We may here add, as a sort of corollary to the foregoing, the names of some other artists who displayed great merit, though it is uncertain of what school. Such is Gio. Batista Tarillio, by whom there was an altar-piece with the date of 1575, painted for the now suppressed church of S. Martino in Compito. There are some pictures by another native of Milan, named Ranuzio Prata, at Pavia. These I have not seen; they are, however, greatly commended by others. He flourished about 1635. The Novarese also boasted at that period two artists who were brothers, both of whom coloured in pretty good taste. These were Antonio and Gio. Melchiore Tanzi, the former a very able designer, who competed with Carloni at Milan, distinguished himself at Varallo, and painted at S. Gaudenzio di Novara the Battle of Senacherib, a work full of spirit and intelligence. There are likewise other of his works preserved in the galleries of Vienna, of Venice, and of Naples, representing both histories and perspectives; but of his brother there is nothing remaining of any great degree of merit. SCHOOL OF MILAN. EPOCH IV. _The Art continues to decline after the time of Daniele Crespi. A third Academy is founded with a view of improving it._ We now approach the last epoch, which may be truly entitled the decline of this school. I recollect hearing the opinion of a good judge, that Daniele Crespi might be called the last of the Milanese, just as in another sense Cato was pronounced _ultimus Romanorum_. The observation is correct, so far as it applies to certain geniuses superior to the common lot, but false if we should extend it to the exclusion of every artist of merit from the period which it embraces. It would be injustice to the names of Nuvoloni and Cairo, and several others who flourished in an age nearer our own. But in the same way as Cassiodorus and some other writers are insufficient to remove the stain of barbarism from their age, so the artists we treat of cannot redeem theirs from the stigma of its decline. It is the majority which invariably gives a tone to the times; and he who may have seen Milan and its state would be at no loss to remark, that after the introduction of the Procaccini School, design was more than ever neglected, and mechanical practice succeeded to reason and taste. Artists, after the visitation of the plague, had become more rare; and subsequent to the death of the Cardinal Borromeo, in 1631, they became less united, insomuch that the academy founded by him remained closed during twenty years; and if by the exertions of Antonio Busca it was then re-opened, still it never afterwards produced works similar to those of other times. Whether owing to the manner of teaching, to the want of its great patron, or to the abundance of commissions and the kindness of those who gave them, which urged young artists prematurely to make abortive efforts; no school, perhaps, on the