Other artists, about the same period, flourished in Venice, who by dint of imitating the most approved models, and also through their own talents, obtained easy access into the most choice collections. Jean Lys, from Oldenburg, came early among these, bearing along with him the style of Golzio. But, on beholding the Venetian and Roman schools, he adopted an exceedingly graceful style, partaking of the Italian in its design, and of the Flemish in its tints. He chiefly produced figures upon a middle scale, such as his Prodigal Son, in the royal museum at Florence; or of smaller dimensions, as in his various little pictures of village sports and combats, with similar subjects, in the Flemish mode of composition. Yet he produced a few pictures for churches, like his St. Peter, in the act of resuscitating Tabitha, at the Filippini, in Fano; and his more celebrated San Girolamo, at the Theatini, in Venice, where he died. Valentino le Febre, from Brussels, is a name omitted by Orlandi; while his very numerous engravings of Paul Veronese, and of the best Venetian artists, are ascribed by him to another artist of the same name. He painted little; and always pursued the track of Paul Veronese, of whom he was one of the most successful imitators and copyists known. His countenances bear no stamp of a foreign origin, and his colours none of the bad character of his age; while his touches are always strong, without offending our taste. His smaller pieces are full of research and finish; though he has less merit upon a larger scale, and is occasionally wanting in point of composition. We meet with another distinguished imitator of Paul, in Sebastiano Bombelli, from Udine; Guercino's scholar in the outset, and subsequently a fine copyist of the best works of Paul Veronese, which are scarcely to be distinguished from the copies he took; until he gave up the more inventive branches of the art, and devoted his attention to portraits. Here he restored the lost wonders of a former age; his portraits being remarkable for strong likeness, vivacity, and truth of colouring, both in the drapery and the fleshes. In his painting there is a happy union of the Venetian and the Bolognese manner; and in some specimens of his portraits that I have seen, he seems to have preferred the delicacy of Guido to the vigour of his own master. He was esteemed also beyond Italy; he was employed by the archduke Joseph at Inspruck; took the portraits of several German electors; of the King of Denmark, and of the emperor Leopold I., by whom he was largely honoured and rewarded. It is a matter of regret, that, owing to a peculiar varnish of pitch and gum,[78] which at the time produced a good effect, a great portion of his pictures should have become obscured; and that many by the more ancient masters, which he wished to restore, should have been altogether blemished or destroyed like his own. Among the imitators of Titian, of Tintoretto, and of Paul,