laughing-stock to the students, who solemnly invested him with a doctorial degree in the art, assembling for that purpose in the cellar of a monastery. Footnote 47: See Lettere Pittoriche, vol. ii. p. 53. Footnote 48: Crespi, p. 141. BOLOGNESE SCHOOL. EPOCH IV. _Pasinelli, and in particular Cignani, cause a Change in the Style of Bolognese Painting. The Clementine Academy and its Members._ The commencement of the final epoch of the Bolognese School may be dated some years previous to 1700; when Lorenzo Pasinelli and Carlo Cignani had already produced a striking alteration in painting. The disciples of the Caracci, who had imitated Lodovico, and those who had produced new manners, had all disappeared; while the pupils who still continued attached to their taste were very few; consisting of Guercino's Gennari, of Gio. Viani, formerly pupil to Torre, and some other less distinguished names. Pasinelli himself ceased to exist, on the opening of the new century, leaving the entire credit of the preceptorship in the hands of Cignani. This, too, was shortly increased by the formation of a public academy of the fine arts in the city, to which he was appointed president during life. These details are to be met with in the excellent "History of the Clementine Academy" composed by Giampietro Zanotti. Here we are made acquainted with the principles and progress of that celebrated society, which, in the year 1708, received from Pope Clement XI. its sanction and its name, from the Senate its rooms, and its organization from Count Luigi Ferdinando Marsili; besides effectual support both from him and other nobles; and here also we are presented with the lives of the academicians up to the year 1739. To Zanotti's History, as well as to others of an older date, much useful supplement was added by the Canon Crespi; and upon these two recent works, with a due degree of caution, I propose to rest the authority of my succeeding narrative.