1797-] 
Velletri, is alfo an inexhauftible mine 
for antiquarians ; its infpector ZORGA 
(whofe relearches into the bieroglyphics, 
the money, and the autiquities, of the 
Egyptians, next to the labours of Captus, 
have thrown the greateft light on that 
branch of archeology) is at prefent en- 
gaged in an important work, which will 
fet in a new light certain pofitions, 
which the Germans have advanced, viz.. 
‘That the Egyptians were not acquainted 
with the alphabet, tillthe time of Pfam- 
meticus, and that commerce alone gave 
birth to femeiotic figns. 
alfo engaged his fellow-countryman Wad, 
to publith his Defcriptio fofilium Leyptio- 
yum que reper ae in Mufceo Borgiano Vel~ 
Letrenfi (17.94): work by which he 
has rendered as ans rtant fervices to the 
ftudy of antiquities in Italy, as Dono- 
MIEU,.in France, and VELTHEIM, in 
Germany. 
Wap having expreffed a defire to 
be informed, by fome fkulful ory ctologift, 
of Upper Italy, whether in the countries 
of ancient Liguria any veftiges remain, 
which may oble us to afcertain what 
was properly the precious ftone called 
by the ancients Lyncuri ium, and which is 
fo often noticed in their writings, Car- 
dinal BorGIA applied to NaPIone, di- 
rector of the mines at Turin, major of 
artillery, and a difciple of the celebrated 
Werner, tor all the information relative 
to this fubjeét: this requeft has led 
to the publication of an interefting pam- 
phlet, entitled, Memoria ful Lincurio, del 
Cao. Garl. Ant. Napione. (At Rome, by 
Eulgoni, 14.pages, in 4to. 1795.) Here- 
im if is demonftrated, that thofe writers 
are in an error, who conceive the lyncuri- 
um to be a fpecies of hyacinth (as, among 
others, dyes our learned Dr. W ATSON,) 
and thee it is nothing but a kind of fuc- 
cinum, or yellow amber, very commen in 
former ages onthe noe OL: gurla. 
A confiderable work has appeared at 
Rome (2 vols. in 4to.) on a fubject 
which the refearches of Gefner, of Philip 
de Ja lore, and: others, hadi, not 
exhaufted, namely, the infcriptions and 
monuments relative to the. college of 
Arval Friars (Collegium #rairum Arva- 
tiunr);, the title is worded thus: Gf afi 
€ Monument: di Fratelli Arvali, fcolpui gia 
| an tavole di marmo ed ora racolti, deciferati-e 
commentai da Gactano M lavini, Archivifia 
del Vatican. 
Louis Borst, a Milaneze Canon, has 
publithed the firft volume of a work, en- 
titled, Spregazione di una raccolta di 
Genie. iucife, 
. 
me 
_the following 
ZOEGA oe 
daglt Autichl, com varie 
Italian Literature.’ 2.69 
Obfervafiont. (At Milan, 4838 pages in 8voz 
1795, with feven cuts). His explanations 
are learned and ingenious. 
Laftly, there has appeared at Malta, 
from the prefs of the grand mafter, a 
Differtation on certain Vates, Monies, 
&c. which were difcovered froma fub- 
terraneous fearch made in 1768, under 
title: «De gl Avanx L at 
alcunt Antichi imi edifict Jeopetti in Mies : 
Differtatione fiorico critica del March. 
Barbaro, archit. con copiofe Annotazxione dal 
medefimo Autove (in 4to. 1794, with 
cuts). 
History OF PAINTING. 
An important work on the art of 
painting, and the hiftory of the art 
among the painters of Tufcany, has 
lately made its appearance, beginning 
with the «hiftoriography of the - firft 
founders of the fchool of Florence, and 
continuing it down to our own times. 
The following is the title: L’ Etruria 
pitivice, overo fioria della Fittura Tolana, 
dedoita dal fuot monumenit, che fa fib.feino 
in Eftampa dal feculo X fino al prejcnie. 
(At Florence, by Nic. Pagnie G. Bardi, 
vols15/ 179145) ¥ol.:z, 1795; 1, folie, lange 
fize,, ‘with “v122)-cuts.) Pine | librarian 
Liasrri executed ‘the defcriptive and 
literary part; the engraving has been 
entrufted to the moft ikiiful artis that 
were to be procured; the) text 1s: in 
Tialian and French; each volume con- 
tains fixty articles, treating of as many 
painters, more or lefs celebrated, witha 
portrait of each; an indication, of the 
time of his birth and deceafe, and an 
engraving repre enting one of his pic-- 
tures—thefe laft have not all the fame 
merit of the graver; the purity of the 
defign, however, is confpicuous in all. 
The colleétion begins with Gudo da 
Sena, Giunta  Pifano, Margheritone 
d Arezzo, Andrea Tiff, this laf founded 
a particular fchool of painters, and of 
Mojaifiror, ot painters in Mofaic.--- 
Then follow the hiftories of the fchools 
of Siena and Pifa, anterior to thofe of 
Florence.---Cimabué began to render 
this laft illuftrious, and Hy excelled by 
his own pupil, Grotto. _Majaccto con- 
aucted the art from a fate of adole- 
{cence, to that of maturity.---Domenicino 
Ghirlandaia founded the fchool from 
which Michael Angelo pees deee The- 
art began to deélitie towards the clofe of 
the fixteenth century, with the pupils of | 
Vaiari.---Pietro, de Cortona introduced 
the forced manner of the Cortone/ch., and 
Luca Giordano propagated the contagion 
among the Florentines, 
Mim 2 artifts 
Some moder 
