If we wish to avoid forming erroneous judgments, then, we must abandon his Painter's Chart of Navigation, and attach ourselves to the _Pittura Veneziana_, a very different guide to that of Boschini. In this the author takes care to distinguish, with the precision of a good historian, such as were followers of Caravaggio, like Saraceni; excellent pupils of Guercino, like Triva; fine colourists, however much accustomed to copy rather than invent, like Strozza, and though less select, his scholar Langetti; to whom we may add a third Genoese artist, who flourished during those times at Venice, though he left no public specimen of his labours; this was Niccolo Cassana. Of these, as well as of a few others, I shall treat in the schools to which they respectively belong. Several other names are omitted by the author, either on account of such artists having produced little in the city, or from his being unacquainted with their education and the place of their birth. Among these is Antonio Beverense, an artist who painted for the college of the Nunziata, the Marriage of the Virgin Mary, a picture that displays accuracy of design, superiority of forms, and a very fine chiaroscuro. He was, for the most part, a disciple of the Bolognese, and from his united taste and diligence fully deserving of being more generally known. I suspect, however, that he ought to be named a native of Bavaria, and to the circumstance of his speedy return into his own country, we are, perhaps, to ascribe the little notice he seems to have attracted. Returning to the authority of Zanetti, we find, that besides giving a favourable opinion of the authors just mentioned, he bestows equal commendation upon those who are soon to follow; explaining their respective excellences and defects, and detecting such as belonged to the class of _Tenebrosi_ through their own fault, and such as became so owing to the bad priming of those times; in treating of whom I follow the path he has pointed out.