In tracing the origin of the new taste, it will be requisite to go back to 1670, or near that period; when Pasinelli and Cignani, after their return from Rome, commenced teaching and operating, each in their respective method. Lorenzo pursued the design of Raffaello, combined with the fascination of Paul Veronese; while Carlo delighted in the grace of Coreggio, united to Annibal's learning; and both had executed at Rome studies agreeable to their genius. It is reported, that one day they happened to enter upon a long discussion of the relative merits of Raffaello and Coreggio. Would that they had been joined by some new Borghini, as a third party, who might have put the discourse into the form of a dialogue, and have preserved it for posterity! In course of time, Cignani came into higher repute than Pasinelli, though this excited no kind of jealousy; they had both of them wisdom enough to be satisfied each with his own share of genius, and to commend his competitor; thus abstaining from that indulgence of rivalry which gives, even to the most celebrated artists and writers, an air of meanness. Thus, when the Clementine academy was instituted, the pupils of both masters readily united in serving that new assembly; voluntarily submitting to the direction of Cignani, placed by the pontifical diploma at their head. Thenceforward the style of Cignani came into vogue; though others sprung from it, composed of two or more manners, which may yet be called national. Each has in it something of the Caraccesque, owing to the young artists having commenced their career by designing from the works of the three brothers. A few of these painters exhibit even too much of their manner, and that of the best among other artists; we find figures taken partially from different ancient masters, and worked up into one composition; as we see sometimes done in poetry, with the lines of one or more writers. About this period the study of the beau-ideal received some accession, by means of the casts with which the academy was supplied. The style of coloring is far from careless; though in the principles then adopted, there was a certain method pursued by different artists, from which their shadows have grown deeper, and assumed a rusty colour; and towards the middle of the same epoch, false and capricious colours came into use, and long continued to find patrons. Nor was this error confined solely to the Bolognese School. Balestra, in one of his letters, dated 1733, inserted in the Pictoric Collection, (vol. ii.) laments the decline of "all the Italian schools," from their having fallen into mistaken methods. Possessing himself in Verona three scholars, capable of great performances, namely, Pecchio, who became a fine landscape painter, Rotari, and Cignaroli, he seems to have had his fears even for them. In particular, speaking of the last, he says, "I fear lest he, too, should suffer himself to be borne away by the prevailing stream, and become