Francis Van Blomen was a less finished artist, and from the hot and vaporous air of his pictures, obtained the name of Orizzonte. The palaces of the Pope and the nobility in Rome, abound with his landscapes in fresco and oil. In the character of his trees, and in the composition of his landscapes, he commonly imitated Poussin. In his general tone there predominates a greenish hue mixed with red. His pictures are not all equally finished, but they rise in value as those of older artists become injured by time, or rare from being purchased by foreigners. At the side of Van Blomen we often find the works of some of his best scholars, as Giacciuoli and Francis Ignazio, a Bavarian. At the same time lived in Rome Francesco Wallint, called M. Studio, who painted small landscapes and sea views, ornamented with very beautiful figures; devoid however of that sentiment which is the gift of nature, and that delicacy which charms in the Italian School. He imitated Claude: Wallint the younger, his son, attached himself to the same manner with success, but did not equal his father. At the beginning of this epoch, or thereabouts, there flourished two artists in Perugia in the same line; Ercolano Ercolanetti, and Pietro Montanini, the scholar of Ciro Ferri and of Rosa. The last was ambitious of the higher walks of art, and attempted the decoration of a church, but failed in the attempt, as his talent was restricted to landscape; and even when he added figures to these, they were not very correct, and possessed more spirit than accuracy of design. He was nevertheless a pleasing painter, and his pictures were sought after by foreigners. In Perugia there is an abundance of his works, and some are to be seen in the sacristy of the Eremitani, which might be said to discover a Flemish style. Alessio de Marchis, a Neapolitan, is not much known in Rome, although in the Ruspoli and Albani palaces, some pleasing pieces by him are pointed out. He is better known in Perugia and Urbino, and the adjacent cities. It is said that, in order to obtain a study for a picture from nature, he set fire to a barn. For this act he was condemned to the galleys for several years, and was liberated under the pontificate of Clement XI. whose palace in Urbino he decorated with architectural ornaments, distant views, and beautiful seapieces, more in the style of Rosa than any other artist. There is an extraordinarily fine picture by him of the Burning of Troy, in the collection of the Semproni family, and some landscapes in other houses in Urbino, in which he has displayed all his genius, and extended it also to figures. But in general there is little more to praise in him than his spirit, his happy touch, and natural colouring, particularly in fires, and the loaded and murky air, and the general tone of the piece, as the detached parts are negligent and imperfect. He left a son, also a landscape painter, but not of much celebrity.