It will here be proper to state that Giulio in imitation of Raffaello gave rise, by the influence of his taste, to a great number of artificers, who ornamented other professions. He was possessed of those general ideas of beauty and proportion, from which he drew his rules for the particular direction of every work; an enviable distinction of that age, in which the leading men were at once painters, modellers, and architects, extending their influence even from the noblest works of art down to vases and plates of earthenware, and cornices of wood. I am not certain whether Giulio, like Raffaello, formed the taste of another Gio. da Udine, in drawing fruits and trees, &c.: but I know that Camillo, a Mantuan, declared by Vasari to be most excellent in point of landscape,[1] flourished about this period. Some specimens in fresco still continue to adorn his native place; but he chiefly produced his works in Venice, in Urbino, and at the ducal palace in Pesaro, where, in a chamber, since changed into an armour-room, he painted a grove, executed with so much taste and truth, that it would not be difficult to number every separate leaf upon the trees. It is certain that Giulio educated a pupil as his Perino, for his stuccos; and this was, besides Primaticcio, a Gio. Batista Briziano, commonly called Mantovano, who likewise became his Marc Antonio, engraving on copper many of the pictures of his master, as well as of other distinguished artists of his day. To him ought to be added Giorgio Ghisi, or Ghigi, who flourished at the same period; and to these succeeded Diana, daughter of Gio. Batista,[2] celebrated for her fine engravings; and this branch of art, introduced into Mantua by that eminent artist, continued to prosper there for a long course of years. Footnote 1: In the _Life of Genga_. Footnote 2: She is also called _Civis Volaterrana_, from her connexion with that city; an instance that ought to be present to our recollection, when we find that different writers ascribe different countries to the same painter.