To Guercino, also, we must refer another imitator of his style, in Lodovico Lana. He was instructed, however, by Scarsellini, and from that circumstance, has been enumerated by some among the artists of Ferrara. But Lana, most likely, was born in the state of Modena, in whose city he resided and held his school. His reputation there is great, as well on account of many very beautiful pieces, as more particularly for that in the Chiesa del Voto, in which he represented Modena freed from the scourge of the plague. It is generally agreed that he never produced a finer specimen of his art, and there are few, at this time, in those churches, that can be said to rival it in point of composition, in force of colouring, harmony, and a certain novelty and abundance of images, that produce surprise in the spectator. Lana is one of the freest among the imitators of Guercino; his touch is the same, though less strong, and in taste they exactly coincide. In his motions he has something of Tintoretto, or more properly of Scarsellini; but in his colours, and the expressions of his countenances, he preserves an originality of character. Pesari and he were rivals, as were the masters whom they respectively followed, on account of their contrast of style. Pesari, however, seemed to yield, as he transferred his talents to Venice, while his competitor became the director of an academy in Modena, which supported by his credit, then became celebrated throughout Italy. The name of Lana continues to maintain its ground in Bologna, and other adjacent places, while it is not unknown in lower Italy. The chief part of his specimens to be met with in collections, consist of heads of aged men, full of dignity, and touched with a certain boldness of hand, which declares the master.