Luigi Quaini, cousin to Carlo Cignani, and brother-in-law to Franceschini, was one of the most animated characters of his time; equally well versed in history, in architecture, and in poetry. The pupil, first of Guercino, next of Cignani, he was employed by the last as an assistant, and with such success, that, in painting, his hand could not be distinguished from that of his master. In distributing their labours to Franceschini and to Quaini, he ordered the former to paint the fleshes for the roundness and softness he gave to them; while to the latter he committed certain gay and spirited countenances, and a certain finishing of parts, in which, from his peculiar talent, he admirably succeeded. Later in life, he united with Franceschini, and leaving to him the inventive parts, he followed him in the style of the figures; inferior, doubtless, to that of Cignani, in force of chiaroscuro and colouring, but more attractive from its peculiar beauty and felicity. He would, afterwards, wholly ornament the composition by himself, with flowers, armour, beautiful landscape, and noble perspective; an art acquired from Francesco, his own father, a fine pupil of Mitelli. In this way did these two artists continue to paint, conjointly, at Bologna, at Modena, Piacenza, Genoa, and Rome; at which last place they composed some cartoons for the cupola of St. Peter's, which were afterwards executed in mosaic. Quaini also painted many historical pictures of his own invention. They decorate private houses; his only composition in public being his St. Nicholas visited in prison by our Lady, a beautiful altar-piece, occupying the best place in the church of that name. Marcantonio's school, from which he also derived those assistants who followed Quaini, dates its commencement from his son, the Canon Jacopo Franceschini. The Bolognese historians only represent him in the character of an honorary academician; so that, by their account, I ought here to omit him. The Cav. Ratti, however, informs us that Marcantonio, coming to Genoa to adorn the church of S. Filippo, brought with him his son as his assistant, together with Giacomo Boni. In the same city, too, I saw a large history, in the hall of the Marchese Durazzo, as well as other pieces by him, well worthy commendation. At Bologna, also, are several paintings in public, all conducted in the style, and with the assistance of his father.