refectory of San Bernardino, his convent at Verona, consisting of a Supper of Emmaus, in which, though less studied, he displays no less invention than his brothers. Next to these, who escaped oblivion as belonging to the family of Cignaroli, an artist named Giorgio Anselmi deserves best to be put upon record, and in particular for his painting of the Cupola of San Andrea at Mantua, ably executed in fresco: at one time he was the pupil of Balestra. Marco Marcola was an almost universal artist, rapid in his labours, abundant in his inventions, though I am unable to learn who had been his master. Tiepolo gave instructions to Francesco Lorenzi, distinguished both for his frescos and his oils, and always by his adherence to his master's example. There are various ceilings painted by his hand in Verona, and Brescia presents a Holy Family, all of which display an able artist, according to the manner of the age. In inferior branches of the art, there flourished, during this period, professors of much repute. The art of drawing in crayons rose to a high degree of excellence, through the genius of a distinguished lady of the name of Rosalba Carriera,[90] whose paintings in miniature have been highly commended by Orlandi. She next proceeded to the use of oils, but finally devoted her talents to that of crayons. So great was her progress in this branch that her specimens in point of force were often equal to oil pieces. They were in much request from the period in which she flourished, both in Italy and other parts; nor did they merely please by their clearness and beauty of colouring, but were remarkable for the grace and dignity of design, with which she animated every thing she drew. Her Madonnas and other scriptural subjects at once unite elegance and majesty of manner, while her portraits continued to increase in value without losing any thing of their truth. We meet with another excellent portrait paintress in Niccola Grassi, pupil to Cassana, of Genoa, and a rival of Rosalba. Nor was she unequal to works of invention, one of the most extensive of which adorns the church of San Valentino in Udine, where she painted the Assumption in the ceiling, a fine piece on the large altar, and drew figures for other pictures of various saints belonging to the Order of the Serviti. Pietro Uberti, son of Domenico, an artist of mediocrity, is celebrated in the Guida of Zanetti for his portraits, of which he produced eight, representing the Avogadori of his times, for the Avogaria or courthouse, which was considered a very honourable commission, bestowed formerly upon Paolo de' Freschi, Domenico Tintoretto, Tinelli, Bombelli, artists all celebrated in the same career. Orlandi bestows great commendation upon Gio. Batista Canziani of Verona, distinguished likewise in this branch, and who, on being banished from his native place for an act of homicide, continued to exercise it with success in Bologna.