to reside and to paint in Rome, did not equal them in reputation. During this period of the decline of the art, one branch of painting, perspective, made an extraordinary progress by the talents of P. Andrea Pozzo, a Jesuit, and a native of Trent. He became a painter and architect from his native genius, rather than from the instruction of any master. His habit of copying the best Venetian and Lombard pictures, had given him a good style of colour, and a sufficiently correct design, which he improved in Rome, where he resided many years. He painted also in Genoa and Turin, and in these cities and in both the states, we find some beautiful works, the more so as they resemble Rubens in tone, to whose style of colour he aspired. There are not many of his oil paintings in Italy, and few of them are finished, as S. Venanzio in Ascoli, and S. Borgia at S. Remo. Even the picture of S. Ignatius at the Gesù in Rome, is not equally rendered in every part. Nevertheless, he appears on the whole a fine painter, his design well conceived, his forms beautiful, his colours fascinating, and the touch of his pencil free and ready. Even his less finished performances evince his genius; and of the last mentioned picture, I heard from P. Giulio Cordara, an eminent writer in verse and prose, an anecdote which deserves preservation. A painter of celebrity being directed to substitute another in its place, declared that neither himself nor any other living artist could execute a superior work. His despatch was such, that in four hours he began and finished the portrait of a cardinal, who was departing the same day for Germany.