were executed with the assistance of their scholars by Raffaello and Giulio Romano, illustrious masters, irreproachable in the selection of their assistants, indefatigable in their application, and contemning that avidity of gain which drew down on Perino merited reprehension. There is still, in the palace Doria, a frieze of boys, commenced by him in one of the loggie, continued by Pordenone, and finished by Beccafumo; and the remains of what was there painted by Girolamo da Trevigi, who, through jealous rivalry towards Perino, forsook both the city and the state. Perino painted some pictures for the churches in Genoa; where too we find some by eminent foreign hands, amongst which is the St. Stephen, painted by Giulio Romano for the church of that saint; an altar-piece perhaps the most copious in composition, and the most striking that issued from the studio of that master. It was at this time too that many noble individuals applied themselves to collect foreign specimens of every school, and they have since been emulated by their posterity, who in this pursuit perhaps surpass all the private collectors in Italy, except those of Rome. By these means the country became enriched with beautiful works, and began to turn itself to a more perfect style, which it attained with a celerity unknown to any other school. The transition from the style of Brea, which was that of the thirteenth century, to that of Raffaello, occupied but a few years; and even the scholars of Nizzardo, as we have observed, very soon became worthy imitators of the first of modern masters. These principles were sure to make the most prosperous advances amongst a people rich in genius and industry; and amidst a nobility that abounded in wealth, and who in no way lavished it more freely than in raising splendid sanctuaries to religion, and sumptuous habitations for themselves, which in grandeur, decorations, tapestries, and in other kinds of luxuries, scarcely yielded to royalty. From munificence like this, the School of Genoa derived aid and encouragement, though not much known abroad, as her artists were sufficiently occupied at home. Its characteristic excellence, in the opinion of Mengs, consisted in the number of its excellent fresco painters; so that a church or palace of any antiquity is scarcely to be named which does not possess the most beautiful works, or at least the memory of them. And it is a remarkable fact, when we consider how exposed the city is to the sea air, that so many works in fresco, executed by early artists, should have remained in so perfect a state. Nor did the school of Genoa want celebrity in oil paintings, particularly in the qualities of truth and force of colouring, which excellences, derived first from Perino and afterwards from the Flemish, it always retained; not yielding in this respect to any school of Italy, except the Venetian. It has produced also noble designers; although some, like other mannerists, have debased the