The two Nuvoloni, not long since mentioned, though instructed by their father, may be said, in some way, to belong to the Procaccini. Thus Carlo Francesco, the elder, early adopted the manner of Giulio Cesare; and in Giuseppe we every where trace a composition and colouring derived from that school. The former, however, impelled by his genius, became a follower of Guido, and so far succeeded as to deserve the name, which he still enjoys, of the Guido of Lombardy. He does not abound in figures, but in these he is pleasing and graceful, elegant in his forms and the turn and air of his heads, united to a sweetness and harmony of tints which are seldom met with. I saw one of his heads at S. Vittore, where he drew the Miracle of St. Peter over the Porta Speciosa, and many other pieces at Milan, Parma, Cremona, Piacenza, and Como, in the same excellent taste. This artist was selected to take the portrait of the Queen of Spain when she visited Milan; and there still appear in private houses those of many noble individuals who employed him. The faces of his Madonnas are in high request for collections, one of which is in the possession of the Conti del Verme, displaying all the grace and beauty so peculiar to him, and which he has here perhaps indulged at the expense of that dignity which should never be lost sight of. Orlandi gives an account of his devotional exercises, which he always performed previous to his painting the portraits of the Virgin. I know not what opinion may be formed upon this point, either by his or my readers. For my own part I indulge the same peculiar admiration of this artist in the rank of painters, as I do of Justus Lipsius among literary men, who, though both seculars, always observed great filial piety towards our Holy Lady; a piety that has descended from the earliest fathers of the church, in a regular line, down to the elect of our own times. His younger brother painted on a much larger scale; boasted more pictoric fire and more fancy; but he did not always display equal taste, nor was exempt from harsh and sombre shadows that detract from his worth. He was more indefatigable than Carlo, painting not only for the cities of Lombardy above mentioned, but for the state of Venice, and many churches in Brescia. His pictures at S. Domenico in Cremona, in particular his grand piece of the Dead Man raised by the saint, adorned with beautiful architecture, and animated with the most natural expression, are among some of his best works. They were apparently executed in the vigour of life, inasmuch as there are others bearing traces of infirmity, he having pursued the art until his eightieth year, in which his death occurred.