we meet with collections, histories, and ornaments of every kind, so extremely opposite, that not only one part fails to remind us of the other, but sometimes repels it, and seems to complain of its forced and inharmonious union. But we must again turn our attention to Giulio Campi. Footnote 37: We may here correct the mistake of Orlandi, who assigns the death of Galeazzo to the year 1536, and Giulio's birth to 1540, when it is known that he began his labours as early as 1522. It appears then that he laid the foundation of his taste and principles under Giulio Romano. From him he derived the dignity of his design, his knowledge of anatomy, variety and fertility of ideas, magnificence in his architecture, and a general mastery over every subject. To this he added strength when he visited Rome, where he studied Raffaello and the antique, designing with a wonderful degree of accuracy the column of Trajan, universally regarded as a school of the ancients always open to the present day. Either at Mantua or elsewhere he likewise studied Titian, and imitated him in an equal degree with any other foreign artist. In his native state he met with two more models in Pordenone and Soiaro, in whose style, according to Vasari, he exercised himself, before he became acquainted with the works of Giulio. From such preparatory studies, combined with imitating whatever he met with in Raffaello and Coreggio, he acquired that style which is found to partake of the manner of so many different artists. On visiting the church of S. Margherita just alluded to, in company with an able professor of the art, we there noticed several of his heads, each drawn after a different model, insomuch that on viewing the works of this artist we feel inclined to pronounce the same opinion on him, as Algarotti did on the Caracci, that in one of their pictures one kind of taste prevails, and in another an opposite manner. Thus in his S. Girolamo, in the cathedral at Mantua, and in his Pentecost at S. Gismondo in Cremona, we meet with all the strength of Giulio, though his most successful imitation is to be found in the castle of Soragno in the territory of Parma, where he represented the labours of Hercules in a grand hall, which might be pronounced an excellent school for the study of the naked figure. In the larger picture at the church of S. Gismondo, where the duke of Milan is seen with his duchess in the act of being presented by the patron saints to the Holy Virgin, and also in that of saints Pietro and Marcellino at the church bearing their name, Campi displays so much of the Titian manner as to have been mistaken for that artist. One of his Histories of the Passion, in the cathedral, representing Christ before Pilate, was also supposed to be from the hand of Pordenone, though ascertained to be his. Finally in a Holy Family, painted at S. Paolo in Milan, particularly in the figure of the child seen caressing a holy prelate, who stands lost in admiration, we