FRANCESCO, an eminent Italian architect, was born in 1725. He gives the following account of himself in his autobiography:—"My native place is Oria, a small town in Terra d'Otranto, in the kingdom of Naples. I am the only son of one of the noblest and richest families in that small community. At nine years I was taken to Padua, where one of my uncles on my father's side had established himself in the practice of medicine. There I studied rhetoric with very indifferent success until at the end of seven years I ran away from Padua, in consequence of having been scolded by my uncle, and wandered until I found myself at Bobbio, near Placentia. Thence I sent news of myself to my parents, and went to Rome, where my father met me, took me to Naples, and left me there to study. I learned a little logic and metaphysics under the celebrated Abbé Genovesi, and studied physical science and geometry under Father Orlando, a Celestian monk. From Naples I also ran away, having a strong desire to see the world, more especially France; but having arrived at Leghorn, I was forced to go back from want of money. I returned to Oria; and after having spent several years in idleness, I shut myself up in a country-house, and studied science. Finally, when I was twenty-five years old, I married a noble lady from Gallipoli, of amiable disposition; and having fixed my abode in her native town, I paid some attention to books, but more to amusements. Having obtained from my father a larger provision, I went with my wife to visit Rome, and after a year and a half returned to Gallipoli; whence, in 1761, in my thirty-sixth year, I went back again to Rome. There I continued to study, and took some pleasure in architecture, although I knew nothing of drawing. Enamoured with this art, which I still regard as the noblest and most useful, I wrote the Vite degli Architetti più celebri, which was well received by the public, although my criticism was too severe, and my style but little cultivated."

This extract from Milizia's autobiography does not extend farther than the year 1775. About this time he was appointed superintendent-architect of the royal Farnesian palaces, which the king of Naples possesses in the Papal States, but resigned the office in 1786. He lived in the closest intimacy with all the artistic and literary celebrities at Rome, especially with Raphael Mengs, whose views he adopted with such enthusiasm, and diffused with so much pertinacity, as frequently to be unjust to other artists who did not share his opinions. His critical partiality and bluntness of manner also gained him many personal enemies. He died at Rome, March 1798, of pulmonary disease.

The first work of importance published by Milizia was the Vite de più celebri Architetti d'ogni Nazione e d'ogni tempo Antichi e Moderni, preceduti da un saggio sopra l'Architettura (Rome, 1768), which, in the last edition, he more modestly entitled, Memorie degli Architetti Antichi e Moderni; Parma, 1781. He denounces faults in severe and strong language, while he praises good qualities with a few sober words. This work was translated into English by Edward Cressy, London, 1826. His next work (Del Teatro, Rome, 1772) is a curious sign of the times. The frivolity, and even immorality of the drama at Rome, suggested to Milizia the thought of denouncing the abuses of the stage. He accordingly wrote a book, in which he insisted on the reform of the theatre. A storm was raised against him by the Roman public, headed by the priesthood, who compelled the master of the sacred palace to withdraw all the copies of the obnoxious book. More just criticism, however, subsequently placed the work in its proper light. The best of Milizia's works is the Principi di Architettura Civile, published in 1785. He treats, first, of "Beauty;" secondly, of "Fitness;" thirdly, of "Solidity." This work roused many antagonists. His language, his principles, and his judgments were all violently attacked by the older artists, while the young followed him enthusiastically. His next work (Arte di Vedere, Venezia, 1781) raised against him even a fiercer storm, by the free manner in which he examines the greatest works of the greatest men. In his Roma delle belle Arti del Disegno, Bassano, 1781, the principal monuments and buildings of Rome were so severely handled, that the book was proscribed and the author persecuted. This caused him to leave his work unfinished, and to turn his attention to totally different labours. To the last part of his life belong the Dizionario delle Arti del Disegno, Bassano, 1787, which is worth very little; the Introduzione alla Storia ed alla Geografia fisica della Spagna, Parma, 1783; the Storia dell'Astronomia; the Elementi delle Matematiche Pure; and, finally, his work on the Economia Politica, which was published after his death, Rome, 1798.