him little else in the city, than the works of this great man. Pietro Aquila, of Marzalla, a distinguished artist, who engraved the Farnese gallery, left no works to my knowledge in Rome; in Palermo there remain of him two pictures in the church della Pietà, representing the parable of the Prodigal Son. Lo Zoppo di Gangi is known at Castro Giovanni, where in the Duomo he left several works. Of the Cav. Giuseppe Paladini, a Sicilian, I find commended at S. Joseph di Castel Termini, the picture of the Madonna and the tutelar saint. I also find honourable mention among the chief painters of this island, of a Carrega, who I believe painted for private individuals. Others, though I know not of what merit, are found inscribed in the academy of S. Luke, from the registers of which I have derived some information for my third and fourth volumes, communicated to me by the Sig. Maron, the worthy secretary of the academy.] [Footnote 120: In this epoch flourished in Messina one Abraham Casembrot, a Dutchman, who was considered one of the first painters of his time, of landscape, seapieces, harbours, and tempests. He professed architecture also, and was celebrated for his small figures. He was accustomed to give the highest finish to every thing he painted. The church of S. Giovacchino has three pictures of the Passion by him. Some individuals of Messina possess delightful specimens of him, though not many, as he sold them at high prices, and generally to Holland. Hence most of the collectors of Messina turned to Jocino, the contemporary of Casembrot; a painter of a vigorous imagination, and rapid execution. His landscapes and views are still prized, and maintain their value. I do not find that Casembrot wholly formed any scholar at Messina. He communicated, however, the elements of architecture and perspective to several, as well as the principles of painting. For this reason we find enumerated among his scholars the Cappucin P. Feliciano da Messina (Domenico Guargena) who afterwards studied Guido in the convent of Bologna, and imbued himself with his style. Hackert makes honourable mention of a Madonna and Child and S. Francesco by him at the church of that order in Messina, and he assigns the palm to him among the painters of his order, which boasted not a few.] NEAPOLITAN SCHOOL. FOURTH EPOCH. _Luca Giordano, Solimene, and their scholars._