his superior talent for large paintings, although he applied himself with greater zest and vigour to those on a smaller scale. Albani opened an academy for several years at Rome, and at Bologna, invariably a competitor of Guido, both in his magisterial and his professional capacity.[32] Hence arose those strictures upon his style which Guido's disciples affected to despise as loose and effeminate, wanting elegance in the virile forms, while those of the boys were all of the same proportion, and his heads of the Holy Family, and of saints had always one idea. Similar accusations, advanced likewise against Pietro Perugino, are not calculated to depress so great an artist's merit, so much as the esteem of Annibal, his own writings, and his pupils, serve to raise him in our regard. It is matter of historical fact that Annibal, seized with admiration of some of his small pictures, and among others a bacchante, seen at a fountain pouring out wine, purchased it, and declared that he had not even paid for the drops of water so exquisitely coloured by the wine. Of his writings there remain only a few fragments, preserved by Malvasia, not indeed reduced to method, a task that ought to devolve on some other pen, but highly valuable from the information and maxims which they contain. Among his pupils Sacchi and Cignani are in themselves sufficient to reflect credit upon their master, the first of whom sustained the art at Rome, the other at Bologna, and to whose efforts it was owing that its reputation so long continued in both those schools. There, moreover, we recounted the names of Speranza, and Mola, of Lugano, his noble disciples; and to these, besides Cignani, to whom we refer elsewhere, we can add a considerable number. Gio. Batista Mola, a Frenchman, long continued with Albano, and, according to Boschini, resided with the other Mola at Venice, where they copied a vast work of Paul Veronese for Cardinal Bichi. He displayed surprising skill in drawing rural scenes and trees, and being preferred by many in this branch to his master, he often added landscape to his master's figures, and occasionally adapted figures to his own landscape, very beautiful, in Albani's style, but without his softness. In the excellent collection of the Marchesi Rinuccini, at Florence, is a picture of the Repose in Egypt, by the same hand. Two other foreign pupils also did him credit; Antonio Catalani, called Il Romano, and Girolamo Bonini, also from his native place, entitled l'Anconitano, who, in imitating Albani, was equalled by few, and who enjoyed his perfect confidence and friendship. Settling at Bologna, they there employed themselves with reputation in some elegant works, and left several histories in fresco in the public palace. In this last branch, Pierantonio Torri also distinguished himself, called, in Guarienti's lexicon, Antonio, dropping Pietro on the authority of the Passagiere disingannato; and