Hitherto I have treated of the manner of Antonio, and in so doing have described the manner of his school; not, indeed, that any single artist at all equalled or approached him, but that all held very nearly the same maxims, mixed, in some instances, with different styles. The prevailing character of the school of Parma, by way of distinction likewise called the Lombard school, is the excellence of its shortenings, like the delineation of the nerves and muscles in that of Florence. Nor is it any reproach that its artists, in some instances, have become extravagant and affected in their foreshortening, as the Florentines in their representations of the naked limbs: to imitate well is in all places a difficult art. Its character may further be said to consist in a fine study of the chiaroscuro and of draperies, rather than of the human figure, in which few artists of the school can boast much excellence. Their contours are broad, their countenances selected rather from among the people, than of an ideal cast, being well rounded, high coloured, and exhibiting those features and that joyousness esteemed so original in Coreggio, as it has been well remarked by a professor long resident in Parma. There we have reason to believe that our artist instructed more pupils than have been recorded by Vasari, to whose observations and opinions much additional matter has been supplied by writers of the present age, though doubts continue to prevail respecting some of his reputed scholars. I shall treat this great master as others have done in regard to Raffaello, comprehending, within the limits of his school, all those assistants and others who, educated in different academies, subsequently attached themselves to his, availing themselves of his instructions and examples.