employed also at Turin, Mantua, and Parma, where he received a salary from the court, and had Pasinelli for his best companion. It would carry us too far, to recount all the quadraturists sprung from these schools; nor would all, perhaps, deserve commemoration. Though no art was more rapidly extended, none sooner degenerated; caprice usurped the place of sound rules of architecture, and was carried to a pitch of extravagance and impertinence, when the Borrominesque taste began to extend through Italy. Architecture itself, which forms the basis of this profession, began, in course of time, to be regarded as an accessary; a greater share of study was employed in the vases of flowers, in festoons, in fruits, and foliages, and certain novelties of grotesque, against which both Algarotti and Crespi have so justly and successfully inveighed. We cannot close this account without the name of Giovannino da Capugnano, an artist very fully treated of by Malvasia and Orlandi, and highly extolled in the studies of the painters, even in our own days. Misled by a pleasing self-delusion, he believed himself born to become a painter; like that ancient personage, mentioned by Horace, who imagined himself the owner of all the vessels that arrived in the Athenian port. His chief talent lay in making crucifixes, to fill up the angles, and in giving a varnish to the balustrades. Next, he attempted landscape in water-colours, in which were exhibited the most strange proportions, of houses less than the men; these last smaller than his sheep; and the sheep again than his birds. Extolled, however, in his own district, he determined to leave his native mountains, and figure on a wider theatre at Bologna; there he opened his house, and requested the Caracci, the only artists he believed to be more learned than himself, to furnish him with a pupil, whom he intended to polish in his studio. Lionello Spada, an admirable wit, accepted this invitation; he went and copied designs, affecting the utmost obsequiousness towards his master. At length, conceiving it time to put an end to the jest, he left behind him a most exquisite painting of Lucretia, and over the entrance of the chamber some fine satirical octaves, in apparent praise, and real ridicule of Capugnano. His worthy master only accused Lionello of ingratitude, for having acquired from him in so short a space the art of painting so beautifully from his designs; but the Caracci at last acquainted him with the joke, which acted as a complete antidote to his folly. In some Bolognese galleries his pictures are preserved as specimens, in some degree connected with pictorial history;[47] and which, though composed with all becoming gravity, are as diverting as any caricature of Miel or of Cerquozzi. Were we to desire a second example of such imbecility in the art, it would be found in Crespi,[48] who gives some account of one Pietro Galletti. Equally persuaded of having been born a painter, Pietro became a