During a progress thus gradually pursued, and by an artist who in every new production succeeded in surpassing himself, it is difficult to fix the precise epoch of his new style. I once saw in Rome a very beautiful little picture, representing, in the background, the taking of Christ in the garden; and in the fore part, the youth Joseph, who, in the act of flying, leaves his mantle behind him; the original of which is in England, and a duplicate at Milan, in possession of Count de Keweniller; the picture at Rome bore in ancient character the date of 1505, indisputably false. A more correct one, however, is to be found upon that of the Marriage of St. Catherine, in possession of Count Brull, late prime minister to the king of Poland, which is every way corresponding to the other, remaining at Capo di Monte; it bears the date of 1517. It is probable, that in this year, when the artist was just twenty-three, he had already sufficiently mastered his new style, from the fact of his having about 1518, or 19, produced in Parma the picture which is still in existence at the monastery of St. Paul. This, after various disputes, has recently been acknowledged to be "one of the most grand, spirited, and laboured productions that ever proceeded from that divine hand;" and it has been illustrated with its real epoch, from an excellent little work of the celebrated Padre Affò. Such a work, indeed, confers a benefit upon history. He there explains the manner in which Coreggio might have imitated the ancients with such advantages only as he found in Parma; and endeavours to account for the difficulty presented to us in the silence of Mengs, who, having beheld this very picture, omitted to mention it among Antonio's other works. We are relieved, also, from another difficulty in respect to the manner in which a piece representing the Chase of Diana, abounding with such a variety of loves and cupids, could have been painted for a holy monastery, accompanied by those profane representations distributed throughout the same chamber, in various circular pieces, such as the Graces, the Fates, the Vestals; a naked Juno, suspended from the heavens, in the method described by Homer, in his fifteenth book of the Iliad; with other similar objects, still less becoming the sphere of a cloister. But our wonder will cease when we reflect, that the same place was once the residence of a lady abbess, at a time in which the nuns of S. Paolo lived unguarded by grates; in which every abbess sought to enjoy herself; held jurisdiction over lands and castles, and, independent of the bishop, lived altogether as a secular personage, a license in those days extremely general, as is justly observed by Muratori, in his "Italian Antiquities," tom. iii. p. 332. The above work was a commission given by a Donna Giovanna di Piacenza, who was then the superior of the monastery; and whatever degree of learning we meet with in the painting, and in the devices or conceits, was, most probably,