farther tidings heard of him, although some writers conjecture that he died about 1660. Returning to the disciples of the Bolognese, the first deserving of mention here is Costanzo Cattanio, a pupil of Guido. His portrait, both on canvass and in prints, I have seen, and it has always a threatening kind of expression. That martial, or bravo character, affected by so many artists about the times of Caravaggio, also misled this excellent genius from the right career. At times Costanzo was an exile, now at open defiance, and now wholly occupied in shielding his protectors, who never ventured out unarmed, from dread of their rivals, and to whom he pledged himself that they should not be assassinated in his presence. When he applied himself to his art his peculiar disposition appeared stamped on the expression of his figures. The characters whom he was most fond of introducing into his histories were soldiers and bullies, whose fierce aspects seemed but ill adapted to the soft style of his master. These, and many other ideas, he borrowed from the prints of Durer, and Luca of Holland, which he reduced to his own diligent and studied manner, particularly in his heads and his steel armours. Although attached to strong expression, and borrowing something from the other schools of Italy which he saw, he nevertheless at times betrays sure traces of Guido's school. Thus, in his S. Antonio, painted for the parish church of Corlo, and in our Lord's Supper, which he placed in the refectory of S. Silvestro, and in every other instance when he aimed at the Guidesque, he succeeded to admiration. Another Ferrarese, Antonio Buonfanti, called il Torricella, is said to have sprung from the school of Guido, though Baruffaldi is silent on this point. Two large scripture histories by him are at S. Francesco; but there are few other paintings or accounts of him at Ferrara; and he seems to have taken up his residence elsewhere. It is certain that the young artists who succeed this period are all ascribed to the school of Cattanio. Such are Francesco Fantozzi, called Parma, Carlo Borsati, Alessandro Naselli, Camillo Setti, artists who scarcely awaken the curiosity of their countrymen. Giuseppe Avanzi is more known by his very numerous works, for the most part confused, and painted almost at a sitting. He is described more like an artisan bent on earning good wages by his day's labour. His picture of St. John beheaded, however, at the Certosa, is extremely Guercinesque; and some others on canvass and on copper, which he retouched and studied a good deal, do him great credit.