heretics, appears conspicuous on high, a piece that adorns the church of the Domenicans. Santo Prunato was instructed by these two professors, an artist who brought the Veronese School into fresh notice, as we shall have occasion to observe in the following period. The school of Moretto continued during this epoch to flourish in Brescia; _a master exquisitely delicate in his colours, and extremely diligent, as is evident from his works_. Such is the opinion expressed by Vasari; but he did not always preserve the same excellence. There is not the same degree of finish in his disciples, and it was, indeed, too difficult, while so large a portion of the state put a high value upon celerity of hand, to pursue more tedious processes. The Brescian artists who succeeded him, having in part received a Venetian education, the city abounded in mannerists and the class of _tenebrosi_. Still there appeared among these some excellent painters. Antonio Gandini and Pietro Moroni, or Maroni, are enumerated among the pupils of Paul. The former sometimes imitated Vanni, without neglecting Palma; vast, varied, and ornate in his compositions, an artist every way deserving of consideration in the grand history of the Cross, which he painted in the old cathedral, where his son Bernardino, a poor imitator of his father, also employed himself. Moroni studied a good deal the works of Titian, and was one of the most accurate and fine designers the school could, at that time, boast; nor does he yield to any of his contemporaries in the strong body, and in the clearness of his colouring. Such at least he appeared to me at San Barnaba, in his picture of Christ going to Mount Calvary, when compared with other productions of the same period exhibited there. Filippo Zanimberti, pupil to Peranda, and an artist of fine character, and a fine hand, as well as a very natural colourist, has never been sufficiently appreciated in Brescia. But in Venice, where he resided many years, and where he painted with real genius and skill for different churches, he is very highly esteemed. In Santa Maria Nuova appears his grand picture of the Manna, so much commended by Ridolfi, by Boschini, and by Zanetti; though he chiefly seems to have employed himself in the ornament of palaces. He possessed singular talent for drawing small figures, and composing fables and histories, which were eagerly sought after, insomuch that the poet of the Venetian paintings affirms that whoever possessed Zanimberti's pictures, was sure of his money.