From the school of Cignani, to which I now proceed, scarcely any disciple issued who ultimately adhered to his style. A master, whose maxim it was to labour every picture, as if his entire reputation depended on it; who preferred to cancel, rather than retouch his less successful pieces, might, perhaps, have scholars, but not many emulators. Two of his family, however, imitated him; Count Felice his son, who long assisted him, particularly in the Cupola at Forli; and the Count Paolo his grandson, whom he, perhaps, instructed in the outset; while his father indisputably employed him at Forli, and Mancini at Rome. Both were gifted with facility of genius; but being sufficiently wealthy, they only devoted themselves to the art for the sake of the pleasure it afforded. Felice is seldom mentioned in the Guide to Bologna; in which, however, his St. Antony, at the Carità, meets with praise. At Forli is the altar-piece of St. Philip, by some ascribed to him, and by others to Count Carlo, in his declining years; so inferior is it to the best style of that artist. In collections his paintings are not rare; though appearing, like a young boy in the presence of his father. Of Count Paolo's I only recollect a single altar-piece at Savignano, representing St. Francis in the act of appearing to St. Joseph da Copertino, and putting a demon to flight. The scene appears illuminated by torch-light, and has a fine effect; and the figures, in regard to their studied and finished manner, display the taste of his grandfather. After the relatives of Carlo comes Emilio Taruffi, his fellow-pupil with Albani, as well as his assistant, first at Bologna, in decorating the public hall, and next at Rome, where he resided three years, sometimes employed at S. Andrea della Valle, at others for private houses. No artist then better conformed to Cignani's style; and Taruffi could at least second him in painting histories. But his genius lay more in minor compositions. He was an excellent copyist of any ancient manner; a portrait painter of great spirit, and, in landscape, one of the best pupils formed by Albani. In these three branches he obtained his usual commissions, which he ever discharged with credit. He also conducted some altar-pieces, and that of S. Pier Celestino, at the church of that name, yields to few of the same period.