The Roman School has recently had to regret the loss of two accomplished masters; Domenico Corvi of Viterbo, and Giuseppe Cades of Rome, who although younger than Corvi, and for some years his scholar, died before him. In my notice of them, I shall begin with the master who has been honoured and eulogized more than once in the respectable _Memorie delle belle Arti_, as well as his scholar, and also some other disciples; as there was not in Rome in the latter times any school more productive in talent. He was truly an accomplished artist, and there were few to compare with him in anatomy, perspective, and design; and from Mancini his instructor, he acquired something of the style of the Caracci. Hence, his academy drawings are highly prized, and I may say, more sought after than his pictures, which indeed want that fascination of grace and colour which attracts the admiration alike of the learned and the vulgar. He maintained an universal delicacy of colour, and was accustomed to defend the practice by asserting, with what justice I cannot say, that pictures painted in that manner were less liable to become black. His most esteemed works are his night pieces, as the Birth of our Saviour in the church of the Osservanti at Macerata, which is perhaps the summit of his efforts. Some amateurs went thither express towards the close of day; a lofty window opposite favoured the illusion of the perspective of the picture; and Corvi, who in other pictures is inferior to Gherardo delle Notti, viewed in this manner, here excels him, by an originality of perspective and general effect. He worked much both for his own countrymen and foreigners, besides the pictures which he kept ready by him, to supply the daily calls of purchasers, and many of which are still on sale in the house of his widow.