travellers, he at the same time loses a portion of his consequence at the side of Caracci, who, by the novelty of his ideas, the natural expression of his countenances, of his attitudes, and of his symbols, especially in those angels opposed to the more common conceptions of his rival, makes the monotony and weakness of Procaccini the more remarkable. Caracci's superior dignity, likewise, in his figures of the patriarchs, throws that of Camillo's Divinity into the shade. They also executed some histories of the Madonna, placed opposite each other; and almost bearing the same proportion as we have already mentioned. But as the Caracci were few, Procaccini for the most part triumphed over his competitors. He is even now well received in the collections of the great, and our own prince has recently obtained one of his Assumptions, with Apostles surrounding the tomb of Jesus, a picture full of variety, and in a grand manner. Giulio Cesare, the best of the Procaccini, at first devoted himself to sculpture with success, subsequently attaching himself to painting, as to a less laborious and more pleasing art. He frequented the Caracci Academy at Bologna; and it is said, that taking offence at some satirical observations of Annibal's, he struck, and even wounded him. His French biographer states Giulio's birth to have occurred in 1548, though he postpones this quarrel until 1609, in which year the Procaccini established themselves at Milan. It must have occurred, however, much earlier, as in 1609 Giulio was a renowned painter, while Annibal was in his decline. Giulio Cesare's studies were directed to the models of Coreggio, and it is the opinion of many, that no one approached nearer to the grand style of that artist. In his small pictures, with few figures, in which imitation is more easy, he has often been mistaken for his original, though his elegance cannot boast the same clear and native tone, nor his colours the same rich and vigorous handling. One of his Madonnas, at S. Luigi de' Francesi, at Rome, was, in fact, engraved not long since for a work of Allegri, by an excellent artist; and there are other equally fine imitations at the Sanvitali Palace, in Parma; in that of the Careghi, in Genoa, and other places. Among his numerous altar-pieces, the one I have seen, which displays most of the Coreggio manner, is at S. Afra, in Brescia. It represents the Virgin and Child, surrounded with some figures of Angels and Saints, which are seen gazing and smiling upon him. He has perhaps, indeed, gone somewhat beyond the limits of propriety, in order to attain more grace, which is the case with his Nunziata, at S. Antonio, in Milan; in which the Holy Virgin and Angel are seen smiling at each other; a circumstance hardly compatible either with the time or the mystery. In his attitudes, also, he was occasionally guilty of extravagance, as in his Martyrdom of S. Nazario, in the church of that name, a picture attractive by its harmony and its grace,