Whilst the art was advancing in Genoa and her territories, there occurred the celebrated siege of Rome, and the calamities which accompanied and followed it, in consequence of which the scholars of Raffaello were dispersed, and established themselves some in one city and some in another. We have seen in the course of this work Polidoro and Salerno in Naples, Giulio in Mantua, Pellegrino in Modena, and Gaudenzio in Milan, distinguish themselves as the masters of eminent schools; and we find one school founded by Perino del Vaga in Genoa, which has maintained the splendour of its origin in a way inferior to none. Perino arrived in Genoa in a state of distress in 1528, after the sacking of Rome. He was there liberally welcomed by Prince Doria, who employed him for several years in the decoration of his magnificent palace without the gate of S. Tommaso. He superintended as well the external decorations of the sculptures, as the internal ornaments of the stuccos, the gilding, the arabesques, the paintings in fresco and in oil. This place, in consequence, breathes all the taste of the halls and loggie of the Vatican; the celebrated works of which, at that time, attracted universal admiration, and in the execution of part of which Perino had a considerable share. This artist has indeed no where displayed his talents to such advantage as in the Doria palace; and it is doubtful whether Perino in Genoa, or Giulio in Mantua, have best sustained the style of Raffaello. We find in the palace some small histories of celebrated Romans, of Cocles, for example, and Scævola, which might pass for compositions of Raffaello; a group of Boys at Play, likewise, has all the air of that master; and on a ceiling, in the War of the Giants against the Gods, we seem to behold in conflict the same persons whom Raffaello had represented as banqueting in the Casa Chigi. If the expression be not so noble, the grace so rare, it is because that grand specimen of art may be emulated by many, but equalled by none. It may be added, that Perino's style is less finished than his master's, and that, in his drawing of the naked figure, he, like Giulio, partakes of the style of Michelangiolo. Four chambers, Vasari informs us, were painted in the palace from the cartoons of Vaga, by Luzio Romano, and some Lombards, his assistants; one of whom, of the name of Guglielmo Milanese, followed him to Rome, and held in that court the office of Frate del Piombo. The others have left no name behind them, and must have been individuals of inferior talents and poorly paid, as we occasionally find rude and heavy figures. Such defects are not uncommon in the works which Perino undertook, for when he had made his cartoons or designs he gave them to his pupils to execute, with material advantage to his pecuniary interests, but with detriment to his reputation. This is observed by Vasari, nor do I know how he could have the courage to mention in connexion with this circumstance the works which