Giovanni Odazzi, his first scholar, was ambitious of emulating him in celerity, but not possessing equal talent, he did not attain the same distinction. He is the most feeble, or at all events, the least eminent of the painters of the prophets of the Lateran, where his Hosea is to be seen; and indeed, in every corner of Rome, his pictures are to be met with, as he never refused any commission. Pascoli has preserved the memory of another of his scholars, a native of Perugia, in the lives of the painters of his native country. This was Francesco Civalli, initiated in the art by Andrea Carlone; he was a youth of talent, but impatient of instruction. He painted in Rome and other places, but did not pass the bounds of mediocrity. The Cav. Lodovico Mazzanti, was the scholar of Gaulli, and emulated his manner to the best of his ability; but his talents were not commanding, nor were his powers equal to his ambition. Gio. Batista Brughi, a worker in mosaic, rather than a painter, left notwithstanding some public pictures in Rome. He is called in the Guida sometimes Brughi, and sometimes Gio. Batista, the disciple of Baciccio, which makes it there appear as if they had been distinct individuals. I do not recollect any other artist contributed by Gaulli to the Roman School. The Neapolitan School, which was in the beginning of this age supported by Solimene, sent some scholars to Rome, who adopted a Roman style. Sebastiano Conca was the first that arrived there with an intention of seeing it, but he established himself there, together with Giovanni, his brother, to meliorate his style of design. Resigning the brush, he returned at forty years of age to the pencil, and spent five years in drawing after the antique, and after the best modern productions. His hand, however, had become the slave of habit in Naples, and would not answer to his own wishes; and he was kept in constant vexation, as he could appreciate excellence, but found himself incapable of attaining it. The celebrated sculptor, Le Gros, advised him to return to his original style, and he then became in Rome an eminent painter, in the manner of Pietro da Cortona, with considerable improvements on his early manner. He possessed a fertile invention, great facility of execution, and a colour which enchanted by its lucidness, its contrast, and the delicacy of the flesh tints. It is true, that on examination we find that he was not in reality a profound colourist, and that to obtain a grandeur of tone, he adopted in the shadows a green tint, which produced a mannerism. He distinguished himself in frescos, and also in pictures in the churches, decorating them with choirs of angels, happily disposed in a style of composition that may be called his own, and which served as an example to many of the machinists. He was indefatigable too in painting for private individuals, and in the states of the church there is scarcely a collection without its Conca. His most studied, finished,