entitled to credit, as well because he flourished near the period of which he treats, as because he could hardly be ignorant of a work, which would almost have placed the fame of our Italian on an equality with that of Lysippus.[54] Footnote 52: (Page 329.) The Sig. Baldassare Orsini has likewise inveighed against the inconsiderate retouchings of old paintings, in his _Risposta_, p. 77; where he also alludes to a letter of Hakert's, in defence of varnishes, and to another in reply, in which the use of them is disapproved by force of examples. He moreover cites a Supplementary Letter drawn from the Roman Journal of Fine Arts, for December, 1788. Footnote 53: A number of designs are to be seen in his MS. volumes belonging to the Ambrosian collection. See Mariette's letter, in vol. ii. of Lett. Pittoriche, p. 171; and, also, "Observations upon the Designs of Lionardo," by the Ab. Amoretti, Ed. of Milan, 1784. Footnote 54: It was intended for the equestrian statue of Francesco Sforza, father of Lodovico. The Cav. Fr. Sabba da Castiglione has mentioned in his Ricordi, No. 109, that this very ingenious model, so greatly celebrated in the annals of the arts, which cost Vinci sixteen years to complete, was seen by the writer in 1499, converted into a target for the Gascon bowmen in the service of Louis XII. when he became master of Milan. Of all his labours in Milan, therefore, nothing is better deserving of our notice than the academy which he founded, whose pupils constitute the proudest and most flourishing epoch of this school. They are not all equally well known; and we often find, both in collections and in churches, that pictures are pointed out as being of the school of Vinci, without specifying the particular artists. Their altar-pieces seldom display composition, varying much from that common to other schools of the age; namely, figures of the Virgin with the Infant, upon a throne, surrounded by saints, chiefly in an erect posture, and a few cherubs on the steps. Vinci's disciples, however, if I mistake not, were the first who conferred on their figures some degree of unity in action, so as to give them the appearance of conversing with each other. In the remaining parts, also, they exhibit a pretty uniform taste; they represent the same faces, all somewhat oval, smiling lips, the same manner in their precise and somewhat dry outlines, the same choice of temperate colours, well harmonized, together with the same study of the chiaroscuro, which the less skilful artists overcharge with darkness, while the better ones apply it in moderation.