Returning to the Bolognese artists, Gio. Maria Tamburini will be found to hold a high rank, the author of many fresco histories in the portico of the Conventuals, and of the Nunziata at the Vita, a very graceful painting drawn from his master's sketch. Yet he was surpassed by Gio. Batista Bolognini, by whose hand there is a S. Ubaldo at S. Gio. in Monte, altogether in the style of Guido. This artist had a nephew and pupil in Giacomo Bolognini, who painted large pictures and capricci, and is mentioned by Zanotti and Crespi. Bartolommeo Marescotti is hardly deserving notice; at S. Martino he appears only as a hasty imitator, or rather a corrupter of the Guido manner. Mentioned, too, by various writers, is a Sebastiano Brunetti, a Giuliano Dinarelli, a Lorenzo Loli, and in particular a Pietro Gallinari, on whom his master's predilection conferred also the name of Pietro del Sig. Guido. His earliest pieces, retouched by Reni, are held in high esteem, and others which he produced for the court, and in various churches at Guastalla, are valuable. He was an artist of the noblest promise, but cut off prematurely, not without suspicion of poison. Many foreigners who acquired the art from Guido, particularly at Bologna, were dispersed throughout various schools, according to the places where they resided; such were Boulanger, Cervi, Danedi, Ferrari, Ricchi, and several more. Two artists who chiefly dwelt in Bologna and Romagna in high esteem, I have reserved for this place, named Cagnacci and Cantarini. Guido Cagnacci, referred by Orlandi to Castel Durante, though the Arcangelesi more properly claim him for their fellow-citizen, was a rare exception to Italian artists, in having sought his fortunes in Germany, where he was highly deserving of the success he met with at the court of Leopold I. What he has left in Italy, such as his St. Matthew and St. Teresa, in two churches of Rimini, or the Beheading of St. John, in the Ercolani palace at Bologna, shew him to have been a diligent and correct, as well as a refined artist, in his master's latest style. Malvasia was of opinion that he carried the colour of his fleshes, now rather faded, somewhat too high; to others it appeared that he drew the extremities too small in proportion to his figures; while some have remarked a capricious degree of freedom, shewn in sometimes representing his angels at a more advanced age than was customary. All, however, must acknowledge Guidesque beauties apparent in every picture, added to a certain original air of nobility in his heads, and fine effect of his chiaroscuro. His pictures for the most part were painted for the ornament of cabinets, such as are seen in the ducal gallery at Modena, and in private houses. There is his Lucretia in the Casa Isolani, and his magnificent David, which is esteemed one of the noblest pieces, in possession of the princes Colonna; two pictures abundantly repeated both in the Bolognese and Roman Schools, and of which, indeed, I