Of these the two most striking are the “Miracle of the Pool of Bethesda” and the “Healing of the Paralytic.” In the former, a sick man stands in the middle of the pool lifting his hands in prayer, and the cripple who sits up in bed by the side of the healing waters looks towards Christ with an air of helpless entreaty. In the latter, the roof of the house in which the Saviour is teaching his disciples is uncovered, and the sick of the palsy is being let down by cords. To the right he is seen, walking away healed, bearing a mattress on his shoulders. In both of these scenes—indeed all through the series—the head of Christ is strikingly noble and dignified, while not even the artist’s ignorance of the simplest elements of drawing and colouring can detract from the originality and life of the representations. Each head is individual in expression and character, and the whole composition is marked by the pleasing naïveté of very early art, and an evident anxiety to shake off the fetters of conventional types. Simone is said by Vasari to have painted the later scenes of the Passion below Jacopo’s frescoes, and may have been the artist of the “Last Supper,” which is still visible, but most of his work has perished, and whatever else has escaped destruction belongs to the middle of the fifteenth century, and owes its existence to Galasso Galassi, or other Ferrarese painters. The most remarkable point in the frescoes of Mezzaratta, and the real cause of their value, is that, in spite of all the injury they have sustained, they are decidedly superior in merit to the contemporary panel-pictures in the Gallery and churches of Bologna, and thus enable us to form a better judgment of early Bolognese art. Here we see it inferior, it is true, in every respect to the schools then flourishing at Florence and Siena, but still possessing a force and individual character which inspires interest and promises well for the future. During the greater part of the fourteenth century no native painter of any genius arose, and the pictures of this date in the Bologna Gallery are principally by unknown followers of Lippo Dalmasii. The only names preserved there are those of Pietro Lianori and Michele di Matteo Lambertini, who painted between 1450 and 1470, and in whose work we trace some likeness to the contemporary Siena school, as well as a marked difference from Avanzi’s manner. The same may be said of the picture of “St. Ursula and her Companions,” a weak but not unpleasing work, painted by Santa Caterina Vigri, a Bolognese nun, chiefly remarkable as the only woman-artist who over attained the honours of canonization.