Next in order to the school of Modena, I rank that of Parma and its state; and I should very gladly have united them together, as other writers have done, if in addition to the distinction of dominions there did not also exist an evident distinction in point of taste. For it appears to me, as I have before had occasion to observe, that in the former of these cities the imitation of Raffaello prevailed; in the second that of Coreggio. This last indeed is the founder of the School of Parma, which preserved a series of disciples for several generations, so strongly attached to his examples as to bestow no attention upon any other model. The situation in which he found the city on his first arrival, is apparent from the ancient figures scattered throughout, which by no means discover a progress in the art of painting equal to that of many other cities in Italy. Not that this arose from any want of acquaintance with the arts of design; for there flourished there as early as the 12th century an artist named Benedetto Antelani, of whom a basso-relievo, representing the Crucifixion of our Lord, is in the cathedral, which, though the production of a rude age, had nothing in sculpture equal to it that I have been able to meet with, until the period of Giovanni Pisano. Respecting the art of painting, the celebrated Father Affò has extracted very interesting notices from published documents and MSS., in order to shew, that before 1233, both figures and historical pieces had been painted in Parma.[11] Upon the completion of the baptismal font, about 1260, that assemblage of paintings was there executed, which may now be regarded as one of the finest remaining monuments of the ancient manner that upper Italy has to boast. The subjects are in the usual taste of those times; the style is less angular and rectilinear than that of the Greek mosaicists; and displays some originality in the draperies, in the ornamental parts, and in the composition. Above all, it shews very skilful mechanism in regard to gilding and colouring, which, notwithstanding the distance of five centuries, retain much of their original strength. Footnote 11: The notices of the artists of Parma communicated by him to the public, are in part contained in the Life of Parmigianino, and partly in a humorous little work, entitled _Il Parmigiano servitor di Piazza_; and some further information on this subject I have myself received from the lips of this learned ecclesiastic.