Subsequent to the above two artists, we meet with the name of Francesco Zucco, a good pupil of the Campi at Verona, and of Moroni at Bergamo. From this last he acquired the art of giving a singular degree of spirit to his portraits, and from Paul Veronese the mode of ornamenting them with most taste and fancy. Even in his larger compositions he sometimes adhered so closely to the same artist, that several of them were ascribed even by his fellow citizens to Paul, a circumstance that occurred to his pictures of the Nativity and of an Epiphany, on the organ of San Gottardo. He adopted, moreover, a variety of manners, apparently ambitious of displaying to the public his power of imitating Cavagna or Talpino, as he pleased. Contemporary with these artists, he so far rivalled them, (as in his San Diego at Le Grazie, or in the large altar at the Cappuccine,) as to approve himself worthy of such emulation. In other works he gives us occasion to wish for a better union of his colours, in which he cannot be pronounced equal to the first masters of the school, so admirable in this department. Subsequent to the year 1627, there was no want of artists of ability at Bergamo, among whom we may mention a Fabio di Pietro Ronzelli, whose style, if not sufficiently select and ideal, was at least solid and robust. To his we may add the name of Carlo Ceresa, an artist of much study and research, pleasing in his colouring, and having apparently formed his taste upon the models of the best age, successful in giving ideal beauty to his countenances. The former of these, most probably the son of one Piero, known as a good portrait painter, and respectable in point of composition, painted the Martyrdom of San Alessandro, for the church of Santa Grata, while the latter added the two side pictures without the least traces of mannerism. Contemporary with both these, Domenico Ghislandi distinguished himself as a painter of frescos, more particularly in architecture. He was the father of Fra Vittore, called likewise Frate Paolotto, whom we shall have occasion to mention hereafter. At present it will hardly be desirable that I should extend my remarks to other names scarcely heard of beyond the limits of their native province; though in justice to the city I must observe that in its dearth of native talent, it spared no expense in decorating public places with the works of the best foreign artists, of every country. Ample proofs of this liberality may be seen in the cathedral and the adjacent church of Santa Maria Maggiore. Such are among the advantages enjoyed by cities, which are equally in possession of taste and of riches. But when deficient in either of these, they will be compelled to adopt the plan pursued in rural occupations, where each agriculturist employs the oxen that belong to his own fields.