the Espousals of the Virgin; pictures coloured in a clear, animated, and engaging style, and easily distinguished among a thousand. Rome has few public works by him. In the Gavotti palace is a good fresco, and there are others in the palace and villa of the Borghesi, who generously extended to him a permanent and suitable provision, when overtaken by poverty and age.[89]