During the time of Palma and the Venetian mannerists, the art had been maintained in Bergamo by the successors of Lotto, and of his contemporaries. We meet with ample commendations of Gio. Paolo Lolmo, a good artist in diminutive pictures. In the altarpiece of Santi Rocco and Sebastiano at S. Maria Maggiore, and executed about 1587, not one of his earliest pieces, he displayed a great partiality for the design of the fourteenth century; diligent, a minute observer of refinements in figures, though not sufficiently modern. But there were two excellent artists, altogether in the modern style, who flourished at the same period; Salmeggia and Cavagna, who competed with one another in perfect amity, for many years, in ornamenting their native province. One of them died in 1626, the other in the following year. Enea Salmeggia, called Talpino, received instructions in the art from the Campi at Cremona, and from the Procaccini in Milan; whence proceeding to Rome, he studied for a period of fourteen years the models of Raffaello, imitating him during the remainder of his life. Orlandi and other writers join in extolling his San Vittore, at the Olivetani in Milan, as well as a few other of his works, observing that they had been even ascribed to Raffaello. And whoever attentively examines that fine specimen, will not feel inclined to refuse Salmeggia one of the most distinguished places in the rank of Raffaello's followers. The clearness of his contours (sometimes, however, carried to the borders of littleness) the expression of his youthful countenances, the smoothness of his pencil and the flow of his drapery, together with a certain graceful air in the motions and expressions, sufficiently mark him for an admirer of that sovereign master, however much inferior to him in point of dignity, in imitation of the antique, and in felicity of composition. His method of colouring was also different. He affects greater variety of colours in his draperies; the tints in a large portion of his works are at present faded; and the shades as in other pictures of the same period, are much altered. Yet it is probable that this great artist, as it has been observed of Poussin and of Raffaello himself, did not always bestow the same degree of care upon his colouring, satisfied with displaying from time to time his surpassing excellence in this department. In the church of La Passione at Milan, he produced his Christ praying in the Garden, as well as his picture of the Flagellazione, works conducted in his best style. The former of these is finely coloured in the manner of the Bassani; and the latter, of a more lofty and animated character, is superior to the other even in force of colouring. Bergamo boasts other specimens of him, and in particular in the two great altars of Santa Marta and of Santa Grata. There we meet with two noble pictures, each of which may boast its separate admirers who prefer it to the other; and each displays an union of colours, at