to his pictures of private ornament, in which he is more than usually attractive and perfect. Judges know how to recognize Cavedone's hand by his very compendious manner of treating the hair and beards, as well as by that graceful and rapid touch, loaded with much lightish yellow, or burnt terra gialla. Length of proportions is likewise considered another peculiarity, with a flow of the folds more rectilinear than in other artists of the same school. Such ascendancy in the art was maintained by Cavedone during some years, till the death of a favourite son, who had early distinguished himself in the same career, united to other heavy sorrows, deprived him of his powers, and he subsequently executed nothing of importance. A specimen of that period is in possession of the fathers of S. Martino; an Ascension that excites only our compassion, with similar pieces met with throughout Bologna, that can boast no glimpse of grace. Still deteriorating, he was at length deprived of commissions and reduced to penury, which, in his old age, attended him to the tomb. Lucio Massari possessed a more joyous spirit, ever glad and festal; devoted to the theatre and to the chase, rather than to his academy and his pallet; being usually impatient and averse to commence his subjects, until his genius and good humour were propitious. For this reason his works are few, but conducted in a happy vein, graceful and finished, both in colour and in taste appearing to breathe of cheerfulness. His style most resembles Annibal's, whose works he copied to admiration, and after whose example, while a few months at Rome, he designed the most finished and noble remnants of Grecian sculpture. There shines also in his countenances the spirit of Passerotti, his earliest master, and more frequently the gracefulness of his near friend, Albani, whose society he enjoyed both in his studio and his villa, and in works undertaken in conjunction. His S. Gaetano, at the Teatini, is crowned with a glory of exquisitely graceful cherubs, that seem from the hand of Albani; and in his other pictures we often recognise those full countenances, those delicate fleshes, that sweetness, and those sportful expressions, in which revelled the genius of Albani. In point of beauty, the _Noli me tangere_, at the Celestini, and the Nuptials of St. Catherine, at S. Benedetto, are among his most esteemed pieces; to say nothing of his histories at the Cortile of S. Michele in Bosco, where he left many very elegant specimens.