The other artists to be enumerated in the same class, are Francesco Rosa, a pupil rather than follower of Cortona, for an account of whom we must refer the reader to the fifth book of the fifth volume; and Giovanni Batista Lorenzetti, whose composition, bold, rapid, and magnificent, displays a powerful and correct hand. The merit of the second is conspicuous in his frescos, exhibited at Santa Anastasia, in his native city of Verona, for which he received twelve hundred ducats, including only the decoration of the chapel. Add to these the name of Ruschi, or Rusca, a Roman, and a disciple of Caravaggio in his forms, and of his age in the mixture of his colours. He was wholly unknown at Rome, though he acquired some degree of reputation in the cities of Venice, of Vicenza, and of Trevigi. His paintings are admitted into collections, where several of his oblong pieces are to be met with in pretty good preservation. Contemporary with him was Girolamo Pellegrini, a native, of the same place, not mentioned in the Guide of Rome, but commemorated in that of Venice for some works, chiefly executed in fresco upon a large scale, in which he appears neither a very select, various, nor spirited painter, though of a sufficiently elevated character. Bastiano Mazzoni, a Florentine, is another artist unknown in his native city, belonging to the class of the naturalists, though possessed of a certain delicacy, roundness of style, and ease of handling. He was also an excellent architect, of whose talents the Cavalier Liberi availed himself in the erection of his fine palace at Venice, which appears to exceed the fortune of a painter. Count Ottaviano Angarano, a Venetian noble, if he did not altogether avoid the style then current, avoided at least its extravagance; and the Nativity which he placed at San Daniele, confers upon him double honour, having been both painted and engraved by his hand. Stefano Pauluzzi, a citizen of Venice, has been enumerated among the best belonging to this sect, if indeed he is to be included in it, as the deterioration of his pictures may be rather attributed to the badness of his grounds than to the artist. Niccolo Renieri Mabuseo also flourished at the same period, an artist, who at Rome, under Manfredi, a follower of Caravaggio, formed a taste partaking of his early Flemish and of his Italian education; very pleasing in the opinion of Zanetti, and in general displaying much strength of hand. He had four daughters who inherited their father's talents, all of whose productions were highly admired in Venice. Two of these, of the name of Angelica and Anna, remained with their parent; Clorinda entered into an union with Vecchia, and Lucrezia with Daniel Vandych, a Frenchman, who afterwards entered into the service of the Duke of Mantua, as the keeper of his gallery of pictures; himself a fine portrait painter, and by no means despicable in his histories. To his I add the name of D. Ermanno Stroifi, a Paduan, first a pupil, and an