have seen more copies than even of the celebrated David by Guido Reni. Simone Cantarini da Pesaro became an exact designer under Pandolfi, greatly improved in the school of Claudio Ridolfi, and by incessant study of the Caracci engravings. For colouring he studied the most eminent Venetian artists, and, more than all, the works of Barocci. In one of his Holy Families he shews great resemblance to this last artist, a picture preserved in Casa Olivieri, along with several others, and some portraits, of different taste, but by the same hand. This was caused by the arrival of the grand pictures by Guido, of St. Thomas at Pesaro, and the Nunziata, and the St. Peter, in the adjacent city of Fano, after which he so wholly devoted himself to the new style, as to induce him to emulate, and, if possible, to attempt to surpass that artist. In the same chapel where Guido placed his picture of St. Peter receiving the Keys, Simone displayed his miracle of the Saint at the Porta Speciosa, where he so nearly resembled, as to appear Guido himself; and even in Malvasia's time, foreigners were unable to detect any difference of hand. It is certain he possessed much of that artist's more powerful manner, which is shewn in his principal picture; the heads very beautiful and varied, the composition natural; fine play of light and shade, except that the chief figure of his history is too much involved in the latter. The better to approach his prototype, Simone proceeded to Bologna, and became Guido's disciple, affecting at first much humility and deference, while he artfully concealed the extent of his own skill. Then gradually developing it, he soon rose in high esteem, no less with his master than the whole city, aided as he was by his singular talent for engraving. Shortly he grew so vain of his own ability, as to presume to censure not only artists of mediocrity, but Domenichino, Albano, and even Guido. To the copies made by the pupils from their master's pieces, he gave bold retouches, and occasionally corrected some inaccuracy in their model, until at length he began to criticise Guido openly, and to provoke his resentment. Owing to such arrogance, and to negligence in executing his commissions, he fell in public esteem, left Bologna for some time, and remained like a refugee at Rome. Here he studied from Raffaello, and from the antique, then returned and taught at Bologna, whence he passed into the Duke of Mantua's service. Still to whatever country he transferred his talents, he was accompanied by the same malignant disposition; a great boaster, and a despiser of all other artists, not even sparing Giulio and Raffaello, insomuch that the works could not be so greatly esteemed as the man was detested. Incurring also the duke's displeasure, and not succeeding in his portrait, his pride was so far mortified as to throw him ill, and passing to Verona, he there died, aged 36, in 1648, not without suspicion