Footnote 37: See p. 75. This MS. is said to have been drawn up previous to 1680. I believe it must be somewhere about 1670, Venanzi being therein described as still young. Notices of the artists of Pesaro and Urbino, collected by Giuseppe Montani, a good landscape-painter, who flourished some time at Venice, are now lost. (Of him, see Malvasia, vol. ii. p. 447.) I have recently read a letter from Sig. Annibale Olivieri to the Prince Ercolani, in which, computing the age of Venanzi, he is unable to make him out a pupil of Cantarini; from which it would appear that he was ignorant of the date of Venanzi's birth, which was about 1628. I admit that he could not have been long instructed by him, nor by Guido, and am more than ever confirmed in my conjecture that he was pupil to Gennari. Footnote 38: Lunetta, an architectural term; meaning that semicircular space, or any other portion of a circle, placed in the walls between the different supports of ceilings. An undoubted scholar of Simone was Flamminio Torre, called _dagli Ancinelli_, who came from the studio of Cavedone and Guido. His chief talent consisted in an easy perfect imitation of every style, which brought him as high a price for his copies as was given for the originals of eminent artists, sometimes even more. Though not learned in the theory of the art, by his practical ability he acquired the manner of Cantarini, dismissing, however, his ashy colour, and often turning to the imitation of Guido. He was court-painter at Modena; and at Bologna in particular are preserved both scriptural and profane histories, displaying very pleasing figures as large as Poussin, or on the same scale. Some I saw in possession of Monsig. Bonfigliuoli, others in the collection of the librarian Magnani; and some still more firm, and in the best style of colouring, in the Ratta palace. Yet we rarely meet with them uninjured by the use of rock oil, which he carried to excess; and his church paintings, such as a Depositing from the Cross at S. Giorgio, as they have been least attended to, have suffered the most. On the death of Simone, as his first pupil, he succeeded to his magisterial office, and promoted the progress of the scholars whom he left. Girolamo Rossi succeeded better in engraving than in painting. Lorenzo Pasinelli became an excellent master, but of a different style, as we shall see in another epoch. The most eminent among Torre's disciples was Giulio Cesare Milani, rather admired in the churches of Bologna, and extolled in many adjacent states. But it is now time to turn our attention from Guido and his disciples to Guercino, which will afford the same pleasure, I trust, to my readers, as the dilettanti enjoy, in beholding two styles, so strikingly opposed, immediately contrasted. In a similar manner, to adduce an instance taken from the Spada Gallery, it yields delight to