exquisite degree of taste, peculiarly his own, which renders them valuable in collections. One of his best altar-pieces was painted for S. Benedetto, at the Certosa, in Pavia, a picture now much defaced by time, and there are a few others completed by one of his daughters after his death, who added to them some original pieces of her own. Giovanni Mauro Rovere, an artist who exchanged the manner of Camillo for that of Giulio Cesare, was among the earliest followers of the Procaccini, and might be referred to their epoch from the period in which he flourished, did not his inferior character, arising from too great rapidity of hand, prevent his admission into the same rank. He had all that fire, which, when directed with judgment, is the soul of painting, but when abused destroys the beauty of the art. It was very seldom that he was able to command it, though, in a Supper of our Lord, at S. Angelo, in which he used great care, he obtained corresponding success. He had two brothers, named Giambatista and Marco, who assisted him in his labours both for churches and private houses, both of whom were inaccurate but spirited. They have left works in fresco, besides some histories in oil, perspectives, battle-pieces, and landscapes, to be met with in almost every corner of the city. I find that they were also surnamed Rossetti, and still better known under the name of Fiamminghini, derived from their father Riccardo, who came from Flanders to establish himself at Milan. To these three Rossetti, succeeded the three Santagostini, of whom the first, named Giacomo Antonio, was pupil to Carlo Procaccini. He gave few pieces to the public, though his sons Agostino and Giacinto were more indefatigable, both conjointly, as we may gather from their two grand histories at S. Fedele, and separately. They were distinguished above most of their contemporaries, more especially Agostino. He was the first who wrote a little work upon the paintings of Milan; it was entitled _L'Immortalità e Glorie del Pennello_, and published in 1671. Whatever rank a book with such a title ought to assume among the writers of the age, it is certain that his pictures exhibit him in the light of a good painter for his time, in particular a Holy Family, painted for S. Alessandro, and a few others among the more highly finished, in which he displays expression, beauty, and harmony, although somewhat too minute. The names of Ossana, Bissi, Ciocca, Ciniselli, with others still less celebrated at Milan, I may venture to pass over without much loss to this history.