to the time of Soprani, who extols them, without, however, pointing out with precision the peculiarities of his taste or school. During the fifteenth century, and part of the following, the capital city, and those depending on it, were supplied, for the most part, with foreign painters, almost all unknown to their native schools on account of their having, as it appears, resided in Liguria. Some account remains of a German called Giusto di Alemagna, in a cloister of S. Maria di Castello, at Genoa. He there painted in fresco an Annunciation in 1451, a precious picture of its sort, finished in the manner of miniaturists, and which seems to promise for Germany the style of an Albert Durer. At the same period Jacopo Marone, of Alessandria, painted an altar-piece at S. Jacopo in Savona, in distemper, consisting of various compartments, and in the midst of it a Nativity with a landscape, a work conducted with exquisite care in every part. At S. Brigida, in Genoa, too, are seen, by the same hand, two altar-pieces, one with the date of 1481, the other of 1484. The author was one Galeotto Nebea, of Castellaccio, a place not far from Alexandria. The three principal Archangels in the first, and S. Pantaleone with other martyrs in the second, are represented on a gold ground, very tolerably executed, both in forms and draperies, which are extremely rich, with stiff and regular foldings, not borrowed from any other school. It exhibits also the grado or step, with minute histories, a work somewhat crude, but displaying diligence.