Cades recommends himself to our notice, principally by a facility of imitation, dangerous to the art when it is not governed by correct principles. No simulator of the character of another handwriting, could ever rival him in the dexterity with which at a moment's call he could imitate the physiognomy, the naked figure, the drapery, and the entire character of every celebrated designer. The most experienced persons would sometimes request from him a design after Michelangiolo or Raffaello, or some other great master, which he instantly complied with, and when confronted with an indisputable specimen of the master, and these persons were requested to point out the original, as Buonaruoti for example, they often hesitated, and frequently fixed on the design of Cades. He was notwithstanding, extremely honourable. He made on one occasion, a large design in the style of Sanzio, to deceive the director of a foreign cabinet, who boasted an infallible knowledge of the touch of Raffaello; and employing a person to shew it to him, with some fictitious history attached to it, the director purchased it at 500 zecchins. Cades wishing to return the money, the other refused to receive it, insisting on retaining the drawing, and disregarding all the protestations of the artist, and his request to be remunerated by a smaller sum; and this drawing is at this moment probably considered as an original, in one of the finest cabinets of Europe. He was confident in his talents from his early years, and on a public occasion, he made a drawing after the bent of his own genius, regardless of the directions of Corvi, who wished it to be done in another style, and he was in consequence dismissed from that school. This drawing obtained the first premium, and now exists in the academy of S. Luke, where it is much admired. In the art of colouring, too, he owed little to the instruction of masters, and much to his native talent of imitation. I have seen exhibited in the church of the Holy Apostles, a picture by him, which in the upper part represents the Madonna with the Holy Infant, and in the inferior part five saints, an allegorical picture, as I have heard suggested, relating to the election of Clement XIV. That Pope was elected by the suffrages of the Cardinal Carlo Rezzonico and his friends, and contrary to the expectation of P. Innocenzio Buontempi, who ordered the picture, and who after this election was promoted by the Pope to the eminent station of Maestro nel S. Ordine Serafico, and afterwards to that of the Pope's confessor. Hence this piece represents in the centre S. Clement reading the sacred volume; on his right is S. Carlo, who appears to admire his learning, and by his attitude seems to say, "This is a man justly entitled to the pontificate;" and in the last place S. Innocent the Pope, which representing the person of the P. Maestro, must here for the sake of propriety yield the place to the Cardinal S. Carlo. In the background are S. Francis and S.