I have not ascertained who was the instructor of Antonio Amorosi, a native of Comunanza, and a fellow countryman of Ghezzi, and his co-disciple also in the school of the Cav. Giuseppe (Vernet). I only know that he is in his way equally facetious, and sometimes satirical. Like Ghezzi he painted pictures in the churches, which are to be found in the Guida di Roma; he did not, however, succeed so well in them as in his _bambocciate_, which would appear really Flemish if the colours were more lucid. He is less known in the metropolis than in Piceno, where he is to be seen in many collections, and is mentioned in the Guida d'Ascoli. He pleased also in foreign countries, and represented subjects from common life, as drinking parties in taverns in town and country, on which occasion he discovered no common talent in architecture, landscape, and the painting of animals. Arcangelo Resani, of Rome, the scholar of Boncuore, painted animals in a sufficiently good taste, accompanying them with large and small figures, in which he had an equal talent. In the Medici gallery is his portrait, with a specimen attached of the art in which he most excelled, the representation of still life. In the same way Nuzzi added flowers, and other artists landscapes, to their portraits. Carlo Voglar, or Carlo da' Fiori, was a painter of fruit and flowers in a very natural style, and was also distinguished in painting dead game. He had a rival in this style in Francesco Varnetam, called Deprait, who was still more ingenious in adding glass and portraits, and composed his pieces in the manner of a good figurist. This artist after residing several years in Rome, was appointed painter to the Imperial Court, and died in Vienna, after having spread his works and his fame through all Germany. In the time of the two preceding artists, Christian Bernetz was celebrated, who on the death of the first, and the departure of the second artist, remained in Rome the chief painter in this style. All the three were known to Maratta, and employed by him in ornamenting his pictures; and he enriched theirs in return with children and other figures, which have rendered them invaluable. The last was also a friend of Garzi, in conjunction with whom he painted pictures, each taking the department in which they most excelled. Scipione Angelini, of Perugia, improperly called Angeli by Guarienti, was celebrated by Pascoli for similar talents. His flowers appear newly plucked and sparkling with dew drops. In the _Memorie Messinesi_, I find that Agostino Scilla when he was exiled from Sicily, repaired to Rome, where he died. Whilst in Rome, he seemed to shun all competition with the historical painters, and occupied himself (with a certainty of not being much celebrated), in designing animals, and in other inferior branches of the art. In this line both he and Giacinto, his younger brother, had great merit. Saverio, the son of Agostino, who, on the death of them both, continued