his picture of a Nunziata at Guastalla, in that of San Lodovico in the church del Santo at Padua, and in a Nativity of the Virgin at San Giovanni, in the same city. This last specimen, indeed, is almost unequalled in its attractions, and seems to authorize the praises bestowed upon Rotari by a poet, "that he resembled his fellow citizen Catullus in being nursed by the Graces," a species of eulogy applicable also to Balestra and to other Veronese artists. Santo Prunati was contemporary with Marchesini and Balestra, and after receiving the instructions of Voltolino and Falcieri in Verona, he attended those of Loth in Venice. Better to acquire superior correctness and dignity of manner, he next proceeded to Bologna. In that school he found the taste in colouring that he wanted, at once soft and natural. In the design, and in the expression of his heads, he displays more of the naturalist, if I mistake not, than any of those who preceded him. He was engaged also for larger compositions, in which he distinguished himself, both in his own district and elsewhere, and left behind him a son named Michelangiolo, who pursued, as far as lay in his power, the footsteps of his father. In the cathedral of Verona, however, is one of his pictures, placed near the San Francesco di Sales of his father, which serves to mark the wide difference that exists between them. In the same school, along with Michelangiolo, studied Gio. Bettino Cignaroli, an artist instructed also by Balestra. Until about the year 1770 he ranked among the first of his time, receiving very flattering invitations from foreign courts, to which he invariably preferred the convenience of his own house and country. The prices he was in the habit of attaching to his works, were, nevertheless, those of a court painter; and many were executed for the principal royal galleries, as well as for the cities of the state, and those of other parts of Italy; but which, we must admit, are by no means of equal merit. I omit his paintings in fresco, on account of his having abandoned that branch of the art, owing to his state of health, while yet young, though not until he had afforded specimens of his powers in the noble house of Labia at Venice, during a four years' residence there. It is his pictures in oil, of which we here speak, and to which he owed his great reputation. The one at Pontremoli, however, representing, as it is said, a San Francesco in the act of receiving the marks of Christ, and extremely well executed, I have not seen. His San Zorzi at Pisa stands conspicuous among a number of excellent pencils, all employed in the ornament of that single cathedral. Perhaps his finest is his Journey into Egypt, seen at San Antonio Abate in Parma. In this he has represented the Virgin with the Holy Child, in the act of passing a narrow bridge, while S. Joseph appears engaged in assisting them to cross it in safety. In the countenance and whole action of the saint, his anxiety for them is