From his school came Francesco Imparato, who was afterwards taught by Titian, and so far emulated his style, that a S. Peter Martyr by him in the church of that saint in Naples was praised by Caracciolo as the best picture which had then been seen in that city. We must not confound this Francesco with Girolamo Imparato, his son, who flourished after the end of the sixteenth century, and enjoyed a reputation greater than he perhaps merited. He too was a follower of the Venetian, and afterwards of the Lombard style, and he travelled to improve himself in colouring, the fruits of which were seen in the picture of the Rosario at S. Tommaso d'Aquino, and in others of his works. The Cav. Stanzioni, who knew him, and was his competitor, considered him inferior to his father in talent, and describes him as vain and ostentatious. To these painters of the school of Raffaello, there succeeded in Naples two followers of Michelangiolo, whom we have before noticed. The first of these was Vasari, who was called thither in 1544, to paint the refectory of the P. P. Olivetani, and was afterwards charged with many commissions in Naples and in Rome. By the aid of architecture, in which he excelled more than in painting, he converted that edifice, which was in what is commonly called the Gothic style, to a better form; altered the vault, and ornamented it with modern stuccos, which were the first seen in Naples, and painted there a considerable number of subjects, with that rapidity and mediocrity that characterize the greater part of his works. He remained there for the space of a year, and of the services he rendered to the city, we may judge from the following passage in his life. "It is extraordinary," he says, "that in so large and noble a city, there should have been found no masters after Giotto, to have executed any work of celebrity, although some works by Perugino and by Raffaello had been introduced. On these grounds I have endeavoured, to the best of my humble talents, to awaken the genius of that country to a spirit of emulation, and to the accomplishment of some great and honourable work; and from these my labours, or from some other cause, we now see many beautiful works in stucco and painting, in addition to the before mentioned pictures." It is not easy to conjecture why Vasari should here overlook many eminent painters, and even Andrea da Salerno himself, so illustrious an artist, and whose name would have conferred a greater honour on his book, than it could possibly have derived from it. Whether self love prompted him to pass over that painter and other Neapolitan artists, in the hope that he should himself be considered the restorer of taste in Naples; or whether it was the consequence of the dispute which existed at that time between him and the painters of Naples; or whether, as I observed in my preface, it sometimes happens in this art, that a picture which delights one person,