Surviving the whole of these, and almost all the Caliari family, we meet with the name of Paolo Farinato, as grand an artist perhaps as his namesake was beautiful. After leaving the school of Giolfino, he is supposed to have studied the works of Titian and Giorgione, at Venice; and if we may judge also from his style, he must have received the instructions of Giulio Romano in design; though he made use of the Venetian tints, out of which he formed a system of his own. He survived till his eighty-first year, still preserving his natural good humour; and as is customary with men of so advanced an age, he prided himself upon it, affixing his name to a picture he produced at San Giorgio, placed opposite to one by Felice, stating he had painted it in his seventy-ninth year. It is a representation of the multiplication of loaves in the desert, abounding with very numerous figures, in part portraits of his own family, and in part ideal heads. He is one of the few painters whose merit did not deteriorate in advanced age, for though in some early pieces he betrays a certain dryness of manner, in this last he left nothing imperfect, neither in fulness of contours, in the fancy of his draperies and embellishments, nor in the study of his figures and landscape. His design has been much commended, which was the case with few others of his school; and even in the time of Ridolfi his sketches, the cartoons of his first studies, and his models of figures in wax, were all eagerly sought after for ornamental cabinets. A San Onofrio is pointed out at the church of San Tommaso, in a sitting posture, taken from the celebrated torso di Belvedere; which, as well as many other of his attitudes, and subjects where he introduced naked figures, discovers an acquaintance with the ancient style not common among the Venetians. To his fleshes he gives a bronze colour, which produces a pleasing effect, and harmonizes well with his tints, for the most part sober and even flat in his grounds; giving a repose to the eye which attracts without dazzling it. He is generally esteemed, however, a weak colourist, and better in his frescos than in oil. I know not whether it may be owing to partiality, or to the merit of this great man, but certain it is, that on my quitting Bologna he was the only artist, the whole of whose works I regretted not having seen; so much of all that is rare and beautiful did I meet with in those I saw. More likewise I beheld in Mantua, in San Sisto at Piacenza, in the Ducal Gallery at Modena, in Padua, and other places. I have sometimes observed a kind of snail that Paolo is said to have chosen for his device, remarking that he likewise bore his house upon his head.