Petronio, with a few figures in the foreground truly joyous and well arranged; besides others in the distance grouped and diminished with art; a picture of great merit even in strength of colouring. He produced also for the noble family Angelelli the Table of Cebes, in one grand painting; the work of an entire year, which displayed all the depth, imagination, and genius of a great artist. There are also a number of small engravings from his hand, in which he often approaches Guido. His son Filippo and Domenico degli Ambrogi, called Menichino del Brizio, were his most distinguished disciples. These artists painted more for private ornament than for that of the churches. The latter became celebrated for his design; was employed chiefly in friezes for chambers, in architecture, and landscape in fresco, sometimes in conjunction with Dentone and Colonna, sometimes alone. He was also a finished artist of pictures for private rooms, occasionally exhibiting there copious histories, as in that we read of in the full and well drawn up catalogue of the Sig. Canon Vianelli's pictures at Chioggia. It presents us with the entrance of a pontiff into the city of Bologna. It is not surprising that he should be acknowledged and esteemed even in the Venetian territories, having been the preceptor of Fumiani, and master of Pierantonio Cerva, who painted a good deal for the Paduan state. Gio. Andrea Donducci, called from his father's profession Mastelletta,[41] inherited a genius for the art. Impatient, however, of the precepts of the Caracci, his masters, he neglected to ground himself in the art, was unequal to designing naked figures, and far from producing any masterpiece. His method was short, and wholly intent upon attracting the eye by effect; loading his pictures with shadow in such a way as to conceal the outlines, and opposing to his shadows masses of light sufficiently strong, thus succeeding in disguising from judges the inaccuracies of his design, and gratifying the multitude with a display of apparent novelty. I have often imagined that this artist had great influence with the sect of the Tenebrosi, which afterwards spread itself through the Venetian state, and almost every district in Lombardy. He was enabled to support his credit by a noble spirit of design, by a tolerable imitation of Parmigianino, the sole artist adapted to his disposition, and by a natural facility that enabled him to colour a very large extent of canvass in a short time. Among such specimens are the Death, and the Assumption of the Virgin, at the Grazie, and some similar histories, not unfrequent in Bologna. Perhaps his picture of S. Irene, at the Celestini, is superior to any other. When advanced in life, hearing the applause bestowed on the clear, open style, he began to practise it, but with no kind of success, not possessing ability to appear to advantage out of his own obscure manner. In his former one he had painted at S. Domenico two miracles of the saint, which were