description are preserved, to ascertain whether it may be still in existence. All that we at present possess by Paggi is the Treatise mentioned by us a few pages back. In the mean time we shall commence a new epoch with him and his school. Domenico Fiasella is called il Sarzana, from being born in the city of that name, where he obtained the rudiments of his style. He devoted himself to the study of the noble picture of Andrea del Sarto, which was then in the church of the Predicatori; and where there is at this day a beautiful copy of it. After being instructed for some time by Paggi he repaired to Rome, and studied Raffaello, and imbibed also other favourite styles. He there spent ten years, and became an eminent master, much praised by Guido Reni, and employed as an assistant by the Cav. d'Arpino and Passignano. He finally returned to Genoa, and in that city and in others of higher Italy, executed numerous works. A very considerable part of them he left imperfect, being in the habit of neglecting them, or leaving them to be finished by his scholars, as is the tradition of his native place. Independent of this impatience he was a great artist, and possessed many eminent qualities, a felicity in grand compositions, a style of design often worthy of the Roman School, great life in the heads; an admirable colour in his oil pictures, and an easy imitation of various styles. He is very Raffaellesque in a S. Bernardo, which is to be seen at S. Vincenzio in Piacenza; Caravaggesque in a S. Tommaso di Villanova, at S. Agostino in Genoa; in the Duomo of Sarzana, where he painted the Slaughter of the Innocents, and in the archiepiscopal gallery of Milan, in an infant Christ, he is a follower of Guido; and in other places an imitator of Annibal Caracci and his school. He can command our admiration when he pleases, and has left a stupendous work in the church of the Augustines in Genoa, representing St. Paul, the first hermit, for whose body, discovered in a lonely forest by St. Antony the Abbot, a lion is in the act of scooping a grave. Many of his pictures are found in private collections. I have met with specimens at Sarzana, in the house of his Excellency the Marquis Remedi, a house celebrated for the cordial and generous hospitality of the owner; and in others too there and in the state. His Madonnas have for the most part a similarity of features; not so ideal as those of Raffaello, but still agreeable and prepossessing.