It is not an easy task to point out those various excellencies for your imitation which lie distributed amongst the various schools. An endeavour to do this may, perhaps, be the subject of some future discourse. I will, therefore, at present, only recommend a model for style in Painting, which is a branch of the art more immediately necessary to the young Student. Style in painting is the same as in writing, a power over materials, whether words or colours, by which conceptions or sentiments are conveyed. And in this Ludovico Caracci (I mean his best works) appears to me to approach the nearest to perfection. His unaffected breadth of light and shadow, the simplicity of colouring, which, holding its proper rank, does not draw aside the least part of the attention from the subject, and the solemn effect of that twilight which seems diffused over his pictures, appear to me to correspond with grave and dignified subjects, better than the more artificial brilliancy of sunshine which enlightens the pictures of Titian; though Tintoret thought that Titian's colouring was the model of perfection, and would correspond even with the sublime of Michel Angelo; and that if Angelo had coloured like Titian, or Titian designed like Angelo, the world would once have had a perfect painter. It is our misfortune, however, that those works of Caracci which I would recommend to the Student are not often found out of Bologna. The _St. Francis in the Midst of his Friars_, _The Transfiguration_, _The Birth of St. John the Baptist_, _The Calling of St. Matthew_, the _St. Jerome_, _The Fresco Paintings_ in the Zampieri palace, are all worthy the attention of the Student. And I think those who travel would do well to allot a much greater portion of their time to that city than it has been hitherto the custom to bestow.