Nevertheless this was not the style which he permanently adopted as his own, but as a free imitation of that great master. In the heads of his children and of his female figures, he approaches nearly to him; also in the easy flow of his drapery, in the pure contour, in the mode of foreshortening his figures; but in general his design is not so grand, and his chiaroscuro less ideal; his tints are lucid and well arranged, and bear a resemblance to the beautiful hues of Correggio, but they have neither his strength nor truth. It is however delightful to see the great variety of colours he has employed, so exquisitely blended by his pencil, and there is perhaps no music more finely harmonized to the ear, than his pictures are to the eye. This is in a great measure the effect of the chiaroscuro, to which he paid great attention, and which he was the first to introduce into the schools of Lower Italy. In order to obtain an accurate chiaroscuro, he formed small statues of earthenware, or wax, in which art he did not yield the palm to the most experienced sculptors. In the composition and expression of every figure, he consulted the truth. He made use of models too, in order to obtain the most striking attitudes, and those most consonant to nature; and in every garment, and every fold of it, he did not shew a line that was not to be found in the model. Having made his design, he prepared a cartoon the size of his intended picture, from which he traced the contours on his canvass; he then on a small scale tried the disposition of his colours, and proceeded to the execution of his work. Before colouring, however, he formed his chiaroscuro very accurately after the best ancient masters, (vol. i. p. 187,) of which method he left traces in a Madonna and Saints, which I saw in Rome in the Albani palace, a picture which I imagine the artist was prevented by death from finishing. Another picture unfinished, and on that account very instructive and highly prized, is in possession of the noble family of Graziani in Perugia. To conclude, perfection was his aim in every picture, a maxim which insures excellence to artists of genius.