also his three sons, Camillo, Giulio Cesare, and Carlo Antonio, from which last sprung Ercole the younger; all masters of young Milanese artists, and of whom it will be our business to treat in succession. Camillo is the only one of the three who was known to Lomazzo, who describes him as an artist distinguished both for his design and his colouring. He received his first instructions from his father, and often displays a resemblance in his heads, and in the distribution of his tints; though, where he painted with care, he both warmed and broke them, as well as employed the middle colours, in a superior manner. He studied other schools, and if we are to believe some of his biographers, he practised at Rome from the models of Raffaello and Michelangiolo, besides being passionately devoted to the heads of Parmigianino, an imitation of which is perceptible in all his works. He possessed wonderful facility both in conception and execution; added to nature, beauty, and spirit, always attractive to the eye, though they do not always satisfy the judgment. Nor is this surprising, as he early threw off the reign of paternal instruction, and executed works enough to have employed ten artists, at Bologna, at Ravenna, Reggio, Piacenza, Pavia, and Genoa. He was by many called the Vasari, and the Zuccaro of Lombardy; although to say truth, he surpasses them in sweetness of style and of colours. He was particularly engaged at Milan, a city which boasts some of his best productions, by which he obtained reputation there; and many of his worst, with which he satisfied those who valued his name. Of his earliest works there, and the most free from mannerism, are those adorning the exterior of the organ at the Metropolitana, along with various mysteries of our Lady, and two histories of David playing upon his harp; all described very minutely by Malvasia. But he produced nothing in Milan equal to his Judgment at S. Procol di Reggio, esteemed one of the finest specimens of fresco in all Lombardy; and to his S. Rocco among the sick and dying of the plague, a picture that intimidated Annibal Caracci, when he had to paint a companion for it, (see Malvasia, p. 466). The pictures produced by Camillo, in the cathedral of Piacenza, where the Duke of Parma had placed him in competition with Lodovico Caracci, whose genius was then mature, are well and carefully executed. He there represented our Lady crowned Queen of the Universe by the Almighty, surrounded with a very full choir of Angels, in whose forms he displayed the most finished beauty. It was the part of Lodovico to represent other angels around; and opposite to the Coronation the _Padri del Limbo_. The first occupied the most distinguished place in the tribune; though both then and now he was esteemed by spectators the least worthy of the two. However advantageously he there appears, and entitled to the applause of Girupeno and other historians, as well as