Marco Mazzaroppi di S. Germano died young, but is known for his natural and animated colouring, almost in the Flemish style. At Capua they mention with applause the altarpieces and other pictures of Gio. Pietro Russo, who after studying in various schools returned to that city, and there left many excellent works. Matteo da Lecce, whose education is uncertain, displayed in Rome a Michelangiolo style, or as some say, the style of Salviati. It is certain that he had a strong expression of the limbs and muscles. He worked for the most part in fresco, and there is a prophet painted by him for the company of the Gonfalone, of such relief, that the figures, says Baglione, seem starting from the wall. Although there were at that time many Florentines in Rome, he was the only one who dared in the face of the Last Judgment of Michelangiolo, to paint the Fall of the Rebel Angels, a subject which that great artist designed to have painted, but never put his intentions into execution. He chose too to accompany it with the combat between the Prince of the Angels and Lucifer, for the body of Moses; a subject taken from the epistle of S. James, and analogous to that of the other picture. Matteo entered upon this very arduous task with a noble spirit; but, alas! with a very different result. He painted afterwards in Malta, and passing to Spain and to the Indies, he enriched himself by merchandise, until turning to mining, he lost all his wealth, and died in great indigence. We may also mention two Calabrians of doubtful parentage. Nicoluccio, a Calabrian, who will be mentioned among the scholars of Lorenzo Costa, but only cursorily, as I know nothing of this parricide, as he may be called, except that he attempted to murder his master. Pietro Negroni, a Calabrian also, is commemorated by Dominici as a diligent and accomplished painter. In Sicily, it is probable that many painters flourished belonging to this period, besides Gio. Borghese da Messina, a scholar also of Costa, and Laureti, whom I notice in the schools of Rome and Bologna, and others whose names I may have seen, but whose works have not called for my notice. The succeeding epoch we shall find more productive in Sicilian art. [Footnote 107: _Plin. Hist. Nat._ lib. XXXV. cap. 11. _Nec ullius velocior in picturâ manus fuit._]