In the school of Venice he educated a celebrated scholar, Sebastian Ricci, of whom mention has been made more than once. Not many years since died Gio. Agostino Ratti of Savona, a painter of delightful genius. He ornamented the theatres with beautiful scenes, and the cabinets with lively caricatures, which he also engraved. He was clever in church paintings, as may be seen in the church of S. Giovanni at Savona, where, besides other subjects of the Baptist, there is a much praised Decollation. He painted also in the church of S. Teresa in Genoa; and was always a follower of Luti, whose school he had frequented when in Rome. He was also a good fresco painter; and I have seen his works in the choir of the Conventual church in Casale di Monferrato, where he added figures to the perspective of Natali of Cremona. But subjects of humour were his forte. In these he had an exhaustless fancy, fertile and ever creative. Nothing can be more amusing than his masks, representing quarrels, dances, and such scenes as form the subjects of comedy. Luti, who was his master in Rome, extolled him as one of the first artists in this line, and even equalled him to Ghezzi. This information respecting Gio. Agostino was communicated to me by his son, the Cavaliere often mentioned in the course of this work,[70] and who died in 1795. Footnote 70: He had prepared for the press some further information respecting this school, both with regard to ancient and modern times. The MS. with which he favoured me to perfect this edition of my work, I have unfortunately, and to the great detriment of my own work, mislaid. He was not a great painter, but certainly not deserving of the contempt with which he has been treated. Gratitude, friendship, truth, and humanity itself call on me to say all the good I can of him; every thing that malevolence could dictate has been already recorded against him. We may therefore refer the reader to the perusal of the Defence of him before mentioned by us, and noticed afterwards with its true title, in our second index, under the head _Ratti_. There (whoever may be the author of it,) many works are enumerated which, in our opinion, would confirm to him the title of a praiseworthy artist. But he derives peculiar honour from the opinion of him expressed by Mengs, who proposed him as director to the academy of Milan; and some historical and national subjects being required in the royal palace in Genoa, Ratti was recommended to this honourable commission both by Mengs and Batoni, and he executed them to the entire satisfaction of the public. The more experienced judges pretend to detect in these works something more than an imitation of the great masters; and it is acknowledged, indeed, that he willingly availed himself of the designs of others, either painted or engraved; but how few are there of