The example of the two last eminent artists was not lost on Antonio Cavallucci da Sermoneta, whose name when I began to print this volume, I did not expect would here have found a place. But having recently died, some notice is due to his celebrity, as he is already ranked with the first artists of his day. He was highly esteemed both in Rome and elsewhere. The Primaziale of Pisa, who in the choice of their artists consulted no recommendation but that of character, employed him on a considerable work, representing S. Bona of that city taking the religious habit. It breathes a sacred piety, which he himself both felt and expressed in a striking manner. In this picture he wished to shew that the examples of christian humility, such as burying in a cloister the gifts of nature and fortune, are susceptible of the gayest decoration. This he effected by introducing a train of noble men and women, who, according to custom, assisted in the solemnity. In this composition, in which he follows the principles of Batoni rather than those of Mengs, we may perceive both his study of nature, and his judgment and facility in imitating her. Another large picture of the saints Placido and Mauro, he sent into Catania, and another of S. Francesco di Paola, he executed for the church of Loreto, and which was copied in mosaic. In Rome are his S. Elias and the Purgatorio, two pictures placed at S. Martino a' Monti, and many works in the possession of the noble family of Gaetani, who were the first to encourage and support this artist. His last work was the Venus and Ascanius, in the Palazzo Cesarini, which has been described to me as a beautiful production by the Sig. Gio. Gherardo de' Rossi, who has declared his intention of publishing the life of Cavallucci, which will no doubt be done in his usual masterly manner.