though the figure of the executioner is in too forced a position. Giulio left many very large histories, such as his Passage of the Red Sea, at S. Vittore, in Milan; and more in Genoa, where Soprani has pointed them out. What is surprising, in so vast a number of his pieces, is the accuracy of his design, the variety of his ideas, and his diligence both in his naked and dressed parts, combined at the same time with a grandeur, which, if I mistake not, he derived from the Caracci. In the Sacristy of S. Maria, at Sarono, is his picture of Saints Andrea, Carlo, and Ambrogio, displaying the most dignified character of their school; if, indeed, we are not to suppose, that in common with the Caracci, he acquired it from those magnificent models of the art at Parma. To these two may be added Carlantonio Procaccini, not as a figure, but a good landscape painter, and a tolerable hand in drawing fruits and flowers. He produced a variety of pieces for the Milanese gallery, which happening to please the court, then one of the branches of Spain, he had frequent commissions from that country, insomuch that he rose, though the weakest of the family, into the highest repute. The Procaccini opened school at Milan, where they obtained the reputation of kind and able masters, educating, both for the city and state, so great a number of artists, that it would be neither possible nor useful to comprise them all in a history. They could boast among them some inventors of a new style, the same as the disciples of the Caracci; though most of them aimed at observing the manner of their masters; some maintaining it by their accuracy, and others injuring it by their over haste. We reserve the series of them, however, to the last epoch, in order not to disperse the same school through different parts. The last of the foreigners who then gave instructions at Milan, was Panfilo Nuvolone, a noble Cremonese, of whose style we treated at length in the list of the Cav. Trotti's disciples. He was a diligent rather than an imaginative artist, and produced no works of any extent at Milan, except for the nunneries of Saints Domenico and Lazzaro, where he painted in the ceiling the history of Lazarus and the Rich Man, with true pictoric splendour; which is no less apparent in his Assumption of the Virgin, in the cupola of the Passione. In his altar-pieces, and histories executed for the ducal gallery at Parma, he aimed rather at perfecting than at multiplying his figures. He instructed his four sons, two of whom are unknown in the history of the art, and the two others are frequently mentioned by different illustrators of the paintings of Milan, of Piacenza, of Parma, and of Brescia; where they are also surnamed, from their father, the Panfili. We shall, however, treat of them more particularly in the age during which they flourished.