disgusts another, I know not, and every one must judge for himself. For myself, however much disposed I should be to pardon him for many omissions, which in a work like his, are almost unavoidable, still I cannot exculpate him for this total silence. Nor have the writers of Naples ever ceased complaining of this neglect, and some indeed have bitterly inveighed against him and accused him of contributing to the deterioration of taste. So true is it, that an offence against a whole nation is an offence never pardoned. The other imitator, and a favourite of Michelangiolo (but not his scholar, as some have asserted) that painted in Naples, was Marco di Pino, or Marco da Siena, frequently before mentioned by us. He appears to have arrived in Naples after the year 1560. He was well received in that city, and had some privileges conferred on him; nor did the circumstance of his being a stranger create towards him any feeling of jealousy on the part of the Neapolitans, who are naturally hospitable to strangers of good character; and he is described by all as a sincere, affable, and respectable man. He enjoyed in Naples the first reputation, and was often employed in works of consequence in some of the greater churches of the city, and in others of the kingdom at large. He repeated on several occasions the Deposition from the Cross, which he painted at Rome, but with many variations, and the one the most esteemed was that which he placed in S. Giovanni de' Fiorentini, in 1577. The Circumcision in the Gesù Vecchio, where Parrino traces the portrait of the artist and his wife,[110] the adoration of the Magi at S. Severino, and others of his works, contain views of buildings, not unworthy of him, as he was an eminent architect, and also a good writer on that art. Of his merit as a painter, I believe I do not err, when I say that among the followers of Michelangiolo, there is none whose design is less extravagant and whose colour is more vigorous. He is not however, always equal. In the church of S. Severino, where he painted four pictures, the Nativity of the Virgin is much inferior to the others. A mannered style was so common in artists of that age, that few were exempt from it. He had many scholars in Naples, but none of the celebrity of Gio. Angelo Criscuolo. This artist was the brother of Gio. Filippo, already mentioned, and exercised the profession of a notary, without relinquishing that of a miniature painter, which he had learnt in his youth. He became desirous of emulating his brother in larger compositions, and under the direction of Marco succeeded in acquiring his style.