Girolamo Muziano acquired the art of design from Romanino, and taking his style of colouring from the works of Titian, he subsequently flourished at Rome, in which school he has been already mentioned. In this place we must include Lattanzio Gambara, the pupil and companion of Romanino, as well as his son-in-law, at least if we are to credit Ridolfi and other writers, in this last point sanctioned by the popular tradition of Brescia. Vasari alone, who resided in his house only a short time before he gave some account of him, observes that he was son-in-law to Bonvicino, a point in which his memory, doubtless, betrayed him. Lattanzio was not inferior to his master in spirit, and, at the same time, better instructed in the rules of the art, and more learned. Having attended the academy of Campi, in Cremona, until his eighteenth year, and cultivated an acquaintance with the best foreign masters that he always retained, he added to this knowledge all the richest and most tasteful colours of the Venetian School. Like Pordenone, he employed his talents, for the most part, in frescos, which are still to be seen at Venice, as well as within and without the confines of the state. His manner, however, was less strong and shaded, but in other points much resembling him in the beauty and variety of his forms, variously coloured according to his subjects; in his knowledge of anatomy, without affectation, spirited attitudes, difficult foreshortenings; in a relief that deceives the eye, and in novelty and play of invention. To these we may add even a greater propriety of ideas, and sweetness of tints, acquired from other schools; Lattanzio having studied Giulio Romano at Mantua, and Coreggio in Parma. In the Corso de' Ramai, at Brescia, there yet remain three façades, adorned with various histories and fables, truly beautiful, executed by his hand. They are not, however, so imposing as some of his scriptural pieces, to be seen in still better preservation in the cloister of S. Euphemia, engravings of which have been promised to the public. The spectator often recurs to them, and always with fresh pleasure. When for want of space the figures could not be put in an upright posture, he foreshortened them with admirable nature and facility, so that no other attitudes could be imagined so becoming to each figure. Professors have detected some degree of imperfection in the naked parts, very common, indeed, to the most celebrated painters of frescos; but it is such as cannot be perceived at a distance, or if seen, resembles only some false quantity in a good poet, easily to be pardoned in the number of poetical beauties with which his verses abound. He painted still more copious histories for the cathedral at Parma, containing, perhaps, his greatest and most studied production, and which fails not to please, even in the presence of those of Coreggio. There are several altarpieces likewise in oil at San Benedetto, in Mantua, all of which are not equally happy. A