yet on beholding his altar-pieces of the Epiphany and of the Resurrection of Christ, which he presented to the cathedral of Ancona, with a few other productions at Bologna, he appears more worthy of enrolment among its noble professors. Aureliano Milani acquired the principles of painting from Cesare Gennari and Pasinelli; but, struck with the Caracci's style, he devoted his whole time to copying their compositions entire, as well as separate, repeating his designs of the heads, the feet, the hands, and the outlines. He caught their spirit, without borrowing their forms. It is remarked by Crespi, that no Bolognese shewed more of the Caraccesque in the naked figure, and in the whole symmetry and character of his painting. After Cignani, too, I have heard it noticed, that no one better maintained the design and the credit of the school. In colouring he was not so excellent; sometimes a follower of Gennari, as in his St. Jerome, at the church of the Vita in Bologna, and in some degree in his St. John beheaded, at the church of the Bergamaschi in Rome. Here he took up his residence, being ill able to support a family of ten children at Bologna. Here, too, he abounded with commissions, and promoted with Muratori, another pupil of Pasinelli, established there from early youth, the honour of his native place. Of the last one, however, we have treated under that school. Aureliano taught during many years at Bologna, and among other pupils of his was the celebrated Giuseppe Marchesi, called il Sansone. He first studied under Franceschini, whose taste he nearly approaches in the vaulted ceiling of the Madonna di Galiera. It is even the opinion of some, that, in his skill of foreshortening, and in the tone of his colours, no artist succeeded in imitating him so well. He took his design from Milani; though at times his naked portion is rather too much loaded, which I would not venture to say of his master. Among his best pictures is the Martyrdom of S. Prisca, in the Rimini cathedral; an altar-piece of many and fine figures, and good tints, for which the S. Agnese of Domenichino supplied him with some ideas. He painted much for galleries, and among other pieces, one of his pictures representing the four seasons, (where it now is I cannot say,) is reputed, by a first rate judge, among the first works of the modern Bolognese school. Antonio Gionima was some time also a pupil of Milani. He was a Paduan of obscure birth, whose father and grandfather had been artists; educated first by Simone his father (p. 171), afterwards by Milani, and for a longer period by Crespi. He died young, leaving works highly prized at Bologna for their inventive spirit and for the high tone and clearness of their colouring. His picture of St. Florian and accompanying martyrs was engraved by Mattioli; and a grand canvass history of Haman is shewn in the Ranuzzi apartment, conspicuous among numbers in the same place, where no common artists gained admittance.