In the church of S. Paolo, at Milan, there is an inscription by Vincenzio Campi, in which he mentions Giulio and Antonio as his younger brothers. Most probably, however, it has been inserted there by some other hand, being quite contradictory to what is established by history. For he is represented by Antonio as the youngest of the brothers, and by others as an indefatigable assistant in their labours, and little more worthy of being compared with them than Francesco Caracci with his brother Annibal or Agostino. His portraits, however, are held in esteem, as well as his fruit pieces, which he painted on a small scale for private rooms in a very natural manner, and they are by no means rare at Cremona. In the colouring of his figures he was equal to his brothers, but in point of invention and design greatly inferior to them. He appears to have imitated Antonio rather than Giulio, as far as we can judge from the few works he has left, which are now known to be his. He painted a few altar-pieces for his native place, four of which consist of Descents from the Cross. That in the cathedral extorted the praise of Baldinucci; and truly in the figure of Christ his foreshortening deceives the eye like that of Pordenone in his Dead Christ, while his heads and his colouring have likewise been commended. I cannot, however, think that the attitude of the Virgin mother, who is seen grasping his face with both her hands, is very becoming; nor do I approve of the saints Antonio and Raimondo, who lived at a period so remote from that of Christ, being here introduced, the one supporting his arm, the other kissing his hand. It moreover betrays several errors, of a kind which Baldinucci, so familiar with a more learned and severe school, would not so easily have forgiven had he happened to have beheld this picture. Vincenzio seems to have possessed greater skill in small than in large figures, in common indeed with a great number of artists. Mention is made in his Life of six little pictures which he executed on slate, and which were sold after his death for three hundred ducats. Zaist, whom I follow in my index, has presented us with the epochs applying to these three artists in such a manner as to leave them in considerable doubt. The inscription at S. Paolo in Milan, recorded in the Guide (p. 152) is as follows:--_Vincentius una cum Julio et Antonio fratribus pinxerunt an._ MDLXXXVIII. Now Bianconi does not seem inclined to credit the authenticity of this; nor is it improbable but it may have been written some years subsequent to the painting, and by another hand.