There were also architectural painters in other branches. Pierfrancesco Garoli, of Turin, painted the interior of churches, and Garzi supplied the figures. Tiburzio Verzelli, of Recanati, is little known beyond Piceno, his birthplace. The noble family of Calamini of Recanati, possess perhaps his best picture, the elevation of S. Pietro in Vaticano, one of the most beautiful and largest works of this kind that I ever saw, which occupied the master several years in finishing. Gaspare Vanvitelli, of Utrecht, called _Dagli Occhiali_, may be called the painter of modern Rome; his pictures, which are to be found in all parts of Europe, represent the magnificent edifices of that city, to which landscapes are added, when the subject admits of it. He also painted views of other cities, seaports, villas, and farm houses, useful alike to painters and to architects. He painted some large pictures, though most of his works are of a small size. He was correct in his proportions, lively and clear in his tints, and there is nothing left to desire, except a little more spirit and variety in the landscape or in the sky, as the atmosphere is always of a pale azure, or carelessly broken by a passing cloud. He was the father of Luigi Vanvitelli, a painter, who owed his great name to architecture, as we shall see was the case also with the celebrated Serlio. But no painter of perspective has found more admirers than the Cav. Gio. Paolo Pannini, mentioned elsewhere; not so much for the correctness of his perspective, in which he has many equals, as for his charming landscape and spirited figures. It cannot indeed be denied, that these latter are sometimes too high in proportion to the buildings, and that also, to shun the dryness of Viviani, he has a mannered style of mixing a reddish hue in his shadows. For the first defect there is no remedy; but the second will be alleviated by time, which will gradually subdue the predominant colour.