Colonna returned into Italy, and as a third act of his life, we may record the twenty-seven years which he afterwards lived; during the earlier portion, availing himself, for his architectures, of the services of Giacomo Alboresi, Mitelli's great pupil; and in the latter, of Giovacchino Pizzoli, his own scholar, known also among painters of landscape. Crespi adds the name of Gio. Gherardini, and Antonio Roli, or Rolli according to the Cav. Titi, whose specimens in this branch, at the Certosa of Pisa, he extols as perfect miracles of the art (p. 301). In this trio are included all belonging to Colonna's school. It is observed by Malvasia, that from Mitelli's society, Angiol Michele himself derived utility, as regarded architecture; not that he ever equalled his deceased friend, but from adopting thenceforward a more elegant manner. This progress is apparent in the cupola of S. Biagio; as well as in the ceiling and in a chapel of S. Bartolommeo, decorated by him after his return from Spain. Other specimens he produced at this period, at Ponzacco, a villa of the Marchese Nicolini, of Florence; in the Morisini palace, at Padua, and at Paris, for M. Lionne, state secretary to the French king. Colonna attained the age of eighty-six, and left, at his death, numerous professors of an art, which he and his two colleagues may almost be said to have invented, and given to the public. I have enumerated different young artists of these schools; and they, too, united together, traversing Italy in the service of princes and nobles, and forming pupils in every place; so that no art ever spread more rapidly. Gio. Paderna, pupil to Dentone, and next an accomplished imitator of Mitelli, became the colleague of Baldassare Bianchi; and the latter, at the death of Paderna, having become Mitelli's son-in-law, was placed companion, by the father-in-law, with Gio. Giacomo Monti. This partnership also met with success in Italy, in particular at Mantua, where they both received regular salaries. Their figure-painter was Gio. Batista Caccioli, of Budrio, pupil to Canuti, and a good disciple of Cignani, who left frescos, altar-pieces, and private pictures; in particular, his heads of old men, in high request. Another son-in-law of Mitelli, Giacomo Alboresi, was much employed at the court of Parma, in that of Florence, and in the villa Capponi, of Colonnata. He was assisted in his figures by Fulgenzio Mondini, and on his death, by Giulio Cesare Milani, who was esteemed the best pupil of Torre. Domenico Santi, named Mengazzino, was also one of the ablest among Mitelli's pupils, and left, at the Servi, in S. Colombano, and in the Ratta palace, some fine works in perspective, with figures by Giuseppe Mitelli, by Burrini, and most of all by Canuti, never having left his native place. His perspectives, on canvass, are highly esteemed in cabinets, and are sometimes hardly to be distinguished from those of Agostino. Andrea Sighizzi, the father and master of three artists, was