inquired why he so often repaired to this picture, replied, that he waited the moment when the body of Christ should reach the ground. Mention is also made of one Mosca, whether a native or foreigner I know not, as a doubtful disciple of this school. Christ on his way to Mount Calvary, now in the Academy in Mantua, is certainly a Raffaellesque picture, but we may rather consider Mosca an imitator and copyist, than a pupil of Raffaello. In the edition of Palomino, published in London, 1742, I find some others noticed as scholars of Raffaello, who being born a little before or after 1520, could not possibly belong to him; as Gaspare Bacerra, the assistant of Vasari; Alfonso Sanchez, of Portugal; Giovanni di Valencia; Fernando Jannes. It is not unusual to find similar instances in the history of painting, and the reports have for the most part originated in the last age. Whenever the artists of a country began to collect notices of the masters who had preceded them, their style had become the prevailing taste; and as if human genius could attain no improvement beyond that which it receives subserviently from another, every imitator was supposed to be a scholar of the artist imitated, and every school, arrogating to itself the names of the first masters, endeavoured to load itself with fresh honours. [Footnote 26: Hist. Rom. vol. i. ad calcem.] [Footnote 27: Besides his life by Vasari, another was published by Sig. Abate Comolli, which I consider posterior to that of Vasari. Memoirs of him were also collected by Piacenza, Bottari, and other authors whom I shall notice; and I shall also avail myself of the information derived from the inspection of his pictures, and their character, and the various dates of his works.]