It will not here be thought irrelevant to record the new method of engraving in the Dutch manner, in imitation of coloured designs, though not executed by process of wood, but of copper. It has been introduced into Tuscany, through the efforts of the distinguished Cosimo Rossi, a gentleman of Pistoia, and vice-president of the academy. After various experiments, and making the first trials upon some representations of tombs, in the solid Egyptian style of his own invention, it soon became also imitated in other modes of engraving, and more especially in the _Viaggio Pittorico_ of Traballesi. It were desirable that the before-mentioned gentleman should continue to apply the same in works of architecture and perspective; in which he succeeds admirably also with his pencil, very happily emulating the style of Canaletto. The method ought to be explained very minutely; but it is both too complicate and too extensive to be adapted to the degree of brevity we have bound ourselves to observe upon similar subjects. MODENESE SCHOOL. EPOCH III. _The Modenese Artists of the Seventeenth Century chiefly follow the example of the Bolognese._ The taste introduced by Munari into Modena and the state, together with the example of Coreggio and Lelio, did not become wholly extinct in the seventeenth century. It was in some measure continued by several of their pupils and imitators, but in proportion as those of the Caracci grew into greater credit, gradually extending their influence over the other schools of Italy, it began to decline apace. It is well known that some of the Modenese frequented their academy, and Bartolommeo Schedone is included by Malvasia among the scholars of the Caracci. If such be the fact, we must conclude, either that his first productions are not known, or that he merely saluted that school, as it were, from the threshold; inasmuch as the larger works which are pointed out as his, betray few traces of the style of the Caracci. It seems more probable that he employed himself in following the successors of Raffaello in his native place, and in particular Coreggio, of whom there remained so many original pieces. His pieces in fresco, executed in competition with Ercole Abati, about 1604, still exist in the public palace; and among these is the beautiful history of Coriolanus, and the Seven Sisters, who are meant to represent Harmony: whoever observes these will find they possess a mixture of the two characters before alluded to. There is, moreover, in the cathedral, a half figure of S. Geminiano, with an infant boy restored by him to life, supporting himself by the saint's staff, and apparently returning his thanks. It may be enumerated among the best of his works, and bears a striking resemblance to those of Coreggio. The same resemblance was affirmed from that period in other of his pictures transferred elsewhere;