evidently aimed at copying the genius and spirit, not the figures of his model. He abused the occasion here afforded him, like Dante and Michelangiolo, to gratify his friends by placing them among the elect, and to revenge himself on those who had offended him, by giving their portraits in the group of the damned. On this unhappy list, too, he placed a young lady who had broken her vows to him; elevating among the blessed, in her stead, a more faithful young woman whom he married, and representing the latter in the act of gazing on her rival with looks of scorn. Baruffaldi and other Ferrarese prefer this painting before that of the Sistine chapel, in point of grace and colouring; concerning which, the piece having been retouched, we can form no certain opinion. There is, moreover, the testimony of Barotti, the describer of the Ferrarese paintings, who, at page 40, complains, that "while formerly those figures appeared like living flesh, they now seem of wood." But other proofs of Filippi's colouring are not wanting at Ferrara; where, in many of his untouched pictures, he appears to much advantage; except that in his fleshes he was greatly addicted to a sun-burnt colour; and often, for the union of his colours, he overshadowed in a peculiar taste the whole of his painting. Footnote 59: Gratella, literally a gridiron, or lattice-work. Besides this, his masterpiece, Filippi produced a great number of other pictures at Ferrara, in whose Guide he is more frequently mentioned than any artist, except Scarsellino. Where he represented naked figures, as in his grand S. Cristofano at the Certosa, he adhered to Michelangiolo; in his draped figures he followed other models; which is perceptible in that Circumcision in an altar of the cathedral, which might rather be attributed to his father than to him. Being impatient, both in regard to invention and to painting, he often repeated the same things; as he did in one of his Annunciations, reproduced at least seven times, almost invariably with the same ideas. What is worse, if we except the foregoing Judgment, his large altar-piece of St. Catharine, in that church, with a few other public works, he conducted no pieces without losing himself either in one part or other; satisfied with stamping upon each some commanding trait, as if to exhibit himself as a fine but careless painter to the eyes of posterity. There are few of his specimens in collections, but these are more exactly finished. Of these, without counting those of Ferrara, I have seen a Baptism of Christ in Casa Acqua at Osimo, and several copies from Michelangiolo at Rome. Early in life he painted grotesques, but subsequently employed in such labours, Cesare, his younger brother, a very excellent ornamental painter, though feeble in great figures and in histories.