France for some years, and left many works there; the remainder fled to Rome, or to other places of safety. The most celebrated of the immediate scholars of Falcone was Salvator Rosa, whom we have elsewhere noticed, who began his career by painting battles, and became a most distinguished landscape painter; and Domenico Gargiuoli, called Micco Spadaro, a landscape painter of merit, and a good painter in large compositions, as he appears at the Certosa, and in other churches. He had an extraordinary talent too in painting small figures, and might with propriety be called the Cerquozzi of his school. Hence Viviano Codagora, who was an eminent landscape painter, after becoming acquainted with him, would not permit any other artist to ornament his works with figures, as he introduced them with infinite grace; and this circumstance probably led to their intimate friendship, and to risking their lives in the same cause as we have before related. The Neapolitan galleries possess many of their pictures; and some have specimens of _capricci_, or humourous pictures, all by the hand of Spadaro. He indeed had no equal in depicting the manners and dresses of the common people of his country, particularly in large assemblies. In some of his works of this kind, the number of his figures have exceeded a thousand. He was assisted by the etchings of Stefano della Bella, and Callot, both of whom were celebrated for placing a great body of people in a little space; but it was in the true spirit of imitation, and without a trace of servility; on the contrary, he improved the principal figures (where bad contours are with difficulty concealed) and corrected the attitudes, and carefully retouched them. Carlo Coppola is sometimes mistaken for Falcone from their similarity of manner: except that a certain fulness with which he paints his horses in his battle pieces, may serve as a distinction. Andrea di Lione resembles him, but in his battles we easily trace his imitation. Marzio Masturzo studied some time with Falcone; but longer with Rosa in Rome, and was his best scholar; but he is sometimes rather crude in his figures, and rocks, and trunks of trees, and less bright in his skies. His flesh tints are not pallid, like those of Rosa, as in these he followed Ribera.