Confining ourselves to the works of the best twelve years of his practice, we see in him a man who possessed a high predilection for the Roman School; deriving instruction from prints, and impelled by his own genius to attempt I know not what of originality. Where this originality appears, we should not wish Cambiaso other than himself, and where it does not appear, we should not wish him any thing but an imitator. Of the first kind is the Martyrdom of St. George in the church of that saint, which for the noble character of the sufferer, the sympathy of the spectators, the composition, variety, and force of chiaroscuro, is considered his chef d'oeuvre. Of the second kind there are, perhaps, more specimens to be found; as the picture at the Rocchettini, of S. Benedetto with John the Baptist and St. Luke, very much in the style of Perino and Raffaello; and above all, the Rape of the Sabines in Terralba, a suburb of Genoa, in the palace of the Imperiali. Every thing combines to please in this work; the magnificence of the buildings, the beauty of the horses, the alarm of the virgins, the ardour of the invaders, the several episodes which, in various compartments, crown the principal subject, and, as it were, continue the story. It is related that Mengs, after having viewed this picture, said, that out of Rome he had not seen any thing that more strongly brought to his recollection the loggie of the Vatican, than these works. He also executed other works of singular merit, particularly for private collections, among which I have found more pictures of a free than of a devout description. Being left a widower, he became enamoured of a female relative, whom he in vain endeavoured to obtain permission from the Pope to marry. This disappointment induced the neglect of his art. He then repaired to the court of Madrid, with the view of facilitating his wishes, and when he found himself deprived of all hope in this object, he fell sick and died. He left many works in the Escurial, and amongst these the subject of Paradise, in the vault of the church, a large composition, and a work very much praised by Lomazzo, but not equally so by Mengs, who had seen and examined it for several successive years.