Tiepolo, who occasionally introduced figures into his pieces for him. In whatever he employs his pencil, whether buildings, waters, clouds, or figures, he never fails to impress them with a vigorous character, always viewing objects in their most favourable aspect. When he avails himself of a certain pictorial license, he does it with caution, and in such a way that the generality of spectators consider it quite natural, while true judges only are sensible of its art, an art that he possessed in a very eminent degree. His nephew and pupil, Bernardo Bellotto, approached so nearly to his style, that it is with difficulty their respective pieces are distinguished. He also visited Rome, though when Orlandi bestowed his encomiums upon him in his work, he was at Dresden, and it is uncertain whether he again returned into Italy. Francesco Guardi was recently esteemed a second Canaletto, his views of Venice having attracted the admiration not only of Italy but of foreign parts, yet with such persons alone who are satisfied with the spirit, the taste, and the fine effect which he invariably studied; as in other points, in accuracy of proportions, and in judgment as regards the art, he cannot pretend to vie with his master. Several others likewise excelled in this species of painting, whose pictures I saw in the Algarotti collection and in other places; such as Jacopo Marieschi, who was also a good figurist, and Antonio Visentini, whose views were ornamented with the figures of Tiepolo and Zuccherelli. Gio. Colombini of Trevigi, pupil to Bastian Ricci, whose Pecile was the Domenican convent in that place, succeeded in his perspectives, in giving illusion to the eye, and in the masterly gradation of the different objects of view. The figures he has introduced are his own, though he was less skilful in this branch. He filled that place with his portraits, introducing another family as it were of painted Domenicans, and not without some appearance of caricature. In other minor branches of the art, the flowers of Domenico Levo were extremely admired. He was pupil to Felice Bigi of Parma, who opened school in Verona. To his we may add those of one Caffi and a few other natives, though the most choice collectors pride themselves upon the specimens of Gaspero Lopez, a Neapolitan. Thus at least he subscribes himself in one of his most beautiful works, in possession of the Conti Lecchi at Brescia, where, as well as in the capital, he resided during a long period. About the middle of the century there appeared one of his imitators, named in various collections Duramano, an artist somewhat too much given to mannerism.