and beautiful work is the Probatica at the hospital of Siena. Of great merit in Rome is the Assumption at S. Martina, and the Jonah among the prophets in the S. Giovanni Laterano. His works were in high esteem in the ecclesiastical state; his best appear to be the S. Niccolo at Loreto, S. Saverio in Ancona, S. Agostino at Foligno, S. Filippo in Fabriano, and S. Girolamo Emiliano at Velletri. Giovanni, his brother, assisted Sebastiano in his commissions, had an equal facility, a similar taste, though less beautiful in his heads, and of not so fine a pencil. He shewed great talent in copying the pictures of the best masters. In the church of the Domenicans of Urbino are the copies which he made of four pictures to be executed in mosaic; they were by Muziani, Guercino, Lanfranco, and Romanelli. Conca is eulogized by Rossi with his usual intelligence and discrimination (v. tom. ii. of his _Memorie_, p. 81.) Mengs perhaps censures him too severely, where he says, that by his precepts he contributed to the decay of the art. He had his followers, but they were not so numerous as to corrupt all the other schools of Italy. Every school, as we have seen, had within itself the seeds of its own destruction, without seeking for it elsewhere. It is true, indeed, that some of his scholars inherited his facility and his colouring, and left many injurious examples in Italy. Nor shall I give myself much trouble to enumerate his disciples, but shall content myself with the names of the most celebrated. Gaetano Lapis di Cagli was one of these, and brought with him good principles of design when he came to study under Conca. He was a painter of an original taste, as Rossi describes, not very spirited, but correct. Many of his works are found in the churches of his native place, and in the Duomo are two highly prized pieces on each side the altar, a Supper of our Lord, and a Nativity. In the various pictures I have seen of him at S. Pietro, S. Niccolo, and S. Francesco, I generally found the same composition of a Madonna of a graceful form, attended by Saints in the act of adoring her and the Holy Infant. We find some of his works also in Perugia and elsewhere. The Prince Borghese, in Rome, has a Birth of Venus by him, painted on a ceiling, with a correctness of design, and a grace superior to any thing that remains of him, and no one can justly appreciate his talents, who has not seen this work. It should seem, that a timidity and diffidence of his own powers, prevented his attaining that high station which his genius seemed to have intended for him. Salvator Monosilio, who resided much in Rome, was of Messina, and trod closely in the footsteps of his master. In a chapel of S. Paolino della Regola, where Calandrucci furnished the altarpiece, he painted the vault in fresco; and others of his works are to be seen at the S. S. Quaranta, and at the church of the Polacchi. In Piceno, where Conca was in great reputation, Monosilio was