It is at once great, noble, and dignified; not abounding in figures, but rendering a few capable of filling a large canvass, as we may observe in his S. Rocco, at San Petronio, in Bologna; or in his Moses, at the Steccata of Parma, so celebrated a specimen of chiaroscuro. The prevailing character, however, in which this artist so greatly shone, was grace of manner; a grace which won for him at Rome that most flattering of all eulogies, that the spirit of Raffaello had passed into Parmigianino. Among his designs are to be seen repeated specimens of the same figure, drawn for the purpose of reaching the highest degree of grace, in the person, in the attitudes, and in the lightness of his drapery, in which he is admirable. It is the opinion of Algarotti, that he sometimes carried his heads to an extreme, so as to border upon effeminacy; a judgment analogous to the previous observation of Agostino Caracci, that he could wish a painter to have a little of Parmigianino's grace; not all, because he conceived that he had too much. In the opinion of others, his excessive study of what was graceful led him sometimes to select proportions somewhat too long, no less in respect to stature than in the fingers and the neck, as we may observe in his celebrated Madonna, at the Pitti Palace, which, from this defect, obtained the appellation of _collo lungo_, or long neck;[26] but it boasted likewise of its advocates. His colouring, also, evidently aims at grace, and for the most part is preserved moderate, discreet, and well tempered, as if the artist feared, by too much brilliancy, to offend the eye; which, both in drawings and paintings, is apt to diminish grace. If we admit Albano as a good judge, Parmigianino was not very studious of expression, in which he has left few examples; if, indeed, we are not to consider the grace that animates his cherubs and other delicate figures, as meriting the name of expression, or if that term apply only to the passions, as very abundantly supplying its place. It is, in truth, on account of this rare exhibition of grace, that every thing is pardoned, and that in him defects themselves appear meritorious. Footnote 26: He might have pleaded the example of the ancients, who in their draped statues, observed similar proportions, in order to avoid falling into vulgarity. The length of the fingers was rather subject of praise, as is noticed by the commentators on Catullus. (See his 44th Ode.) A long neck in virgins is inculcated by Malvasia, as a precept of the art, (tom. i. p. 303); and the Can. Lazzarini drew his Madonnas according to this rule. These observations are all intended to be applied with that judgment, which, in every art, is not presumed to be taught, but understood.