Finally, Coreggio likewise cultivated the fine arts before Antonio Allegri came into the world. For not many years ago a fresco of tolerable execution was discovered in that cathedral, ascribed by tradition, to Lorenzo Allegri, who, in a letter of donation, subscribed by him in 1527, is called _Magister Laurentius Filius Magistri Antonii de Allegris Pictor_. This artist is believed to have been the first instructor of Antonio Allegri, his brother's son; and it is, at least, certain that he had a school in which he taught the rules of art to another of his nephews, as I have heard from the learned Dottore Antonioli, who is busied in preparing a life of his very distinguished fellow citizen. At present there are few paintings in Coreggio displaying the taste of the artists of the fourteenth century, from which we might judge of that school. A Madonna, painted in 1511, when Antonio Allegri had attained his seventeenth year, is, however, to be met with in the Catalogue of the Este Gallery, whither it had been transferred. It is attributed to Antonio Allegri, but there is no sufficient evidence of the fact; and we should have about equal authority for giving it to Lorenzo. The style is but middling, and in point of forms, the ancient character is not wholly laid aside in the folds of the drapery: it may, however, be pronounced of a softer tone than that of the chief part of its contemporaries, and nearer to the modern manner. Before proceeding further, it will be right to inform the reader of a certain advantage that this tract of country, and Modena in particular, enjoyed from the commencement of the fifteenth century, consisting in the abundance of its excellent modellers in clay. Of this art, the parent of sculpture, and the nurse of painting, that city has since produced the most exquisite specimens in the world; and this, if I mistake not, is the most characteristic, rare, and admirable advantage of the school. Guido Mazzoni, otherwise Paganini, a name highly celebrated by Vasari, had the reputation of an excellent artist from the time he produced his Holy Family, at St. Margherita, in 1484, presenting statues of a vivacity and expression truly surprising. This great artificer was employed by Charles VIII., both in Naples and France, where he remained upwards of twenty years, retiring at length into his native country, full of honours, to terminate his days. No slight commendation has likewise been bestowed by the historian Lancillotto, upon Gio. Abati, father of Niccolo, and his contemporary, whose sacred images in chalk were held in the highest esteem; more particularly the crucifixions, executed with a knowledge of anatomy, most exact in every separate vein and nerve. He was nevertheless far surpassed by Antonio Begarelli, probably his pupil, who by his works in clay, with figures even larger than life, has succeeded in bearing away the palm from all his competitors. In the church and monastery of the Padri Benedettini,