The two series which we have hitherto described have gradually brought us towards the seventeenth century, when there scarcely remained a trace either of the Vinci or Gaudenzio manner. This arose from their latest successors, who adopted, more or less, those new manners which were gradually introduced into Milan at the expense of the ancient style. As early as the time of Gaudenzio appeared in that city the Coronation of Thorns, painted by Titian, which was so greatly admired that several of his pupils came to establish themselves there, besides other foreigners. Some unfortunate circumstances also occurred; particularly the plague, which more than once, in the same century, desolated the state, and which, sweeping off native artists, opened the way to strangers who succeeded to their commissions. Hence Lomazzo, at the close of his Tempio, only commends three among the Milanese figure-painters, who then flourished, Luini, Gnocchi, and Duchino, the rest being all foreigners. The attachment shewn by several noble families to the arts, conduced to invite them thither, and in particular that of the Borromea, which presented to the archiepiscopal seat of their country two distinguished prelates, cardinal Carlo, who added to the number of saints at the altar, and Federigo, who nearly attained the same honours. Both were inspired by the same spirit of religion; they were simple in private, but splendid and liberal in public. Out of their economy they clothed and fed numbers of citizens, and promoted the dignity of the sanctuary, and of their country. They erected and restored many noble edifices, and decorated with paintings a far greater number both in and beyond the city, insomuch as to make it observed that Milan was no less indebted to the Borromei than Florence to her Medici, or Mantua to her Gonzaghi. The Car. Federigo, who received his education first at Bologna, then at Rome, not only possessed a decided inclination but a taste for the fine arts; and he also enjoyed a longer and more tranquil pontificate than Carlo, so as to enable him to afford them superior patronage. Not satisfied with employing the ablest architects, sculptors, and painters in public works, he rekindled, as it were, the spark that yet survived of Vinci's academy, instituting, with much care and expense, a new academy of the fine arts. He provided it with schools, with casts, and a very choice picture gallery,[58] for the benefit of the young students, taking advantage of the plan and rules of the Roman academy, founded a few years before, with his co-operation. The grand colossal figure of S. Carlo reflects equal honour on the new school and on its founder, being executed in bronze from the design of Cerani, and exhibited at Arona, the place where the saint was born; a statue fourteen times the height of the human figure, and vieing with the grandest productions of Greek or Egyptian statuary. In painting,