were occupied in designing from the bassi-relievi of
the Arch of Titus, when Roos passing by, was particularly struck with
some picturesque object which caught his attention, and he requested one
of the students to accommodate him with a crayon and paper. What was
our surprise, when in half an hour he produced an admirable drawing,
finished with accuracy and spirit."

It is also related that the Imperial Ambassador, Count Martinez, laid a
wager with a Swedish general that Roos would paint a picture of
three-quarters' size, while they were playing a game at cards; and in
less than half an hour the picture was well finished, though it
consisted of a landscape, a shepherd, and several sheep and goats.

ROSA DA TIVOLI'S HABITS.

Rosa da Tivoli unfortunately fell into extravagant and dissipated
habits, which frequently caused him great inconvenience. From his
facility, he multiplied his pictures to such an extent as greatly to
depreciate their value. It is related that he would sit down, when
pressed for money, dispatch a large picture in a few hours, and send it
directly to be sold at any price. His servant, possessing more
discretion than his master, usually paid him the highest price offered
by the dealers, and kept the pictures himself, till he could dispose of
them to more advantage.

LUCA CAMBIASO'S FACILITY IN PAINTING.

The most remarkable quality of this distinguished Genoese painter was
his rapidity of operation. He began to paint when ten years old, under
the eye of his father, Giovanni Cambiaso, who evinced good taste in
setting him to copy some works by the correct and noble Mantegna. His
progress was so rapid that at the age of seventeen he was entrusted to
decorate some facades and chambers of the Doria palace at Genoa, where
he displayed his rash facility of hand by painting the story of Niobe on
a space of wall fifty palms long and of proportionate height, without
cartoons or any drawing larger than his first hasty sketch on a single
sheet of paper! While he was engaged on this work, there came one
morning some Florentine artists to look at it. Seeing a lad enter soon
after, and commence painting with prodigious fury, they called out to
him to desist; but his mode of handling the brushes and colors, which
they had imagined it was his business merely to clean or pound, soon
convinced them that this daring youngster was no other than Luca
himself; whereupon they crossed themselves, and dec