once so fresh, clear, and beautiful, that we are never weary of contemplating them. In both he has observed the same general composition; the Virgin being represented on high, crowned with a glory, while below her are seen the figures of several saints; but in the second, perhaps, he has employed a greater degree of care. Here he has introduced a splendid variety of shortenings, of attitudes, and of lineaments; and even inserted the city of Bergamo, with some fine architecture in the style of Paul Veronese. The figures are arrayed with extreme care, among which appears a bishop in his sacred paraphernalia, that serves to remind us of Titian himself. His pictures for private ornament are rare and valuable, but not sufficiently known beyond his native province and its vicinity, a circumstance common to many very excellent artists belonging to all our schools. Italy, indeed, is too abundantly supplied with distinguished names to admit of the whole of them being generally known and estimated as they deserve. The style of Enea was not such as to be easily maintained, without consulting the great examples of Raffaello as he had done. His two sons, Francesco and Chiara, although educated by their father, succeeded rather in imitating his studies and his figures, than in thoroughly penetrating into the principles of his art. The fruits, however, of a good education were sufficiently apparent in them; and when placed in competition with some of their contemporaries, they appear, if not very animated, at least very sedulous artists, and greatly exempt from the faults of the mannerists. The city is in possession of many of their public works; in some of the best of which their father is supposed to have afforded them his assistance.