The remaining portion of our chapter will be devoted almost wholly to the Campi, a family that filled Cremona, Milan, and other cities of the state, both in private and public, with their paintings. They consisted of four individuals, all of whom devoted themselves indefatigably to the art until they reached an extreme old age. They were by some denominated the Vasari and the Zuccari of Lombardy, a comparison founded on some degree of truth in regard to the extent and the vast mechanism of their compositions; but not just, as far as intended to be applied to any desire of achieving much, rather than what was excellent in its kind. Giulio and Bernardino, the most accomplished of their family, were accused of too great rapidity and want of accuracy; but they are not very often liable to the charge, and many of their faults must be ascribed to their assistants. They generally produced good designs, which were invariably well coloured, and these still remain entire, while those of Vasari and Zuccari stand in need of continual restoration and retouching from the fading of their colours. Of both these masters, however, as well as the rest of the Campi, we must now proceed to treat in their individual character. Giulio may be pronounced the Lodovico Caracci of his school. The eldest brother of Antonio and Vincenzo, and the relation, or the instructor at least, of Bernardino, he formed the project of uniting the best qualities of a number of styles in one. His father, who was his first preceptor,[37] not conceiving himself equal to perfecting him in the art, sent him to the school of Giulio Romano, established at that period in Mantua, and which had begun, according to Vasari, to propagate the taste imbibed by its master from the most distinguished ornament of the art. Romano, too, instructed his pupils in the principles of architecture, painting, and modelling, and rendered them capable of directing and conducting all the branches of a vast and multiplied undertaking with their own hands. Such an education was enjoyed by the eldest Campi, and by his brothers, owing to his care. The church of S. Margherita was wholly decorated by him; and the chapels at S. Sigismondo were all completed by him and his family. They contain almost every variety of the art, large pictures, small histories, cameos, stuccos, chiaroscuros, grotesques, festoons of flowers, pilasters, with gold recesses, from which the most graceful forms of cherubs seem to rise with symbols adapted to the saint of the altar; in a word, the whole of the paintings and their decorations are the work of the same genius, and sometimes of the same hand. This adds greatly to their harmony and in consequence to their beauty, nothing in fact being truly beautiful that has not perfect unity. It is a real loss to the arts that these various talents should be divided, so as to compel us to seek a different artist for works of different sorts; whence it arises that in a number of halls and churches