Pasquale Ottini, the same who, with Orbetto, completed some pictures by Felice, was a good artist in regard to his forms, and of no common expression, particularly in the works he conducted after having seen Raffaello's. Of this we have a striking specimen in the "Slaughter of the Innocents," placed at San Stefano, although it is subjected to an unfavourable comparison, being placed opposite to one of the finest productions of Orbetto. He appears to more advantage, perhaps, at San Giorgio, where we meet with his picture of San Niccolo, with other saints, in the best Venetian style of colouring; whereas, in other instances, his colours are somewhat languid; a defect most probably arising from time, and unfavourable situations. Finally, he is in high repute in his own country; and in the learned Alessandro Carli's _History of Verona_, he is mentioned as approaching the nearest of all, in point of excellence, to Paul Veronese. Subsequent to him, and not inferior in talent, we meet with Marc Antonio Bassetti, who, leaving his fellow pupils, set out, very young, to complete his studies at Venice. After again joining them, he next transferred his residence to Rome; and having copied from the best models of both schools, he ultimately returned to his native place. He is particularly commended by Ridolfi in the branch of design, in which he was truly great; add to which, he was an excellent colourist. And he was accustomed to advise those who aimed at good colouring to return, in the first place, to Venice, and again to consult the most beautiful productions of the art. There is one of his altarpieces at San Stefano, in Verona, representing various holy bishops of the city, all arrayed in their sacred habits, all admirably contrasted, and in a taste nearly approaching that of Titian, were it not for the vicinity of Turchi, who seems here again to throw him somewhat into the shade. He left no succession of the school,[84] nor, indeed, many works of his own, though they were highly valued. For he was accustomed to say that painting ought not to be pursued by journeymen, like a mechanic art, but with the leisure that is bestowed upon literature, for the sake of the pleasure it affords. It would appear that Dante adopted almost the same maxim in his poetry, when he watched for, observed, and encouraged the impressions that nature, the first guide of all true geniuses, implanted in his spirit.[85] These two friends met their fate together, dying of the plague in the year 1630, as well as many other scholars of Brusasorci, mentioned by the Commendatore del Pozzo. But I omit their names, either because of their early death, or want of talent to distinguish themselves. Thus, about the same year, when Orbetto had already established himself in Rome, the succession of Brusasorci's school ceased in Verona. The disciples of Paul Veronese, mentioned subsequent to him, Montemezzano, Benfatto, Verona, and others, died likewise about this period; insomuch that every