was painter to the court at Madrid, whither, on his death, Luca Cambiaso was called to finish the larger historical subjects; but the grotesques, and the ornamental parts interspersed with figures, were continued by the two sons of Gio. Batista, whom he had carried with him to Madrid as his assistants. Palomini makes honourable mention of them, and the Padre de' Santi Teresiani, and the Padre Mazzolari Girolamino, in their description of the Escurial, enumerate their works, commending their variety, singularity, and beauty of colour. One was called Fabrizio, the other Granello; and the latter, as Ratti conjectures, was the son of Nicolosio Granello, an able fresco painter of the school of Semini, whose widow was married to Castelli, and probably brought with her this son of her first marriage. Painters have in general been found to impart instruction more freely to native scholars than to strangers; and yet the latter have always profited more than the former, so that it rarely happened that on the death of the chief of a school the reputation of that school has been continued by a son or a nephew. Such was the case with the Genoese, where Calvi, the Semini, and Cambiaso, had each a numerous progeny, and a progeny too attached to the art; and yet amongst so many there was not one who passed the bounds of mediocrity, except perhaps Orazio, the son of Luca Cambiaso, of whom Soprani merely says that he followed in a praiseworthy manner his father's style, and initiated some pupils in the art. It was therefore to his better scholars that Cambiaso was indebted for assistance in his profession; one of whom, Lazzaro Tavarone, followed him even into Spain, and remained there for some years after his master's death. He afterwards returned to Genoa, stored with the designs of Luca, and loaded with riches and honours. Luca seemed to live again in his scholar, so fully did he possess his style. He moreover distinguished himself by a method of colouring in fresco, which, if I mistake not, raised him above all his predecessors in this school, and above all who succeeded him, except Carloni. This peculiarity consisted in a richness, brightness, and variety of colour, which brings distant objects vividly to the sight, the whole composition appearing brilliantly illuminated, and the tints splendidly and harmoniously blended. One may perhaps occasionally wish in them more softness, but in general they have all the richness of oil paintings. The tribune of the Duomo, where the patron saints of the city are represented, particularly S. Lorenzo, from whose history some passages are selected, is the chef d'oeuvre of his public works. The façade of the palace of the doge is also a considerable performance, representing St. George slaying the dragon; around it and above are other numerous figures of citizens of eminence, of the virtues, of genii with nautical weapons and the spoils of the enemy, some of which might pass for the work of Pordenone.