In the list of his disciples we find the name of Fabio Canale, mentioned with honour in the work so often cited, from the pen of Zanetti; and to such of his pictures as he mentions we may add those he produced in Palazzo Zen at the Frari, and in that of the Priuli at the bridge of the Miglio. To this artist we might join a few others of this last age, recorded in the Guide to Venice, the same that was published by Zanetti in 1733, and some of whom are likewise mentioned in the _Pittura Veneziana_, where, beginning at p. 470, he gave a catalogue of the names of such of the members of that estimable academy, as were then alive, some of whom are still in existence. But whoever is desirous of cultivating an acquaintance with them and with their works which are in possession of the public, may consult the above books as well as some of the more recent Guides of the city, which have continued from time to time to appear. I ought to add, that the Signor Alessandro Longhi has presented us with the portraits and the Elogj of the most celebrated of these moderns, in the year 1762, and this work also may supply what my brevity or my silence has omitted or compressed. Proceeding in the next place from Venice to the cities of the state, we shall find that these also have produced many memorable artists. The Friuli will occupy but little of our attention, boasting few masters, and none of them distinguished for their figures. Pio Fabio Paolini, a native of Udine, studied at Rome, where he produced in fresco his San Carlo, which adorns the Corso, and was united to the academy there in 1678. Returning thence into his own country he painted several altarpieces and other minor pictures, such as to entitle him to a high place among the followers of Cortona. Giuseppe Cosattini, born at the same place, and canon of Aquileja, devoted himself to the same pursuit, and rose into so much estimation as to be declared painter to the Imperial Court. He particularly distinguished himself by his picture of San Filippo, preparing to celebrate mass, painted for the Congregation of Udine; the work of a real artist not of a dilettante, as he appears in some other of his paintings. Pietro Venier, a disciple of the Venetian artists, displayed some merit in his oil pieces, not uncommon at Udine; and more in his frescos in the ceiling of the church of San Jacopo, where he appears to great advantage. But the best painter of frescos in these later times, amongst his countrymen, was Giulio Quaglia, a native of Como. From his age and style I should suspect that he belonged to the school of the Recchi, although his design is less finished than that of Gio. Batista Recchi, the head of that family of painters. It would appear that he visited Friuli young, towards the close of the last century, and there he conducted works, for the most part, in fresco, to an amount that almost defies enumeration. His histories of our Saviour's Passion, ornamenting the chapel of the Monte