those of all Italy as respects the number of its artists, and the most certain in enabling us to form a correct opinion of their merits. Directed by these, and by other additional information received on the spot from Sig. Ratti himself, as well as from others, I proceed to resume the thread of my narrative. About the period that Carlo arrived at Genoa, the same city was also so fortunate as to become the residence of Pier Francesco Sacchi, commended by Lomazzo, who calls him Pierfrancesco Pavese, an artist well skilled in the style then prevailing at Milan. He was a good perspective painter, delightful in landscape, and a diligent, correct designer. The public is still in possession of his altar-piece of the Four Holy Doctors in the oratory of S. Ugo. The style of Sacchi nearly resembles that of Carlo del Mantegna, from what we gather from his works in Mantua, there remaining no vestiges of them in Genoa. Two youths of very fine genius for the art were at this period educating in the school of Lodovico Brea. One was named Antonio Semini, the other Teramo Piaggia, or Teramo di Zoagli, the place of his birth. There is no account of their being indebted either to the advice or examples of the new masters, when they began to be employed for the public, but their altar-pieces display the fact. They painted conjointly, and affixed both their names to their productions. In that of the Martyrdom of St. Andrew, which they conducted for the church of that name, they likewise added their own portraits. None can have witnessed this very beautiful altar-piece, without seeing traces of Brea's style already enlarged and changed into one more modern. The figures are not of those dimensions which we subsequently see in a better age, nor is the design sufficiently soft and full, but there is a clearness in the countenances that rivets attention, an union of colouring that attracts; the folding is easy, the composition somewhat thronged, though not by any means despicable. Few originators of the style which is now termed modern antique, can be fairly preferred before these two artists and friends. Teramo in his individual specimens at Chiavari and at Genoa itself, retains somewhat more of the antique, particularly as regards composition, but is always animated in his countenances, studied and graceful. Antonio appears to me almost like the Pietro Perugino of his school. In his Deposition from the Cross he approaches nearer the better age, a painting in possession of the Dominicans at Genoa, as well as in some other pieces highly commended for the figures, and the accessories of perspective and landscape, though his great merit does not appear most conspicuous here. For this we should consult his Nativity, painted for S. Domenico in Savona, and we shall be convinced that he also emulated Perino and Raffaello himself.