Fast. This is an ideal feast of meagre meats, where the sovereigns are seen in different seats (some of them portraits of the age), with lords of rank feasting at a splendid banquet of fish, while the poor are devouring such food as they have, and a greedy man is struggling with a huge mouthful sticking in his throat. The Lord blesses the table, and above is seen the sheet which was shewn in a vision to S. Peter. It is a grand picture, calculated to surprise the eye by the exactness with which the particular parts are copied from nature, and with a delicacy that Girupeno asserts was unequalled even by Lomazzo in the works he executed at Milan. But it is not happy as a whole; the canvass is too full, and there is a mixture of sacred and burlesque subjects, from scripture and from the tavern, that cannot be reconciled or approved. Footnote 57: Can there be any doubt whether he was blind or not, when he wrote the following verses:-- Quindi andai a Piacenza, et ivi fei Nel refetorio di Sant'Agostino La facciata con tal historia pinta. Da lontan evvi Piero in orazione Che vede giù dal ciel un gran lenzuolo Scender pien d'animai piccioli e grandi Onde la Quadragesma fu introdotta, &c. Lomazzo gives the names of two Milanese as his pupils, Cristoforo Ciocca and Ambrogio Figino. He could not long have afforded them his instructions, as at the period when he wrote his treatise, being then blind, they were both still in early youth. He commends them for their portraits, and the first would appear never to have been an able composer, having left, perhaps, no other pieces in public, except his histories of S. Cristoforo, at S. Vittore al Corpo, by no means excellent. Figino succeeded no less admirably in portraits, which he painted also for princes, with high commendation from the Cav. Marino, than in large compositions almost always executed in oil, and more distinguished by the excellence than by the number of the figures. Some of his pictures, as his S. Ambrogio, at S. Austorgio, or his S. Matteo, at S. Raffaello, though presenting few figures, fail not to please by the grandeur of character expressed in the faces of those saints; nor has any other artist of Milan approached in this art nearer to Gaudenzio who left such noble examples in his S. Girolamo and S. Paolo. In works of a larger scale, such as his Assumption at S. Fedele, and the very elegant Concezione at S. Antonio, he also excels. His method is described by his preceptor, in his Treatise, (p. 438). He proposed for his imitation the lights and the accuracy of Leonardo, the dignity of Raffaello, Coreggio's colouring, and the outlines of Michelangiolo. Of the last in particular he was one of the most successful imitators in his designs, which are consequently in the highest repute; but independent of which he is little known, either in collections or in history, further than Milan. This artist must not be mistaken for Girolamo Figino, his