Giambatista Gaulli, commonly called Baciccio, studied first in Genoa. Whilst still young he went to Rome, where under the direction of a Frenchman, and by the more valuable aid of Bernino, he formed himself on the style of the great machinists. As he was endowed by nature with a ready genius and a dexterity of hand, he could not have chosen any branch of the art more adapted to his talent. The vault of the Gesù is his most conspicuous work. The knowledge of the _sotto in su_, the unity, harmony, and correct perspective of its objects, the brilliancy and skilful gradation of the light, rank it among the best, if indeed it be not his best picture in Rome. It must, however, be confessed, that we must inspect it with an eye to the general effect, rather than to the local tints, or the drawing of the figures, in which he is not always correct. His faults in his easel pictures, which are very numerous in Italy and in foreign countries, are less obtrusive, and are abundantly atoned for by their spirit, freshness of tints, and engaging countenances. He varies his manner with his subject, assigning to each a peculiar style. There is a delightful picture in his best manner, gracefully painted in the church of S. Francesco a Ripa, representing the Madonna with the divine Infant in her arms, and at her feet S. Anna kneeling, surrounded by Angels. In a grave and pathetic style on the contrary, is the representation of S. Saverio dying in the desert island of Sanciano, which is placed near the altar of S. Andrea at Monte Cavallo. His figures of children are very engaging and highly finished, though after the manner of Fiammingo, more fleshy and less elegant than those of Titian or the Greeks. He painted seven pontiffs, and many persons of rank of his day, and was considered the first portrait painter in Rome. In this branch of his art he followed a custom of Bernino, that of engaging the person he painted in an animated conversation, in order to obtain the most striking expression of which the subject was susceptible.