Francesco Trevisani, a native of Trevigi, was educated by Zanchi in Venice, where, in order to distinguish him from Angiolo Trevisani, he was called Il Trevisani Romano. In Rome, he abandoned his first principles, and regulated his taste by the best manner then in vogue. He possessed a happy talent of imitating every manner, and at one time appears a follower of Cignani, at another of Guido; alike successful whichever style he adopted. The Albiccini family, in Forli, possess many of his pictures in various styles, and amongst them a small Crucifixion, most spirited and highly finished, which the master esteemed his best work, and offered a large sum to obtain back again. His pictures abound in Rome, and in general exhibit an elegance of design, a fine pencil, and a vigorous tone of colour. His S. Joseph dying, in the church of the Collegio R., is a remarkably noble production. A subject painted by him to accompany one by Guido in the Spada palace is also highly esteemed. He enjoyed the patronage of Clement XI. by whom he was not only commissioned to paint one of the prophets of the Lateran, but was also employed in the cupola of the Duomo in Urbino, in which he painted the four quarters of the world; a work truly estimable for design, fancy, and colouring. In other cities of the state we find pictures by him painted with more or less care, in Foligno, at Camerino, in Perugia, at Forli, and one of S. Antonio at S. Rocco in Venice, of a form more elegant than robust. Pasquale Rossi, better known by the name of Pasqualino, was born in Vicenza, and from long copying the best Venetian and Roman pictures, attained without the instruction of a master, a natural mode of colour, and a good style of design. Few of his public works remain in Rome; Christ praying in the garden in the church of S. Carlo al Corso, the Baptism also of our Saviour at the Madonna del Popolo. The Silvestrini of Fabriano have several pictures by him, and among them a Madonna truly beautiful. His S. Gregory, in the Duomo of Matelica, in the act of liberating souls from purgatory, is in the style of Guercino, and is one of his best works. In private collections we find his cabinet pictures representing gaming parties, conversations, concerts, and similar subjects, carefully finished on a small scale, and little inferior to Flemish pictures. I have met with numerous specimens of them in various places; but in no place have I admired this artist so much as in the royal gallery at Turin, in which are some ornaments over doors, and pictures of considerable size by him, chiefly scriptural subjects, executed in an animated and vigorous style, and with so much imitation of the Roman School, that we should think them to be by some other master.