yellows in a picture having been apparently more to his taste. It is the same with other colours, a circumstance I have noticed in some of his contemporaries, both of Brescia and Bergamo. Vasari, who has recorded his name, along with that of many other Brescian artists, in his life of Carpi, commends him for his skill in imitating every kind of velvet, satin, or other cloth, either of gold or silver; but as he did not see, or failed to commemorate, some of his choicest works, he has by no means done justice to his character. Moretto produced some works in fresco, though, if I mistake not, he coloured better in oils; as is the case where diligence and depth of parts are not equally matched with pictorial rapidity and fire. He employed himself a good deal in his native province and the adjacent parts, in general distinguishing himself more by his delicacy than by his grandeur of hand. A fine specimen of this last, however, may be seen in his terrific picture of Elias, placed in the old cathedral. He was intimate with all the best methods of his art; but he did not always care to practise them. His picture of S. Lucia, in the church of S. Clemente, is not so much studied as that of S. Catherine, and even this yields to his painting of the great altar, representing our Lady in the air, with the titular and other saints seen below. The composition is conducted in every part with exquisite taste, and the piece is considered one of the best the city has to boast. An altarpiece, consisting of various saints at S. Andrea, in Bergamo, another at S. Giorgio, in Verona, with the Fall of S. Paul, at Milan, with which last he appears to have been so much pleased, as to subscribe, which was very unusual with him, his name--are all likewise of the most finished composition. He was esteemed excellent in portrait, and educated for this branch of art Gio. Batista Moroni.