groups, with a pleasing retrocession of the pilasters, which serve to mark the place, united to a harmony that attracts the eye. He had a pupil named Agostin da Milano, well skilled in foreshortening, and who painted at the Carmine a piece that Lomazzo proposes, along with the cupola of Coreggio at the cathedral of Parma, as a model of excellence in its kind. His name is made very clear in the index of Lomazzo, as follows:--_Agostino di Bramantino of Milan, a painter and disciple of the same Bramantino._ I cannot imagine how such a circumstance escaped the notice of Sig. Pagave, and how he was led to present us with that more ancient Agostino Bramantino, (so called from his family name, not from that of his master) whose existence we have shewn to have been ideal, wholly arising out of a mistake of Vasari. The one here mentioned was real, though his name is so little known at Milan, as to lead us to suppose he must have passed much of his time in foreign parts. And we are even authorized to conjecture that he may be the same _Agostino delle Prospettive_ whom we meet with in Bologna, in 1525. All the circumstances are so strong, that in a matter of justice, they would have proved sufficient to establish his identity; his name of Agostino, his age, suitable to the preceptorship of Suardi, his excellence in the art, which procured for him his surname, and the silence of Malvasia, who could not be ignorant of him, but who, because he was drawing up a history of the Bolognese School only, omitted to mention him. There were other artists about 1500, who, as it is said, following Foppa, painted in the style which we now call antico moderno. Ambrogio Borgognone represented at S. Simpliciano the histories of S. Sisinio and some accompanying martyrs, which adorn one of the cloisters. The thinness of the legs, and some other remains of his early education, are not so displeasing in this work, as we find its accurate study, and the natural manner in which it is conducted, calculated to please. The beauty of his youthful heads, variety of countenance, simplicity of drapery, and the customs of those times, faithfully portrayed in the ecclesiastical paraphernalia, and mode of living, together with a certain uncommon grace of expression, not met with in this or any other school, are sufficient to attract attention.