Under the Roman School we treated of Francesco Mancini, from S. Angelo in Vado, who, along with Agostino Castellacci, from Pesaro, was instructed by Cignani; both nearly contiguous to Romagna, but of unequal powers. Agostino is little known, even in his own state; but Mancini was celebrated throughout Lower, as much as Franceschini in Upper Italy; and he also educated several artists for the countries adjacent to Romagna. Sebastian Ceccarini was Mancini's pupil, born at Urbino, and often mentioned in the Guide of Rome, where, in the time of Clement XII., he painted the altar-piece for the Swiss chapel at the Quirinal. He is more known, however, at Fano, where he was established, and long continued to live, with a handsome salary from that city. There he appears an artist of various styles, who would have shone little inferior to his master, had he always adhered to his best manner. His S. Lucia, at the Agostiniani, and different sacred histories, in the public palace at Fano, display many fine imitations, strong chiaroscuro, and well-varied tints. The Canon Gio. Andrea Lazzarini, from Pesaro, also acquired his knowledge from Mancini. He was both a good poet and prose writer, and truly well informed in sacred and profane literature. Few Italian writers can compare with him in treating pictoric subjects. His "Account of the Paintings in the Cathedral at Osimo,"[53] and particularly, his "Catalogue of the Pictures in the Churches at Pesaro," cited by us elsewhere, afford ample proofs of his superiority, no less than those brief "Observations" on the best works there met with, and that very full "Dissertation upon the Art of Painting," that has been often republished. It relates wholly to the branch of "invention;" and he has other unedited works of equal merit, on "Composition," on "Design," on "Colouring," and on "Costume," which were read in the academy of Pesaro, as early as 1753. These embrace a true course of painting, an art which he taught gratuitously in his native place.[54] Count Algarotti, in drawing up his Essay on Painting, both read and profited by them, as I heard, at least, from Lazzarini; and as the Count, indeed, candidly himself confessed, in a letter which he forwarded to him with the work. He also evinced his high regard for his pictoric talents, by giving him a commission for two paintings to adorn his select gallery, which were afterwards inserted in the catalogue. The subjects consist of Cincinnatus called to the Dictatorship, and Archimedes absorbed in his scientific studies, during the storming of Syracuse. These two histories are well executed, inasmuch as Lazzarini was perfectly master of good painting, as well as good writing; easy, yet always studied in every part; at once noble and graceful, with depth of learning to throw an air of antiquity round his productions, but, at the same time, free from all affectation and parade. His first colouring was of a strong character, as