correct as graceful, deserved and would have attained more celebrity, had not self-contempt and diffidence intercepted the fortune which his talent might have commanded. The two Sicilians, complete machinists, shared with the imitation the success of their master. Next to Conca, the most successful pupil of Solimene was Francesco de Mura, surnamed Franceschiello, born at Naples and greatly employed in its churches and private galleries: the works, however, to which he owes most of his celebrity, were the frescoes painted in various apartments of the royal palace at Torino, in competition with Claudio Beaumont, who was then at the height of his vigour. Mura ornamented the ceiling of some rooms, chiefly filled with Flemish pictures, with subjects widely different, Olympic games, and actions of Achilles. Corrado Giaquinto of Molfetta, may conclude what yet deserves to be recorded of this school. He too left Naples, came to Rome, and attached himself to Conca, whose maxims he made nearly all his own; as resolute, as easy, but less correct. Rome, Macerata, and other parts of the Roman state, are acquainted with his works. He painted in Piemont, was employed by Charles III. in Spain, appointed Director of the Academy of S. Fernando, pleased and continued to please the greater part of the public, even after the arrival of A.R. Mengs. FOOTNOTES: [103] Dominici. [104] "Le opere superstiti ne deon decidere; e secondo queste Marco da Siena, ch'è il padre della Storia pittorica Napolitana, giudicò _che in grandezza di fare_ Cimabue prevalepe."--Lanzi, ii. I. 580. [105] Tommaso had a brother Pietro de' Stefani, who professed painting, but practised sculpture: of his works the monuments of Pope Innocenzio IV., who died at Naples 1254, of Charles the First and Second, are the most eminent. The two sitting statues of these two kings are still seen over the small gates of the Episcopal palace. [106] Signorelli Vicende della Coltura delle due Sicilie,--t. iii. 116. [107] The Vatican alone is sufficient to prove that gold-grounds were still recurred to in the best years of the sixteenth century. [108] In the life of Giuliano da Majano. They are the first painters of the Neapolitan schools mentioned by him, though with an ambiguity which might induce us to believe that he meant to give them for Tuscany. [109] In the forty-first sonnet, addressed to King Federigo: "Vedi invitto Signor come risplende," &c. [110] Some call him Giacomo, some Andria, most, and with greater probability, Bernardo.