I shall now pass from native to foreign artists, and shall take a brief notice of them, since my work has grown upon me with so many new Italian names, which are its proper object, that I have not much spare room for foreigners, and a sufficient notice of them may be found in their own country. Not a few _oltremonti_ painted at this period in Rome, celebrated for the most part in the inferior branches of painting, where they deserve commemoration. Some of them were employed in the churches, as Gio. Batista Vanloo di Aix, a favorite scholar of Luti, who painted the picture of the Flagellation at S. Maria in Monticelli. But he did not remain in Rome, but passed to Piedmont, and from thence to Paris and London, and was celebrated for his historical compositions, and highly esteemed in portrait. Some years after Vanloo, Pietro Subleyras di Gilles settled in Rome, and conferred great benefit on the Roman School; for whilst it produced only followers of the old manner, and thus fell gradually into decay, he very opportunely appeared and introduced an entirely new style. An academy had been founded in Rome by Louis XIV., about the year 1666. Le Brun had there cooperated, the Giulio Romano of France, and the most celebrated of the four Carli, who were at that time considered the supporters of the art; the others were Cignani, Maratta, and Loth. It had already produced some artists of celebrity, as Stefano Parocel, Gio. Troy, Carlo Natoire, by whom many pictures are to be found in the public edifices in Rome. There prevailed, however, in the style of this school a mannerism, which in a few years brought it into disrepute. Mengs designated it by the epithet of _spiritoso_, and it consisted, according to him, in overstepping the limits of beauty and propriety, overcharging both the one and the other, and aiming at fascinating the eyes rather than conciliating the judgment. Subleyras, educated in this academy, reformed this taste, retaining the good, and rejecting the feeble part, and adding from his own genius what was wanting to form a truly original manner. There was an engaging variety in the air of his heads, and in his attitudes, and he had great merit in the distribution of his chiaroscuro, which gives his pictures a fine general effect. He painted with great truth; but the figures and the drapery, under his pencil, took a certain fulness which in him appears easy, because it is natural; it remained his own, for although he left some scholars, none of them ever emulated the grandeur of style which distinguished their master.