Every school, whatever may have been the celebrity of its founder, betrays in the course of time symptoms of decay, and stands in need of restoration. The Genoese, in the hands of Castello, experienced a decline about the close of the sixteenth century, but soon afterwards revived, by the return of Paggi, and the arrival of some foreigners, who established themselves for a considerable period in that city. To this amelioration Sofonisba Angussola not a little contributed by the assemblies of scholars and professors of the art, which were held in his house, much to their improvement, as we have before observed. Among these were Gentileschi, Roncalli, and the Procaccini, who were employed in various public works. Aurelio Lomi of Pisa settled in Genoa, taught there, and left some excellent works at San Francesco di Castelletto, at the Nunziata del Guastato and elsewhere. Nor ought we to omit Simon Balli, his scholar, unknown in Florence, his native city, but deserving of being remembered for his style, which partook considerably of Andrea del Sarto's, and for some small cabinet pictures on copper. Antonio Antoniano of Urbino also resorted thither, if we are to believe Soprani.[68] He brought with him the beautiful picture painted for the Duomo by Baroccio, who was his master; and he himself, in the church of S. Tommaso, painted the picture of the saint and another picture; and, if I mistake not, some others for private individuals, which are at the present day attributed to Baroccio, so successful was his imitation of that master. There came to Genoa from Siena Salimbeni and Sorri, and with them Agostino Tassi. The two latter remained there for a length of time, both working and teaching; and besides these, Ghissoni, who was also a Sienese of some merit, a scholar of Alberti in Rome, and a fresco painter of a vigorous and engaging style. Simon Vovet also repaired thither, but did not remain long; he however executed some works, one particularly of the Crucifixion, at St. Ambrose, not unworthy, as Soprani informs us, of his great name. Amongst the most considerable aid which Genoa experienced from foreign talents we must enumerate Rubens and Vandyck; the first of whom left there some noble public works, and a number of private historical pieces, and the second a very great number of his eloquent and animated portraits. Gio. Rosa of Flanders also established himself there, mentioned by me in Rome, where he studied; a happy imitator of nature in her most agreeable forms, especially animals. He died in Genoa, and left there Giacomo Legi, his countryman and scholar; of whom there remain some excellent pictures of animals, flowers, and fruit, though few in number, as he died young. Godfrey Waals, a German, and Gio. Batista Primi, a Roman, scholars of Tassi, and landscape painters of much merit, resided there for some time; and Cornelio Wael, with Vincenzio Malò, two Flemish painters, clever in battles, landscapes, and humorous pieces, and