It is generally thought that this treatise of Zuccaro was composed in Rome, where he presided in the Academy of S. Luke. That academy was instituted in the pontificate of Gregory XIII., who signed the brief for its foundation at the instance of Muziano, as Baglione relates in the life of that artist. He further states, that when the ancient church of S. Luke, on the Esquiline, was demolished, the seat I believe of the society of painters, the church of S. Martina was allotted to them, at the foot of the Campidoglio. But this brief does not seem to have been used until the return of Zuccaro from Spain, as according to the same writer, it was he who put it in execution. And this must have occurred in 1595, if the year which was celebrated by the painters of S. Luke in 1695, was the true centenary of the Academy. But the origin of the institution may be dated, agreeably to some persons, from the month of November, 1593, as mentioned by the Sig. Barone Vernazza, who, among the first promoters, or members, includes the Piedmontese Arbasia, on the relation of Romano Alberti. Baglione says that Federigo was declared president by common consent; and that that day was a sort of triumph to him, as he was accompanied on his return home by a company of artists and literary persons; and in a little time afterwards he assigned a saloon in his own house for the use of the academy. He wrote both in poetry and in prose in the Academy of S. Luke, which is referred to more than once in his greater work. He evinced an extraordinary affection for this institution, and according to the example of Muziano, he named it the heir of his estate, in the event of the extinction of his family. He was succeeded in the presidency by Laureti, and a series of eminent artists down to our own time. The sittings of the academy have now for a long time past been fixed in a house contiguous to the church of S. Martina, which is decorated with the portraits and works of its members. The picture of S. Luke, by Raffaello, is there religiously preserved, together with his own portrait; and there too is to be seen the skull of Raffaello, in a casket, the richest spoil ever won by death from the empire of art. Of this academy we shall speak further towards the conclusion of this third book. We will now return to Federigo.