communicated to the artist by Giorgio Anselmi, a celebrated scholar, whose own daughter belonged to the same establishment. But we must not allow ourselves to proceed further in our notice of a dissertation, assuredly one of the most profound and ingenious that we ever recollect to have read. The pictures are about to be engraved by the hand of Signor Rosaspina, after those of S. Giovanni, in which the learned Abate Mazza is at present so laudably engaged, no less to the advantage of the arts than of his own reputation. The vast undertaking, so finely executed by Coreggio, at S. Paolo, obtained for him so high a name, that the Padri Cassinensi invited him to engage in the equally extensive one of San Giovanni, entered upon in 1520,[20] and completed in 1524, as we find mentioned in the books. There, also, in addition to several minor works, he decorated the tribune, which being afterwards removed, in order to extend the choir, and rebuilt, was repainted, as we shall notice elsewhere, by Aretusi. On the demolition of the tribune, the picture of the Incoronation of the Virgin, the leading subject in the fresco, was saved, and is now exhibited in the royal library; and various heads of angels, which in like manner escaped the same destruction, are preserved in the Palazzo Rondanini at Rome. There are, now, in the church of San Giovanni, two pictures in oil, placed opposite to one another, in one of the chapels; one, a Christ taken from the Cross; the other, the Martyrdom of St. Placidus, both painted on canvass made for the purpose, like some of the pictures of Mantegna. On the exterior of one of the other chapels is a figure of St. John the Evangelist, executed in the noblest manner. And, finally, there is the grand cupola, where the artist represented the Ascension of Jesus to his Father; the apostles looking on in mingled veneration and surprise; a production in which, whether we regard the proportion, and the shortening of the figures, the naked parts, or the draperies, or gaze upon it as a whole, we must alike confess that it was an unexampled specimen of the art, in its kind; the terrific Judgment of Michelangiolo,[21] not having then assumed its place in the Vatican. Footnote 20: Tiraboschi was unable to discover any certain work from the hand of Antonio, between the years 17 and 20, of the same age. This gave rise to the assertion of Vasari's annotator, that he remained in Rome in quality of Raffaello's pupil during this interval, and on his master's death, in 1520, returned to Lombardy. Such a supposition becomes utterly void, after the above epochs adduced by us.