There are two other pictures of his, mentioned by the Cavalier Mengs, which may be referred to the same class. One of them is the "_Noli me tangere_," in the Casa Ercolani, but which subsequently passed into the Escurial; the other a picture of the Virgin in the act of adoring the Divine Infant, which adorns the royal gallery in Florence; both of which he declares are in a taste which he failed to discover in the most sublime and celebrated pictures of Coreggio. To these we may add the Marsyas of the Marchesi Litta, at Milan, with a few other works of Coreggio's, inserted in the catalogue of Tiraboschi, which is the most copious extant. From such evidence it must, in short, be admitted, that this artist was possessed of a sort of middle style, between that which he formed as a scholar and that which he completed as a master. And we have equal reason for believing what has been stated respecting Coreggio's having attempted a variety of styles, before he made choice of the one by which he so greatly distinguished himself, and thus laid the foundation for his pieces being attributed, as they have been, to different masters. In fact, his conceptions of the beautiful and the perfect were deduced in part from other artists, and in part created by himself; conceptions that could not be matured without much time and labour; on which account he was compelled, as it were, to imitate those natural philosophers who try an infinite number of different experiments to discover some single truth which they have in view.