retract his own errors, without which none can pretend to maintain the true literary or historical character. For the rest, he must have afforded occasion for those clamours against his _Felsina_ and other writings by some satirical strokes, which are assuredly severe, accompanied by many personal reflections on his contemporaries. Concerning that very respectable academy he relates some observations of his deceased father, which had better have been consigned to oblivion. He disapproves the methods introduced into his school, and laments, that owing to the failure of good masters, Bologna was no longer frequented as formerly by students. He detects, too, certain little impositions introduced into the art; such for instance as displaying in the studio a number of pictures prepared for colouring, to convey an idea of possessing abundance of commissions; pronouncing in a breath a number of anatomical terms on the bones and muscles, to inspire a high opinion of the artist's learning; publishing eulogiums on some particular painting in an article of the day, which only the artist himself could have conceived, and written, paid for, and believed to be true. Such, or similar details, which must have sufficed to recognize particular individuals, doubtless provoked many replies from persons not publicly known, as the author gave no contemporary names, but deeply offended and provoked to retaliate upon him. Among the pupils of Crespi was Gionima, who survived only, as I have stated, to his thirty-fifth year. Nor did Cristoforo Terzi reach a much more advanced age, the pupil also of different masters. From his outset he boasted a decision of hand, able to sketch at few strokes very spirited heads, which, however, by dint of excessive retouching, he deprived of much of their expression. This defect he remedied under Crespi, and improved himself by residing several years at Rome. Many collections at Bologna possess some of his half-length figures and heads of old men, which are mistaken by less experienced judges for those of Lana. In the list of Crespi's pupils, too, are Giacomo Pavia of Bologna, who flourished in Spain; Gio. Morini d'Imola; Pier Guarienti, a Veronese, who flourished at Venice, and was afterwards appointed director of the Dresden gallery; and the same who wrote the additions to Orlandi's dictionary. Francesco l'Ange of Savoy, a pupil of Crespi, became a Philippine monk at Bologna. His chief merit lay in small scriptural pictures, some of which I saw in Vercelli, in possession of his Eminence Martiniana, bearing the author's name, and quite deserving, by their design and colouring, of a place in that collection.