the people, in order that with uplifted fingers he may bestow his blessings upon them. Judged by the spirit of Roman Catholic mythology, this is a very happy idea, which has often been repeated.
Guercino is an intrinsically bold, masculine, sensible painter, without roughness. On the contrary, his pieces possess a certain tender moral grace, a reposeful freedom and grandeur, but, with all that, a certain mannerism, so that, when the eye once has grown accustomed to it, it is impossible to mistake a piece of his hand. The lightness, cleanness, and finish of his touch are perfectly astonishing. For his draperies he is particularly fond of a beautiful brownish red blend of colours. These harmonise very well with the blue which he is fond of combining with them.
The subjects of the other paintings are more or less unhappily chosen. The good artist has strained all his powers, but his invention and execution alike are thrown away and wasted. However, I derived both entertainment and profit from the view of this cycle of art, although such a hasty and rapid glance as I could alone bestow upon them affords but little of either gratification or instruction.
Bologna, Oct. 18, 1786.
Night.Yesterday I started very early, before daybreak, from Cento, and arrived here in pretty good time. A brisk and well-educated cicerone, having learned that I did not intend to make a long stay here, hurried me through all the streets, and into so many palaces and churches, that I had scarcely time to set down in my note-book the names of them; and I hardly know if hereafter, when I shall look again at these scrawls, I shall be able to call to mind all the particulars. I will now, however, mention a couple or so of objects which stand out bright and clear enough, as they afforded me a real gratification at the time.
