Finally, after Savoldo, may be placed, among the Brescian disciples of Titian, Pietro Rosa, son of Cristoforo, and nephew to Stefano Rosa, both excellent artists in oil. He was one of those pupils whom Titian, induced by the friendship he bore his father, instructed with most care, and the best success. Hence it is, we trace that clear and true force of colouring, which shines in every one of his pieces. Brescia boasts several, at the church of San Francesco, in the Dome, and at the Grazie, where such as have the fewest figures produce the happiest effect. In his composition he is not so perfect as in other parts, whether it were that he had not naturally the best talent for it, or, as is more probable, that it is a branch of the art most difficult to young practitioners. For he died in the outset of his career, at the same period as his father, in 1576, whether from the plague or from poison is not known. Although Bergamo, at that period, boasted many distinguished imitators of Giorgione, it yet produced an artist, Girolamo Colleoni, who ought to be included in the present list. Some frescos from his hand are found at Bergamo, and an oil painting in the Carrara Gallery. It exhibits the marriage of S. Catherine, which the best judges, on a first view, pronounced to be the work of Titian, till the superscription, with the name of _Hieronymus Colleo, 1555_, vindicated it for his own. This distinguished artist, conscious of his merit, and not finding himself appreciated in his own country, foreign and inferior painters being preferred before him, sought better fortune at the court of Madrid. But before setting out, he painted upon a façade the figure of a horse, of which great encomiums, in different works, are all that remain; and to this he affixed as a motto, _Nemo propheta in patriâ_. He is known to have employed, as an assistant, Filippo Zanchi, who, together with a brother of the name of Francesco, has more recently been brought into view by Count Tassi, besides some others who might here add to the number, but not to the eminence, of so rich a school. An artist celebrated also by Ridolfi, ought not, in this place, to be omitted; the beauty of his tints, the design of his infant figures, and the nature of his landscape, all shewing that he aspired to the Titian manner. He painted in fresco, but possessed an universal genius, as has been pronounced by Muzio, in his "Teatro di Bergamo;" the truth of which more clearly appears from his own works. His name was Giovan-Batista Averara, and he died young about the middle of the most flourishing period of the art. Another artist deserving commemoration is Francesco Terzi, who long resided at the Austrian court, and is distinguished in most of the capitals of Italy for works he has there left. He has been mentioned by Lomazzo, in whose native place are still seen, at San Sempliciano, two noble histories, representing our Lord with his Apostles, somewhat dry