of the Rosario, that he painted at S. Sabina, is one of the smallest pictures in Rome. It is, however, well composed, and conducted with his usual spirit, and is regarded as a gem. In other places the largest picture by him which is to be seen, is an altarpiece in the cathedral of Montefiascone. A follower of the Caracci also, though of an uncertain school, was Giuseppino da Macerata, whom a dubious tradition has assigned to Agostino. His works are to be seen in the two collegiate churches of Fabriano; an Annunciation, in oils, in S. Niccolò, and at S. Venanzio two chapels, painted in fresco, in one of which, where he represented the miracles of the apostles, he surpassed himself in the beauty of the heads and in the general composition; in other respects he is somewhat hasty and indecisive. Two of his works remain in his native place; at the Carmelites the Madonna in Glory, with S. Nicola and S. Girolamo on the foreground; and at the Capucins, S. Peter receiving the Keys. Both these pictures are in the Caracci style, but the second is most so; corresponding in a singular manner with one of the same subject which the Filippini of Fano have in their church, and which is an authentic and historical work of Guido Reni. The second, therefore, is probably a copy. There is written on it _Joseph Ma. faciebat_ 1630, but the figures of the year are not very legible. Marcello Gobbi, and Girolamo Boniforti,[80] a tolerable good imitator of Titian, lived at this time in Macerata. Perugia presents us with two scholars of the Caracci, Giulio Cesare Angeli and Anton. Maria Fabrizzi, the one the pupil of Annibale in Rome, the other of Lodovico in Bologna. They were attracted by the fame of their masters, and secretly leaving their native place for about the space of twelve years, they obtained admission for some time into their school, if we may rely on Pascoli. Fabrizzi, who is also said to have worked under Annibale, does not shew great correctness; and the cause may be ascribed to his too ardent temperament, and the want of more mature instruction; for Annibale dying after three years, from a scholar he became a master, and was celebrated for his vigorous colouring, his composition, and the freedom of his pencil. Angeli was more remarkable for expression and colour than design, and excelled rather in the draped than in the naked figure. There is a vast work by him in fresco in the oratory of the church of S. Agostino in Perugia, and in part of it a limbo of saints, certainly not designed by the light of Lodovico's lamp, if indeed it ought not to be considered that this lunette is by another hand. This branch of the Bolognese School, which was constantly degenerating from the excellence of its origin, being at such a distance from Bologna as not to be able to be revivified by the pictures of the Caracci, still survived for a long time. Angeli instructed Cesare Franchi, who excelled in small pictures, which were