defects are observable amidst all his beauties; the design in his naked figures is extremely careless; his grace is carried to a degree of affectation, and his more spirited attitudes are violent. But these faults are not wholly attributable to him, inasmuch as he occasionally painted the same work in conjunction with other artists. This occurred in his large picture of the Multiplication of Loaves placed at S. Benedetto, in Mantua, in which, from documents discovered by the Ab. Mari, Girolamo would appear to have been assisted in his labours; there are in it groups of figures, whose beauty would confer credit upon any artist; while, on the other hand, there are faults and imbecilities that must have proceeded from some other pencil. It is true that he has admitted the same in other of his works, and there they are wholly to be ascribed to his haste. We likewise find mention of an Alessandro Mazzuola, son of Girolamo, who painted in the cathedral, in 1571; but he is a weak imitator of the family style; the usual fate of pictoric families, when arrived at the third generation. Such was the state of the art in Parma about the middle of the sixteenth century, at which period the Farnese family acquired dominion there, and greatly contributed to promote the interest of that school. Coreggio's disciples had already produced pupils in their turn; and though it be difficult to ascertain from what school each artist proceeded, it is easy to conjecture, from their respective tastes, that they were all inclined to pursue the career of the two most illustrious masters of the school of Parma; yet Mazzuola was, perhaps, more followed than Coreggio. It is too favourite an opinion, both with dilettanti and artists, that the new style must invariably be the most beautiful; permitting fashion even to corrupt the arts. Parmigianino, perhaps, educated no other pupil besides his cousin; Daniel da Parma had studied also under Coreggio; and Batista Fornari, after acquiring little more than a knowledge of design from Francesco, turned his attention to sculpture, producing, among other fine statues, for the Duke Ottavio Farnese, the Neptune, which is now placed in the royal gardens. The name of Jacopo Bertoia, (often written by mistake Giacinto) has been added by some to this list. He was a good deal employed by the court at Parma and Caprarola; and not very long ago, some of his small paintings were transferred from the palace of the royal garden into the academy. The subjects are fabulous, and both in the figures of his nymphs, and in every thing else, the grace of Francesco is very perceptible. Yet the memorials discovered by P. Affò, do not permit us to name Parmigianino as his master. He was still young in 1573, and Lomazzo, in his "Tempio," calls him the pupil of Ercole Procaccini. He produced many small pictures for private ornament, which were at one time in great repute; nor does Parma possess any large painting by his hand, excepting