A fresh reinforcement to support the style of the Caracci in Rome, was received from the school of Bologna. I speak only of those who established themselves there. Domenico Muratori had been the scholar of Pasinelli, and painted the great picture in the church of the Apostles, which is probably the largest altarpiece in Rome, and represents the martyrdom of S. Philip and S. James. The grandeur of this composition, its judicious disposition and felicity of chiaroscuro, though its colouring was not entirely perfect, gave him considerable celebrity. He was also employed in many smaller works, in which he always evinced an equally correct design, and perhaps better colouring. He was chosen to paint one of the prophets in the Basilica Lateranense, and was employed also in other cities. In the cathedral of Pisa, he painted a large picture of S. Ranieri, in the act of exorcising a demon, which is esteemed one of his most finished works. Francesco Mancini di S. Angiolo in Vado, and Bonaventura Lamberti di Carpi, had better fortune in Bologna, in having for their master Carlo Cignani. Mancini, when he came to Rome, did not adhere exclusively to his master's manner, as he was rather more attached to the facility and freedom of Franceschini, his fellow scholar, whom he somewhat resembles in style. He seems, however, to have had less despatch, and certainly painted less. He was chaste in his invention, and followed the example of Lazzarini; he designed well, coloured in a charming manner, and was numbered among the first artists of his age in Rome. He painted the Miracle of S. Peter at the beautiful gate of the temple, a picture which is preserved in the palace of Monte Cavallo, and is copied in mosaic in S. Peter's. This picture, which is a spirited composition, and well arranged in the perspective, is his principal work, and does not suffer from a comparison with those mentioned in the Guida di Roma, and others scattered through the dominions of the church. Such are pictures with various saints in the church of the Conventuals of Urbino, and in that of the Camaldolesi of Fabriano; the appearing of Christ to S. Peter in that of the Filippini, in Città di Castello, and the various works executed in oil and in fresco at Forli and at Macerata. He painted many pictures for foreign collections, and was commended for his large compositions. From his studio issued the Canonico Lazzarini before named, whom, as he lived amongst other followers of Cignani, I shall reserve with them to the close of the Bolognese school. Niccola Lapiccola, of Crotone, in Calabria Ultra, remained in Rome; and a cupola of a chapel in the Vatican painted by him, was copied in mosaic. There are some pictures by him in other churches; the best are, perhaps, in the state, particularly in Velletri. I have heard that he was a disciple of Mancini, though in his colouring he somewhat adhered to his native school.