He was mature in talent when he left the academy, and the portrait which he in preference to Masucci, painted of Benedict XIV., established his reputation as the first painter in Rome. He was soon afterwards chosen to paint the history of S. Basil, for the purpose of being copied in mosaic for the church of the Vatican. The original is in the church of the Carthusians, and astonishes, by the august representation of the Sacrifice solemnly celebrated by the saint in the presence of the emperor, who offers bread at the altar. The countenances are very animated, and there is great truth in the drapery and accompaniments, and the silks in their lucid and light folds appear absolutely real. From this production, and others of smaller size, and particularly the Saint Benedict at the church of the Olivetani di Perugia, which is perhaps his masterpiece, he deserves a place in the first collections, where, indeed, his pictures are rare and highly prized. Further notices of this artist may he found in the second volume of the _Giornale delle belle Arti_. Egidio Alè, of Liege, studied in Rome, and became a spirited, pleasing, and elegant painter. His works in the sacristy dell'Anima, in fresco and oil, painted in competition with Morandi, Bonatti, and Romanelli, do him honour. Ignazio Stern was a Bavarian, who was instructed by Cignani in Bologna, and worked in Lombardy. An Annunciation in Piacenza, in the church of the Nunziata, exhibits a certain grace and elegance, which is peculiar to him, as is observed in the description of the public pictures in that city. Stern afterwards established himself in Rome, where he painted in fresco the sacristy of S. Paolino, and left some oil pictures in the church of S. Elisabetta, and in other churches. He was more particularly attached to profane history, conversations, and similar subjects, which have a place even in royal collections. Spain possessed a disciple of the school of Maratta, in Sebastiano Mugnoz, but dying young he left few works behind him.