excellent imitator of Prete the Genoese, and afterwards of Titian though occasionally, owing to an excessive attention to the chiaroscuro, he deviated too much from the right path. We are informed by Boschini that he travelled for the purpose of observing other schools, and that on returning to Venice, he still continued to rise in the estimation of the Venetians. A Madonna from his hand is to be seen at the great altar of the Carmini in that city; and in Padua, his Pietà, placed at San Tommaso Cantuariense. I conclude this list with one Matteo, a Florentine artist, not commemorated in his own state, from the circumstance of having resided abroad; better known by the name of Matteo da' Pitocchi. He displayed most talent in his representation of Mendicants, heads of which class are to be met with in Venice, in Verona, in Vicenza, and elsewhere, as well as several burlesques and other fanciful pieces, in the galleries of many Italian nobles. He painted likewise for churches, more particularly in Padua, where he most probably died; and the Serviti are in possession of some on a larger scale, designed in the character of a mere naturalist. These names we trust will be found sufficient, however various and unequal both in point of style and merit, as affording examples of the taste of that age. But inasmuch as it is difficult, as I have before observed, for an entire age to become wholly corrupt, so among the mannerists, who mark the character of this epoch, there nourished some good imitators of Titian, of Paul Veronese, and of Raffaello himself, both in the capital and its adjacent provinces. In the last, indeed, they were more numerous, because the artists of the terra firma did not so greatly abound in those masterpieces of the art, of which the Venetians themselves were enabled so easily to become the plagiarists, to the serious deterioration of the art. In the first rank then of supporters of the solid style, I must mention Giovan Contarino, who flourished in the time of Palma, a companion of Malombra, and an exact imitator of Titian's method. He did not always succeed in improving and embellishing the nature which he copied, though, at the same time, he displayed a soundness of taste that was truly that of Titian. He shewed exquisite skill in his foreshortening from above (di sotto in sù), and in the church of San Francesco di Paola, he exhibited a Resurrection in the entablature, or ceiling, along with other mysteries and figures, so beautifully coloured, so distinct, and so finely expressed, as to be considered some of the most perfect of which the city can boast. He employed himself much for collections, even extending to Germany, by which he obtained from the Emperor Rodolph II., the collar of the order of cavaliers. His favourite subjects were such as he drew from mythology, being possessed of sufficient learning to treat them with classic propriety, and of these, in the Barbarigo collection, I saw a considerable number.