I reserved for the series of the Caracci the name of Francesco Naselli, a Ferrarese noble, though stated by some to have been initiated in the art by Bastaruolo. This, however, is uncertain; it is only known that he designed from the naked model with assiduity in an academy opened in conjunction with his efforts, at Ferrara; and that going thence to Bologna, he took copies of various works by the Caracci and by their disciples. In the churches of his native place, and in private cabinets, numerous proofs of these studies are met with, the most laborious of which are two miracles of St. Benedict, copied in the cloister of S. Michele in Bosco, and now placed at S. Giorgio of the Olivetani in Ferrara. Of these, one is borrowed from Lodovico, the other from Guido; but preferred to both is his Communion of S. Girolamo, which decorates the Certosa, a copy from the original by Agostino. Guercino also was one of his favourites; of his he copied every thing he could meet with, having selected him, after the Caracci, for his first guide. By such practice Francesco succeeded in designing and painting with good success in his own manner, on a large scale, animated, soft, with rapid execution and strong union of colours, inclining in those of his fleshes to a sun-burnt hue. Of his own design is the S. Francesca Romana at the Olivetani, the Assumption at S. Francesco, several Suppers, abounding in figures, belonging to private institutions, five of which are in the Cistercian monastery. He likewise painted at the Scala in competition with one of the Caracci, with Bonone, and with Scarsellino. Nor was he judged unworthy of them; and at the sale of those valuable paintings for the relief of the Hospital, in 1772, considerable prices were offered for his productions. Although noble, and in easy circumstances, he never ceased to persevere, and it would appear that he was desirous of promoting the success of one of his domestics in the same art. Crespi declares that he had read a statement, showing Alessandro Naselli to be the son of Francesco, but, according to historians, he was an artist of mediocrity, the omission of whose works will scarcely be any loss to my readers.