At the beginning of the century Bernardino Fergioni displayed in Rome an extraordinary talent in sea views, and harbours, to which he added a variety of humourous figures. He was first a painter of animals, and afterwards tried this line with better success; but his fame was a few years afterwards eclipsed by two Frenchmen, Adrian Manglard, of a solid, natural, and correct taste; and his scholar, Joseph Vernet, who surpassed his master by his spirit and his charming colouring. The first seemed to paint with a degree of timidity and care, the latter in the full confidence of genius; the one seemed to aim at truth, the other at beauty. Manglard was many years in Rome, and his works are to be seen in the Villa Albani, and in many other palaces. Vernet is to be seen in the Rondanini mansion, and in a few other collections. There were not many painters of battles during this epoch, except the scholars of Borgognone. Christiano Reder, called also M. Leandro, who came to Rome about 1686, the year of the taking of Buda, devoted himself, in conformity with the feelings of the times, to painting battles between the Christians and the Turks; but his pictures, though well touched, were soon depreciated from the great number of them. The best in the opinion of Pascoli, was that in the gallery de' Minimi; and he left many also in the palaces of the nobility. He was also expert in landscape and humourous subjects, and was assisted by Peter Van Blomen, called also Stendardo, the brother of Francis Orizzonte. Stendardo also painted battle pieces, but he was more attached to Bambocciate, in the Flemish style, wherein he delights to introduce animals, and particularly horses, in designing which he was very expert, and almost unrivalled. His distances are very clear, and afford a fine relief to his figures. In Rome, and throughout the ecclesiastical state, we find many pictures of this sort by that Lucatelli who has been mentioned among the landscape painters. The connoisseurs attribute to him two different manners; the first good, the second still better, and exhibiting great taste, both in colouring and invention. In some collections we find Monaldi near him, who although of a similar taste, yielded to him in correctness of design, in colour, and in that natural grace which may be called the _Attic salt_ of this mute poetry.