Posterior to Ridolfi appeared three scholars of Felice Brusasorci, in addition to Creara, an artist less celebrated; all of whom, on the death of their master, pursued their studies at Rome. There they imbibed, more or less, the prevailing style; and all of them occupy a distinguished rank in the history of the art. Alessandro Turchi, surnamed _Orbetto_, is, in particular, distinguished among the first of his age; he was called Orbetto, observes Pozzo, because, when quite a boy, he was in the habit of guiding an old blind mendicant, either his father, or some other person. Passeri declares that he derived it from his having a defect in one of his eyes; which was observable in his left eye, as I am informed by Signor Brandolese, after having seen his portrait, engraved after the original, in possession of the Signori Vianelli. Brusasorci, from certain undoubted symptoms, discovered in him a fine genius for the art; and, giving him the best instructions, in a few years encountered a rival, rather than a disciple. Residing afterwards in Venice, under Carlo Caliari, and thence proceeding to Rome, he formed a style wholly his own, possessing some strength but more elegance. He established himself in Rome, where he entered into competition with the followers of the Caracci, with Sacchi, and with Berrettini; with whom he appears to advantage in the church of the Concezione, as well as in a few others. But no city has so many of his pieces in public as Verona, to say nothing of those he painted for private persons. The family of the Marchesi Girardini alone, who patronised him and supported him at Rome, for which we have original letters and documents, possesses sufficient to enrich several collections, among which it is amusing to trace his progress from the inferior to the more correct specimens, and from a lower degree of ornament to the highest. Some, indeed, have ventured to put him in competition with Annibal Caracci; a comparison that, in other times, would have created as great a sensation in Bologna as the celebrated Rape of the Bucket, and one which ought not to be listened to, indeed, any where. Annibal was a painter worthy of our veneration, and Turchi succeeded in imitating his design in the "Sisara" of the Casa Colonna and elsewhere. But he was not so happy in every instance, and, generally, his naked figures, (which approach, in Annibal, to those of the ancient Greeks,) are not equal to such as he has thrown into costume. On the contrary, Passeri, in describing his picture at the Camaldolesi, in Rome, admits that he did not display _perfect_ taste in his art, while Pascoli, in his life of Gimignani, says he enjoyed _some_ degree of reputation at Rome; an incautious expression, if I mistake not, but which at least shews that Turchi is not entitled to a comparison with Annibal Caracci. Still he exhibits so many attractions, that he never fails to please us in every subject. He seems to have