zecchins, besides his subsistence during six months he was employed on it; and thus, in equal proportion, we may suppose him to have been recompensed for the time bestowed upon his lesser pieces. The two which he painted for the Duke of Mantua we may reckon at something more; but these were the only ones he produced at the request of sovereigns. Thus much being certain, it is hardly credible, that after deducting the expense of colours, of models, and of assistants, including the maintenance of his family, there should still have remained enough to leave that family in a state of affluence. Footnote 12: In the opening of the Life we find--"He was of a very timid disposition, and with extreme inconvenience devoted himself to incessant labour in order to provide for a numerous family." Towards the conclusion he adds--"Like those who have a numerous family, Antonio was desirous," (he had four sons,) "of hoarding his money, and thus soon became one of the most miserable of men." Elsewhere it is observed--"He held himself in slight esteem, and was satisfied with little." Footnote 13: "It almost drives me mad with grief to think of the wretchedness of poor Antonio; to think that so great a man, if he were not an angel in human shape, should be thus lost in a country which could not appreciate him, and though with a reputation reaching to the skies, destined to die in such a place so unhappily." In a letter to Lodovico, written from Parma, 1580, (Malvas. vol. i. p. 366). Annibal likewise exaggerated, because the Padri Benedettini, as well as others, were aware of the value of Antonio. But although we admit the reality of his supposed indigence, it can form no reproach, no drawback upon the excellences of so great a man, crowning him rather with additional honour, in particular when we reflect, that with such limited means he was invariably lavish of his colours, to a degree beyond example. There is not a single specimen, whether executed on copper, on panels, or on canvass, always sufficiently choice, that does not display a profusion of materials, of ultramarine, the finest lake and green, with a strong body, and repeated retouches; yet for the most part laid on without ever removing his hand from the easel before the work was completed. In short he spared neither time nor expense, contrary to the custom of all other painters, with very few exceptions. Such liberality, calculated to do honour to a rich amateur, painting for amusement, is infinitely more commendable in an artist of such circumscribed resources. It displays, in my opinion, all the grandeur of character that was supposed to animate the breast of a Spartan. And this we would advance, no less in reply to Vasari, who cast undue reflections upon Coreggio's economy, than as an example for such young artists as may be desirous of nourishing sentiments worthy of the noble profession they embrace.