depart from the common practice, he gave birth to new inventions. They are to be met with in Ridolfi (p. 307), copied from one of his own MSS. But his devotional pieces were also, for the most part, copious histories; such as the Slaughter of the Innocents, laboured in the miniature style, at the Palazzo Borghese; the Esther, at Turin, in possession of the King of Sardinia. The Queen of Sheba, among a troop of handmaids at the throne of Solomon, a picture lately acquired by the reigning sovereign at Florence. Halls, chambers, and façades likewise, decorated by him in fresco with allegorical poems and representations of histories, are frequently met with in Venice, and in the palaces and seats belonging to the state. Highly meriting notice is the palace of His Serene Highness Manin, Doge of Venice, to be seen in the territory of Asolo; the architecture is that of Palladio; the stuccoes, of Vittoria; while the pictures of the Muses, and of many other Pagan deities, are from the hand of Paul; forming an union of artists sufficient to render the place as celebrated among modern villas, as was that of Lucullus among the ancients. The school of Paul Veronese commences like those already described, with his own family; in the first place, with Benedetto, his younger brother, and with his two sons, Carlo and Gabriele. Benedetto was remarkable for the fraternal affection he displayed towards Paul, assisting him in the ornamental part of his labours, particularly in his perspectives, in which he possessed considerable skill. And, after his death, he shewed the same affection to the two sons, directing them by his advice, supporting them in their undertakings, and leaving his inheritance to their family. His genius for the art was not very great, and in the pieces conducted by his own hand, he appears only as an imitator of Paul, occasionally happy however in a few heads, or in his drapery, but by no means equal with himself. There is hardly a work in which the connoisseur may not easily detect something weak or faulty, as in the Last Supper, in the Flagellation, in the Appearance of the Saviour before the Tribunal of Pilate, which he painted for the church of San Niccolo, and which are some of his best productions. If he ever appears to have surpassed himself, as in the instance of his picture of St. Agatha, placed at the Angeli, in Murano, the work has been ascribed to Paul, and has even been engraved under his name. According to Ridolfi he succeeded better in fresco than in oils; and both he and Boschini, who examined his Roman histories, and his mythological fables, painted in stone colour, in the Cortile of the Mocenighi, give us a very favourable idea of them; and the same where they speak of his ornamental work, in halls and other places, which admitted of his introducing a display of architecture and embellishments, rather than of figures.