It is here necessary to interrupt for a moment our series of the Caracci's disciples, to make mention of two geniuses, who also became painters, like Naselli, but in the Venetian taste. Gio. Paolo Grazzini, one of Bonone's best friends, professed the goldsmith's art, and it was owing only to his bias for painting, imbibed from Bonone and other contemporaries, that he acquired its principles in familiar conversation. Eager to put them to the test, he commenced his altar-piece of S. Eligio, for the Goldsmith's School. It occupied him eight years in its completion, but it was executed in such a masterly style as alone to decide his excellence, approaching quite as nearly as any to the manner of Pordenone. Being then about fifty years of age, it excited the utmost surprise throughout Ferrara, yet he still persevered, and conducted some minor pieces, which decorate private buildings, in the same taste. So rare an example, or rather one so wholly novel, appeared to me well worth historical mention. Somewhat at a later period Giuseppe Caletti, called il Cremonese, came into notice. He acquired the art rather from the models of the Dossi, and of Titian, than from masters, imitating not only their manner of design, but their colouring, which is so difficult. He contrived also to imitate that antique tone which time gives to paintings, and thus adds to their harmony. He painted a good deal for collections, such as half-length figures, bacchanals, and small histories. Baruffaldi recognized several in some noble galleries at Bologna, and has been compelled to argue the point with judges, who maintained that they were Titian's. He farther relates, that an excellent pupil of Pietro da Cortona purchased a great number, at a high price, at Ferrara, being confident of reselling them at Rome for Titian's, or at least for works of his school. In Ferrara, which is filled with his pictures, it is difficult to succeed in these impostures. He is there distinguished by fleshes of a sun-burnt hue, by certain bold lights, strengthened by contrast with somewhat loaded shadows, by the fleeciness of his clouds, and by other careless and ill-conducted accessories. Often too the extravagance of the composition betrays the real author, when, for instance, in a bacchanal, much resembling Titian, there is inserted a chase, or some modern sport, which is like representing wild boars in the sea, or dolphins in the woods. In a similar manner are his other fine qualities impaired for want of judgment, without which no artist is well calculated for the decoration of churches. In that of S. Benedict, however, his four Holy Doctors, on an altar, are seen to advantage; and upon another his admirable St. Mark, a grand and correct figure, full of expression, and very picturesquely surrounded by abundance of volumes, in whose drawing he is so true and natural, as to have been called the painter of books. Having completed this work, il Cremonese disappeared out of the city, nor were