loss of its great masters, was filled with so great a number of inferior and bad ones. I shall not give much account of them, yet must not omit such names as have attained to some consideration. In general it may be remarked of the artists of this epoch, that though the pupils of different schools, they display a mutual resemblance, as much as if they had been instructed by the same master. They possess no character that strikes the eye, no beauty of proportions, no vivacity of countenance, no grace in their colouring. Their whole composition appears languid, even their imitation of the head of the school does not please, as it is either deficient, or overdone, or falls into insignificance. In their choice of colours we detect a certain resemblance to the Bolognese School, to which their guides were not very much opposed, though we often perceive that sombre cast which then prevailed in nearly all the other schools. To this uniformity of style in Milan, Ercole Procaccini the younger most probably contributed, an artist in whom an unprejudiced critic will be at no loss to detect the character we have described. But in his more studied works, as we find in an Assumption, at S. M. Maggiore, in Bergamo, he exhibits dignity, spirit, and a happy imitation of the Coreggio manner. He received his first instructions from his father Carlantonio, and next from Giulio Cesare, his paternal uncle. It is known that by public report, by his insinuating manners, and by the family reputation, he arrived at a degree of consideration beyond his merit, and lived till he reached the age of eighty. Hence he induced many to follow his maxims, and the more as he kept an open academy for the study of the naked figure at his own house, and succeeded his uncles in their instructions; equal to them perhaps in rapidity, but not so well grounded in the art. He painted much; and in the best collections in Milan, if he is not in as much request as many others, he yet maintains his place.