We ought here to add the name of Federigo Zuccari, an artist invited by the Card. Federigo Borromeo to take up his residence at Milan, where, as well as at Pavia, he painted, as we have mentioned, (at p. 139, vol. ii). I am indebted to the polite and kind attention of Sig. Bernardo Gattoni, chaplain and rector of the other Borromean college at Pavia, for correcting an error into which I had fallen, from following the local tradition rather than the written authority of the same Zuccheri, in his "Passaggio per l'Italia," a very rare work, and which I had not seen at that time. In it are described the pictures of the Borromean college at Pavia; and it appears, that Zuccari produced no other besides the principal picture, that of S. Carlo, who is seen in the Consistory in the act of receiving the cardinal's hat; the rest being from the hand of Cesare Nebbia, who flourished at the same period. In order to have them retouched at leisure, while they were left to dry, the cardinal Federigo despatched the two artists to visit the sacred mount of Varallo, whence they passed to Arona, and next to the Isola Bella, situated upon the Lago Maggiore, where the cardinal joined them, and where each of them left a work in fresco, upon two pilasters of the chapel at that place. There has since been found in the archives of the college, an original letter of the cardinal, in which he recommends to the then rector, that Nebbia should be received into the college, and the sums of money disbursed to both, entered in the books of account. Proceeding next to those artists who studied at other places, I shall briefly mention Ricci of Novara, with Paroni and Nappi of Milan, not omitting others of the same place, commemorated in the lives of Baglioni. Residing at Rome, they in no way contributed to the fame of their native school, neither by their pupils, nor their example; and even at Rome, they may be said to have added rather to the number of paintings than to the decoration of the city. Ricci was a fresco painter, very well adapted to the hasty temper of Sixtus V., whose works he superintended, and promoted the effeminate taste then so prevalent; he possessed much facility and beauty of forms. Paroni pursued the manner of Caravaggio, but his career was short. Nappi displays great variety; and when he painted in his Lombard manner, such as in his Assumption, at the cloister of the Minerva, with other pieces at the Umiltà, he shewed himself a naturalist far more pleasing than the mannerists of his time.