formation of the folds of his draperies, for the most part ill disposed and vague, he the more willingly exercised himself in these schools. We meet with a great number in different collections, and after beholding one, we are at no loss to recognize the remainder, both from the heads which are often repetitions of each other, and from the rosy tinge of his fleshes, and of the general tone of his pictures. He was extravagantly fond indeed of this last colour; which he often misapplied in regard to the hands and the extremities of the fingers. For the rest the composition of his colours was sweet; his shades delicate, in the Correggio manner, and his profiles often borrowed from the antique, while his whole handling was free and elevated. Marco Liberi, his son, was not in any way comparable to his father, either in point of dignity or beauty, when left to his own invention. His forms are either caricatures, in a manner, of those of his father, or are very inferior where they are original. This striking difference may be observed in numerous collections, where their paintings of Venus are placed together, as we see in that of Prince Ercolani at Bologna. Still he was an excellent copyist of his father's works, a talent possessed by many others of the same school, whose imitations are easily mistaken for originals, even by professors themselves. An excellent foreign artist ought not to be omitted in this place, one who flourished during a long period, and taught and died in Padua. His name is Luca Ferrari, from Reggio, fully deserving of being enrolled in the _Abbeccedario Pittorico_. Although Guido's pupil, his style became rather lofty than delicate; so that judging by the pictures that he produced for Santa Maria della Ghiaja in Reggio, Scannelli pronounced him a disciple of Tiarini. In some of the airs of his heads, however, and in certain graceful motions, he shews himself not unworthy of the character of the former master. In Padua there is a _Pietà_ of his at San Antonio, of a very masterly kind, a picture that displays the rarest beauty of colouring. In his pieces abounding with figures, like that of the Plague of 1630, painted for the Domenicani, he does not appear to so much advantage; nor had Guido, indeed, offered him any great examples in this line, being accustomed rather to weigh than to number his figures. Minorello and Cirello, two of his pupils and followers, continued to support in Padua some relish of the Bolognese School. Their names might be added to the dictionary above mentioned, as Rosetti seemed to wish, and the former, who might sometimes be confounded with Luca, ought to hold a higher place in it than the latter. Francesco Zanella deserves likewise to be recorded there, as an artist of spirit, though neither very diligent nor very learned in his art. He is esteemed almost the Giordano of this city, from the great number of his works conducted in a short time, and may be computed almost as the last of the school; for