As a specimen of his more solid style, the picture of the BB. Fondatori, at the church of the Servi, appears to much advantage; our Lord's Supper, also, in Casa Sampieri; a few pieces in the royal Pitti palace, where he was long employed by the great Prince Ferdinando; besides a few other of his first productions. In his other style are various pictures conducted for the galleries of the Roman nobility; the SS. Paolo and Antonio as eremites, for the Princes Albani; the Magdalen for the Chigi palace; the Seven Sacraments for the Card. Ottoboni, of which I have seen copies in the Albani palace at Urbino. The whole of these seven pictures display certain bold coruscations and contrasts which dazzle the eye; all shew novelty of idea; in particular that of the Spousals between a young girl and an octogenarian, to the visible mirth of the spectators. Spagnuolo lived to advanced age, honoured by the pope with the insignia of cavaliere, esteemed among the first of his age, while his paintings everywhere abounded. Different houses, both in and beyond Bologna, possess them in great number; histories, fables, and familiar pieces. He received most part of his commissions from the Signori Belloni, who decorated various chambers with his historical pieces, remunerating him with one hundred crowns each, though they contained but few figures, and all of an ell's length. Spagnuolo's manner was not one that could be pursued by every pupil with applause. Those artists who were unable to direct it with equal imagination, power of design, spirit and facility, produced very trifling results. Even his own sons, D. Luigi the canon, and Antonio, who painted for various churches, did not wholly follow their father's style, but appear invariably more studied. The canon wrote much upon the art, as the lives of the Bolognese artists, or the third volume of the _Felsina Pittrice_, edited in 1769; notices of the painters of Ferrara and Romagna, still unpublished; various treatises; with numerous letters inserted by Bottari in the pictoric collection. To few of his age is the history of painting so much indebted, although in certain national subjects he failed to satisfy the whole of his fellow citizens. The authors of the new Guide of Bologna require from him more diligence in examining documents; greater fidelity as a public instructor; more justice to the real merit of Ercole Lelli. The four dialogues in defence of his _Felsina Pittrice_, written by a friend, were published by Bottari in the seventh volume of the work just cited, and are worth perusal. In the same volume (p. 143) we also meet with a letter of Crespi, in which he confesses his different errors, declaring that he would correct them in the fourth volume of his _Felsina_, which he was then composing, and which I am uncertain whether he ever completed. From these notices we gather, that, notwithstanding his violent temper, he was not wanting in fidelity as an historian, and in that readiness to