spirited, and choice, in its whole expression, combined with so much grace and harmony of tints, that it equally surprises us when viewed together, and satisfies us when examined part by part. The action only is sometimes too extravagant, and some of the figures are hardly sufficiently studied. In fact, this artist preferred expedition to high finish; and held a dispute, reported by Baldinucci, with Tiarini, who practised and maintained the contrary, a plan by which, in all works of importance, he was preferred to him in Parma. In Santa Maria di Campagna, at Piacenza, however, where they both painted scriptural histories in opposition, Gavassetti maintains his ground against Tiarini, and other competitors, very numerous and distinguished for that period. When the pupils of the Caracci succeeded their masters in Bologna, the young artists of the neighbouring state of Modena continued to receive instructions from them, being highly esteemed in the court of Este. At that period flourished Francesco I., and Alfonso IV., both of whom, according to the history of Malvasia, were greatly attached to the followers of the Caracci; some of these they invited into their service, others they employed in their palaces, and at their public festivals; and from all they were anxious to obtain designs and pictures which they might exhibit in their churches, or in their grand collection of paintings, rendered by their means one of the richest in Europe. Hence the artists who next follow, with the exception of a very few, among whom is Romani of Reggio, will be included in one school. It seems certain that Romani studied in Venice, and there became attached to Paolo, whose style he adopted in the Mysteries of the Rosario; and even more so to Tintoretto, whose rules he usually practised, and very successfully.