I do not recollect to have seen the landscapes of Pecchio in Verona, though the fine encomium bestowed upon him by Balestra, in one of his _Lettere Pittoriche_, leads me to hold him in high esteem. In the adjacent parts at Salò appeared Gio. Batista Cimaroli, a pupil of Calza, who was much admired, both by foreigners and natives at Venice. Among landscape painters I find in several galleries the name of Formentini, the figures of whose pieces were from the pencil of Marchesini. D. Giuseppe Roncelli of Bergamo is another artist who acquired reputation, and whose virtues procured for him, from the pen of Mazzoleni, the honour of a life, while his singular skill in depicting nocturnal conflagrations, as well as landscapes, induced Celesti to add figures to them. In Padua the landscapes of Marini were in high repute, to which Brusaferro likewise added variety with his figures. Still more than these Luca Carlevaris, an excellent painter of landscape at Udine, rose into notice, no less distinguished also by his perspectives and sea views. Public specimens of his labours still remain at Venice, though not so numerous as in private houses, particularly in possession of the Zenobri family, who so far patronized his talents as to procure for him the name of Luca di Cà Zenobrio. To him succeeded the nephew of Sebastiano Ricci, named Marco, who, pursuing the safe career chalked out by Titian, and availing himself of the delightful site of his native place at Belluno, became one of the ablest landscape painters belonging to the Venetian School. It would be no exaggeration to say that few before his time distinguished themselves with equal force of truth, and that those who succeeded him have never equalled him in this respect. In order to estimate his worth, we are not to consult such landscapes as he painted for sale and disposed of to dealers; nor those executed in water colours upon goatskin, which, though very pleasing, are wanting in solidity. We ought to consult only his oil productions, conducted with far more care, and more commonly to be met with in England than in Italy. Indeed he had a much more extended taste than he displayed in his works. The two brother artists named Valeriano, declared that he had afforded them the most enlightened views of the art. These were Domenico, a painter of perspectives, and Giuseppe, a figure painter, both employed in ornamenting different churches, and more particularly theatres, in Venice, and indeed throughout Italy and other parts of Europe. Francesco Zuccarelli passed a great portion of his life in the city of Venice, an artist already recorded by us among the Florentines, and by whose example Giuseppe Zais was formed as a landscape painter, being particularly employed in that branch by the British Consul Smith, a distinguished patron of youthful genius devoted to the art. In point of invention he was more varied and copious than his master, but inferior to him in the mellowness of his tints.