held in high esteem, and was employed both in public and in private. At S. Ginesio is a S. Barnabas by him, in the church of that saint, which in the _Memorie_ so often quoted by us, is designated as an excellent work. Conca educated another Sicilian student, the Abbate Gaspero Serenari, of Palermo, who was considered a young man of talents in Rome, and painted in the church of S. Teresa, in competition with the Abate Peroni of Parma. On his return to Palermo he became a celebrated master, and besides his oil pictures he executed some vast works in fresco, particularly the cupola of the Gesù, and the chapel of the monastery of Carità. Gregorio Guglielmi, a Roman, is not much known in his native place, although his fresco pictures in the hospital of the S. Spirito in Sassia, intitle him to be numbered amongst the most eminent young artists who painted in Rome in the pontificate of Benedict XIV. He left Rome early and went to Turin, where, in the church of S. S. Solutore e Comp. is a small picture of the Tutelar Saints. He was afterwards in Dresden, Vienna, and St. Petersburgh, where he painted in fresco with much applause, for the respective sovereigns of those cities. He was facile in composition, pleasing in his colour, and attached to the Roman style of design, which, like Lapis, he seemed to have carried from some other school into that of Conca. Among his most esteemed works is a ceiling, painted in the university of Vienna, and another in the imperial palace at Schoenbrunn. He did not succeed so well in oils, in which his efforts are mostly feeble; a proof that he belongs more to the school of Conca than that of Trevisani, to which some have assigned him.