holy evangelist, though as an artist he could not be despised. Among the histories at S. Michele in Bosco, already described, is seen the Sepulture of the SS. Valeriano and Tiburzio by Alessandro Albini, a painter of spirit; the Giving Alms of S. Cecilia, by Tommaso Campana, who afterwards followed Guido; the St. Benedict among the Thorns, by Sebastiano Razali; the Conference between Cecilia and Valeriano, by Aurelio Bonelli; all respectable artists, except that Malvasia blames the last mentioned as unworthy of a school productive of so many noble disciples; but it is rare that in such rich abundance some abortive specimen does not appear. Florio and Gio. Batista Macchi, Enea Rossi, Giacinto Gilioli, Ippolito Ferrantini, Pier-Maria Porettano, Antonio Castellani, Antonia Pinelli;[42] all these gave to the Bolognese public some superior specimens of their skill, and more in the adjacent places; and we may add Gio. Batista Vernici, who was subsequently employed by the Duke of Urbino. Nothing remains there from the hand of Andrea Costa, or of Vincenzio Gotti; of whom the former, according to Malvasia, painted for the S. Casa of Loreto some admirable pieces, now known, if I mistake not, under another name. The latter resided in the kingdom of Naples, mostly at Reggio, an artist of singular rapidity, whose altar-pieces in that city alone amount to the number of two hundred and eighteen. Other followers of the Caracci are known to have renounced painting in favour of engraving and sculpture. The academy was closed on Lodovico's death; and the casts, with other requisites for the art, remained for a long period at Bologna. Domenico Mirandola, on the opening of Facini's academy, quitted that of Lodovico, became a celebrated sculptor, enriched himself with the spoils of both, and kept an open studio, regulated according to the method of his first masters; called for this reason by some the studio of the Caracci. Names, however, are not realities; and correctness of design was not maintained in this _soi-disant_ academy, but gradually deteriorated; the honour of its revival being reserved for the genius of Cignani, of whom we shall say more in our fourth epoch. Footnote 42: The wife of Bertusio, and admired by Lodovico Caracci for her singular modesty and attachment to the art. Her finest production adorns the Nunziata, composed from Lodovico's design, in which she drew her own portrait with a bonnet, and that of her husband.