I noticed, in a former volume, Gio. Batista Gaulli. This artist, after many years practice under Luciano Borzone, unwilling to remain in a city depopulated by the plague, went to Rome; and there, by studying the best masters and by the direction of Bernino, made himself master of a new style, grand, vigorous, full of fire, his children gracefully drawn, and altogether enchanting. He contributed some pupils to the Roman School, and two of them he educated for their native school; Gio. Maria delle Piane, called, from his father's profession, II Molinaretto, and Gio. Enrico Vaymer. Their pictures were composed in a good style, and there are some of their works in the churches of Genoa; particularly of the first, by whom there is at Sestri di Ponente a Decollation of St. John the Baptist, highly celebrated. But they owed both their fame and their fortune to portrait painting. The accomplishments of their master in that respect, above all other artists, insured them a reputation, whence they abounded in commissions, both in Genoa, which on that account is full of portraits painted by them, and also in foreign countries. Vaymer was three times called to Turin to paint the king and royal family; and was invited by very considerable offers to remain there, which he, however, always rejected. Molinaretto, after several visits to Parma and Piacenza, where he furnished the court with portraits, and left some pictures in the churches, was invited by King Charles of Bourbon to Naples, where he died, in a good old age, painter to the court. Pietro da Cortona also contributed some good scholars to Genoa. A doubtful celebrity remains to Francesco Bruno of Porto Maurizio, who left in his native country some altar-pieces in the style of Pietro, and a copy of one of the pictures of that master. He is an unequal painter, if, indeed, we may not conclude, with Sig. Ratti, that some inferior works are improperly ascribed to him by common report. With still less foundation Francesco Rosa of Genoa is conjectured to have sprung from this school, who studied about the same time in Rome. The frescos and oil pictures which he left in that city, at S. Carlo al Corso, and particularly at the churches of S. Vincenzio and Anastasio, evince him a follower of a different style. He there approaches Tommaso Luini and the dark mannerists of that period. He painted in a much better style, at Frari in Venice, a Miracle wrought by S. Antonio; a large composition, in which besides a most beautiful architecture he displays much knowledge of the naked figure, good effect of chiaroscuro, great vivacity in the heads; in the latter, however, little select, and in the general effect partaking more of Caracci than Cortona.