Giacomo Parolini, pupil to the Cav. Peruzzini in Turin, afterwards to Cignani at Bologna, was present at Maurelio's decease, and completed a few works left imperfect, out of regard to his friend, and for the relief of his orphan family. He did not possess that true finish peculiar to the followers of Cignani; though he still maintained the reputation of his second school, by the elegance of his design, the propriety and copiousness of his composition, and his very attractive colouring, particularly in the fleshes. Aware of his own power in this difficult part of painting, he is fond of introducing into his pieces the naked figure, more especially of boys, from the proportions of which judges are enabled to recognize their author. His bacchanals, his Albanesque country-dances, his capricci, are all of such frequent occurrence at Ferrara, as to render it more easy to enumerate the collections in want of them, than those where they are. Foreigners also possess specimens; and there are engravings in acqua forte by the designer's own hand. His picture of the Cintura, representing the Virgin among various saints, nearly all of the order of St. Augustine, a piece engraved by Andrea Bolzoni, is held in much esteem. Nor are the three altar-pieces in the cathedral unworthy of notice; and in particular the entablature of S. Sebastiano at Verona, which greatly raised his reputation, representing the saint in the act of mounting into glory, amidst groups of angels; a beautiful and well executed work. Parolini is the last among the figurists whose life was written at length by Baruffaldi; the last, also, on whose tomb was inscribed the eulogy of a good painter. With him was buried for a season the reputation of Ferrarese painting in Italy. The author of the "Catalogue," in the fourth volume has collected the names and drawn up the lives of certain other painters, interspersing several episodes. Concerning these figurists, little else is related than mere failures and misfortunes. For instance, Gio. Francesco Braccioli, pupil to Crespi, though promising well in some of his works for galleries, subsequently fell into infirmity of mind; one lost his taste for the profession; another cultivated the art with remissness, or only as a dilettante; a third produced some tolerable efforts, but was mostly extravagant; one had genius and died early; another long life without a spark of talent. Meanwhile, this dearth of native artists was for some years supplied by Gio. Batista Cozza, from the Milanese; a painter of a copious, easy, and regulated style. Not that he was invariably correct, though very popular, and when he pleased satisfying even judges of the art; as in that picture representing different SS. Serviti, in the church called di Cà Bianca.