and figures, very well executed; a picture displaying grand relief combined with the most finished exactness. In Tuscany also are some remains of his taste, at S. Spirito in Pistoia, and in the hall of the Marquis Gerini at Florence. I saw, too, in possession of the count's heirs at Venice, two pictures, conceived by Algarotti and painted by Mauro. One of these, which he has described (vol. vi. p. 92) represents a temple of Serapis, decorated in the Egyptian manner, with bassi-relievi and pyramids in the distance; fit to adorn the choicest cabinet. It is enriched with figures by Zuccherelli, in the same way as Tiepolo added them to Tesi's other pieces. There are engravings of some of Mauro's works in possession of the same nobles, as well as his whole studio of designs, landscapes, views of architecture, capitals, friezes, figures; a rich and copious assemblage of materials, almost superfluous in so short but bright a career. After Mauro, no greater proofs of esteem in this art were shewn by Algarotti to any one than to Gaspero Pesci, to whom he directed a number of his letters; of him too Algarotti's heirs possess two pictures, consisting of ancient architecture, with slight sketches of figures, scarcely indicated. But at length we approach a conclusion. The Bolognese academy still continues to flourish in pristine vigour; the aids afforded to the pupils have even been extended; and, in addition to the academical prizes, there are dispensed others, which the noble families Marsili and Aldrovandi established at stated meetings, and which still go by their name. I cannot, however, as in other schools, record very splendid remunerations to the masters. But this forms the more rare and distinguished honour of the Bolognese artists--to labour for distinction, and to confer their preceptorial services in the arts and sciences upon their country, not only without reward, but even to their own loss, a subject fully treated of by Crespi (pp. 4, 5) in his _Felsina_. Notwithstanding these disadvantages they have continued to maintain, during two centuries, the character of masters in the art. From the time the Caracci first spoke, almost every other school listened and was silent. Their disciples followed, divided into a variety of sects; and these continued, for a long period, to hold sway in Italy. The reputation of the figurists being somewhat on the decline, a substitute sprang up in the decorative and perspective painters, who established laws, and produced examples, still eagerly imitated both in Italy and other parts. Neither the Bibieni, the Tesi, nor the others whom I have mentioned towards the close, are so exclusively entitled to historical consideration, but that the Gandolfi[56] family, with several others, which have either recently become extinct, or still flourish, may claim a share. Doubtless these will not be in want of deserved eulogy from other pens, that will successively follow mine.