Gaspero Sacchi da Imola is known to me only from some pictures he conducted at Ravenna, and recorded first by Fabbri, next by Orlandi. It is uncertain to what country the Cav. Giuseppe Diamantini belonged, called by some in mistake Giovanni; but generally acknowledged to have been a native of Romagna. In the twenty-eighth volume of the _Antichità Picene_ it is asserted that he came from Fossombrone. He resided at Venice, and left at S. Moisè an Epiphany, in which he displays great freedom of hand, and a bold effect in the execution. He is more celebrated in collections belonging to the Venetian state than in churches, being met with at Rovigo and at Verona, where, in Casa Bevilacqua, are some heads of philosophers in a very novel manner. His character indeed consisted in this kind of painting, and he would seem to have derived his idea of them from Salvator Rosa. We shall now proceed to treat of the landscape, flower, and perspective painters; all artists in short connected with minor branches of the art. On this subject the historians who preceded me have attributed no improvement to the Caracci, except in landscape; though I believe that their prevailing maxim of shunning all caprice and fallacy, and confining themselves to representations of truth and nature in the art, spread its influence from the human figure down to the insect, from the tree to the fruit, from the palace to the cottage. In a similar way too was introduced the maxim of avoiding in literature that affectation, prevalent in the sixteenth century, in favour of the purity of better ages; owing to which the style of writing, from that of history even to familiar correspondence, from the poetry of the epic to the sonnet, shone with real lustre.