prevented by death from colouring; and a beautiful Genius in fresco in a chamber of the Sig. Conte Senatore Orlando Malevolti del Benino. Returning from the consideration of his works to Mengs himself, I leave to others to estimate his merit, and to determine how far his principles are just.[94] As far as regards myself, I cannot but extol that inextinguishable ardour of improving himself by which he was particularly distinguished, and which prompted him, even while he enjoyed the reputation of a first rate master, to proceed in every work as if he were only commencing his career. Truth was his great aim, and he diligently studied the works of the first luminaries of the art, analysed their colours, and examined them in detail, till he entered fully into the spirit and design of those great models. Whilst employed in the ducal gallery in Florence, he did not touch a pencil, until he had attentively studied the best pieces there, and particularly the Venus of Titian in the tribune. In his hours of leisure he employed himself in carefully studying the fresco pictures of the best masters of that school, which is so distinguished in this art. He was accustomed to do the same by every work of celebrity which fell in his way, whether ancient or modern; all contributed to his improvement, and to carry him nearer to perfection; he was in short a man of a most aspiring mind, and may be compared to the ancient, who declared that he wished "to die learning." If maxims like these were enforced, what rapid strides in the art might we not expect! But the greater part of artists form for themselves a manner which may attract popularity, and then relax their efforts, satisfied with the applause of the crowd; and if they feel the necessity of improving, it is not with a design of acquiring a just reputation, but of adding to the price of their works.