those of Ferrara." These are the words of Valesio, from Malvasia, (vol. ii. p. 150) though I believe that too much deference was paid to Valesio in adopting such an excuse; as it seems inconsistent with the judgment and taste of the prince to suppose him capable of this species of barbarism, and from the motive which is adduced. I rather apprehend that the work must have failed by the fault of Gio. Batista, who, dissatisfied with his allotted grotesques and landscapes, insisted on shining as a figurist. There is a similar example in a court-yard of Ferrara, where he inserted some figures against Dosso's wishes, and acquitted himself ill. For the rest, a much better defence of their talents was made by Ariosto. For he not merely availed himself of Dosso's talents to draw his own portrait, and the arguments to the cantos of his Furioso, but has immortalized both his and his brother's name, along with the most eminent Italian painters when he wrote, "Leonardo, Andrea Mantegna, e Gian Bellino, Duo Dossi;" names which are followed by those of Michelangiolo, Raffaello, Tiziano, and Sebastiano del Piombo. Such commendation was not a mere tribute to friendship, but to Dosso's merit, always highly extolled likewise by foreigners. His most distinguished works are now perhaps at Dresden, which boasts seven of them, and in particular the altar-piece of the four Doctors of the Church, one of his most celebrated pieces. His St. John in Patmos is at the Lateranensi in Ferrara; the head, free from any retouching, is a masterpiece of expression, and acknowledged by Cochin himself to be highly Raffaellesque. But his most admired production was at the Domenicani of Faenza, where there is now a copy, the original having been removed on account of its decay. It exhibits Christ disputing among the doctors; the attitudes so naturally expressive of surprise, and the features and draperies so well varied, as to appear admirable even in the copy. There is a little picture on the same subject in the Campidoglio, formerly belonging to Card. Pio of Ferrara, full of life, polish, and coloured with most tasteful and mellow tints. By the same hand I have seen several "Conversazioni" in the Casa Sampieri at Bologna, and a few Holy Families in other collections, one in possession of Sig. Cav. Acqua at Osimo. In pictoric works I sometimes find him compared with Raffaello, sometimes with Titian or Coreggio; and certainly he has the gracefulness, the tints, and chiaroscuro of a great master. He retains, however, more of the old style than these artists, and boasts a design and drapery which attract the spectator by their novelty. And in some of his more laboured pieces he adds to this novelty by a variety and warmth of colours which nevertheless does not seem to diminish their union and harmony.