possession of the original; so frequent an occurrence, both now and in other times, with works of art repeated in different places. Besides, the hand of the master is, in itself, nearly enough to pronounce it genuine; we see the remains of a varnish peculiar to the author; a tone of colouring perfectly agreeing with his pictures at Parma; insomuch, that many very experienced judges of art, and among others Gavin Hamilton, whose opinion carries great weight, have united in giving it to Coreggio. At the same time, they admit, that it is a piece partaking of an union of his styles, during the progress of the second; and if we are careful in comparing it with his other representation of the Repose, at S. Sepolcro, in Parma, commonly entitled the Madonna della Scodella, we shall discover much the same difference as between Raffaello's paintings in Città di Castello and those at Rome. Such a distinction was noticed by some very respectable professors, even during the heat of the controversy, who agreed in declaring, that the Medicean picture in part resembled Coreggio in his best manner, and in part differed from it. Footnote 19: These two saints had already been withdrawn from the altar, (Tiraboschi, p. 253,) nor does a copy of them remain at San Francesco. That made by Boulanger is in the convent, and was evidently produced in haste, and upon a bad ground; hence it is neither very exact, nor in good preservation. It is, nevertheless, valuable as throwing light upon Coreggio's history, and his different styles; while it also tends to prove, that if the ancona was made of wood, the picture was made portable, and painted on canvass.