of Vecchia, his family name being, as we have noted in the index, that of _Muttoni_. He instructed several pupils in the art, none of whom pursued their master's career. Agostino Litterini, and Bartolommeo his son, were among these, both artists well known in Venice and the islands, and both distinguished for clearness and boldness of style, though the latter surpassed his father in this way. A specimen of his altarpieces at San Paterniano, displays an imitator of Titian, and of the better age. Melchiori likewise gives the reputation of an excellent artist to his daughter Caterina, though commendations of this sort ought always to be understood in reference to the time in which the artists flourished. The same reasoning might apply also to politics. The title of your Excellency used once to be applied to minor sovereigns, but it has since become applicable also to the great officers and ministers of state. Gian Carlo Loth, an artist from Monaco, resided during a long period, and subsequently died, at Venice, in the year 1698, aged sixty-six years, as we find written in his epitaph. Both Orlandi and Zanetti are mistaken in giving him as a scholar to Caravaggio, who died before Carlo was born. It is probable, however, that he acquired his strong and loaded manner of composition, and his exact representation of nature without ennobling it, from the study of Caravaggio's pictures. And if he were really the pupil, as is supposed, of Liberi, he failed to make himself master of the lively and ideal character of that school; nor did he perhaps derive any thing from it, but a certain rapidity of hand, and an elevation of manner that distinguished him from the naturalists of his time. He took a rank among the first four painters of his age, all of whom bore the name of Carlo, as I have elsewhere observed. He was much employed in Germany for the emperor Leopold I., as well as in Italy for the churches, and still more for different collections. Many cabinet pictures from his hand are to be met with in every state, in the style of Caravaggio and Guercino, with histories; of which kind is the dead Abel, so much praised in the royal gallery at Florence. One in the best preservation I have seen, is to be found at Milan; a picture of Lot inebriated, in the Trivulzi palace, celebrated among men of taste as a museum of antiquities; newly arranged by the present young and accomplished marquis, and forming a collection not unworthy of a royal house. Daniele Seiter, a fine colourist, to whom we shall again allude, was instructed in the art by Loth, during a period of twelve years. He was distinguished both in Rome and at Turin; and was succeeded by Ambrogio Bono, one of the best disciples formed by the same master in Venice, where he left a variety of works, all executed in the taste he had so early imbibed.