Of a later date, appeared at Milan the two Semini, from Genoa; both of whom were much employed, and both disciples of the Roman more than any other style. Ottavio, the eldest, instructed Paol Camillo Landriani, called Il Duchino, who was justly praised in the Tempio of Lomazzo as a youth of the greatest promise. He subsequently produced a number of altar-pieces, among which was a Nativity, at S. Ambrogio, in which, to the design and elegance of his master, he unites perhaps a greater degree of softness. The professors hitherto described, do not reach the era of the art's decline, except, possibly, in their extreme old age; insomuch as to be fully worthy of the praise I bestow. The artists, however, who more particularly employed themselves in painting and teaching at Milan during this period, were the Procaccini of Bologna. Though not mentioned by Lomazzo in his Treatise, in the year 1584, they are afterwards, in 1590, recorded with much honour in his Tempio; so that we may infer that they became celebrated during the intervening period at Milan, where they afterwards established themselves in 1609. Ercole is at the head of this family, whom Orlandi, following Malvasia, represents in a military manner, as having lost the field at Bologna, where he could no longer "make head against the Samacchini, the Cesi, the Sabbatini, the Passarotti, the Fontana, the Caracci, though he afterwards encountered the Figini, the Luini, the Cerani, and the Morazzoni, at Milan." I am at a loss how to verify such an assertion. Ercole was born in 1520, as I gathered from a MS. of P. Resta, in the Ambrosian library; and in 1590, when the "Temple of Painting" first issued from the press, he was very old, nor did he ever exhibit any of his pictures in public at Milan, so that Lomazzo ought to have sought subjects for commendation of him from Parma, and more particularly Bologna. Many of his works still remain there, from which we may decide whether Malvasia and Baldinucci had more reason to represent him as an artist of mediocrity, or Lomazzo to entitle him a very successful imitator of the great Coreggio's colouring, as well as of his grace and beauty. In my own opinion he appears somewhat minute in design, and feeble in his colouring, resembling the tone of the Florentines; a thing so common among his contemporaries, that I know not why it should be made a peculiar reproach to him. For the rest he is more pleasing, accurate, and exact, than most artists of his age; and possibly his over diligence acted as an obstacle to him in a city where the rapid Fontana bore the chief sway. But this quality, besides exempting him from the mannerism then beginning to prevail, rendered him an excellent preceptor; whose principal duty is found to consist in checking the impatience of young artists, and accustoming them to precision and delicacy of taste. Thus many excellent pupils sprung from his school, such as Samacchini, Sabbatini, and Bertoia. He instructed