Donato Creti, a cavalier of the gold spurs, ranks as one of the most eminent of Pasinelli's pupils, and as the most attached to his manner; though he was inclined to modify it with that of Cantarini, and of both composed a third, sufficiently noble and graceful. He would have made it still more free and original, had he applied himself diligently in early youth; which he omitted to do, and carried his regrets for such omission down with him to the tomb. His merit is impaired by his colouring, which has in it something hard and crude; entertaining a maxim, that tints, such as they are in nature, ought to be employed, and left to time for sobering and harmonizing--a maxim by some attributed to Paul Veronese. If there were ever a painter who knew not when to remove his hand from the canvass, it was Creti. In painting his S. Vincenzio, intended to be placed opposite the S. Raimond of Lodovico, he completed it with every attention to the art; yet was dissatisfied with the work, insomuch that the person who gave the commission was compelled to take it by force out of his studio, in order to place it in the grand church of the Padri Predicatori. This is, perhaps, his best altar-piece. His Alexander's Feast also boasts some merit, executed for the noble Fava family; by some even it is supposed to be his masterpiece. Creti had a pupil, named Ercole Graziani, who added greater power of execution to his master's style, a more enlarged character, greater freedom of hand, with other qualities which display his superiority. He approached Franceschini and others who succeeded to the school of Cignani. He has been accused by one of his rivals of too much effeminacy in his painting, and study of minutiæ in his ornaments. Others seek for a more just equality in his colours; others more spirit; though all must give him credit for genius and industry equal to compete with the eminent artists of his day, and to surpass many, had he enjoyed the good fortune to have met with an experienced master. He painted for S. Pietro, that Apostle in the act of ordaining S. Apollinare; a history both copious and full of dignity; commissioned by the Cardinal Lambertini, who, on becoming pope, caused him to make a duplicate for the church of S. Apollinare at Rome. Also his pictures of S. Pellegrino, in Sinigaglia, the princes of the Apostles, who take leave, with the most beautiful expression, to meet their martyrdom, placed at S. Pietro in Piacenza, with others belonging to his happier hours, are equally excellent. To Creti and Graziani we have to add Count Pietro Fava, in whose house both were, during some time, brought up, at once assistants and companions in the studies of this noble artist. He is ranked among Pasinelli's pupils and the Clementine academicians; and we have an account of his studying the works of the Caracci, to whose manner, equally with any other artist, he became attached. Although the cavalier is described as a dilettante in the art,