two banners for companies or associations. It is rather, likewise, from a resemblance of style, than upon historical authority, that one Pomponio Amidano has been enumerated among the pupils of Parmigianino. He may be mentioned, however, as one of his most strenuous followers; insomuch as to have had one of his altar-pieces, which adorns the church of Madonna del Quartiere, attributed even by no common artists to the hand of Francesco. It is the most beautiful work of its author that the city of Parma has to boast. The style of this artist is full and noble, were it not, adds the Cav. Ratti, that it is sometimes apt to appear somewhat flat. Pier Antonio Bernabei, called della Casa, does not belong to the school of Parmigianino, but is to be referred to some other assistant or pupil of Coreggio. I cannot account for the slight praise bestowed upon him by Orlandi, when his painting of the cupola at the Madonna del Quartiere is calculated to impress us with the opinion that his powers were equal to those of any artist who then flourished in Lombardy, or even in Italy, as a painter of frescos. He there represented, as was very common upon the cupolas, a Paradise, very full, but without any confusion; with figures in the Coreggio his tints are powerful, and relieved with a force which might be pronounced superfluous in the more distant figures, from a deficiency of the due gradations. This cupola still remains perfectly entire after the lapse of more than two centuries, and is his great masterpiece, though some of his other paintings likewise produce a great effect. Aurelio Barili, and Innocenzio Martini, of Parma, must have enjoyed very considerable reputation in their day, having been employed at S. Giovanni and the Steccata: some specimens of their fresco work are still pointed out, but are cast into the shade by the vicinity of more attractive beauties. About the same period another subject of the same state painted, in his native place of Piacenza. His name was Giulio Mazzoni, at one time pupil to Daniel da Volterra, in the life of whom he is much commended by Vasari. Some figures of the Evangelists still remain in the cathedral by his hand, though the ceiling of S. M. di Campagna, which he adorned with histories, has been renewed by another pencil. He did not acquire a knowledge of foreshortening in the school of Daniello, and here he failed, however respectable in other points. SCHOOL OF PARMA. EPOCH III. _Parmese Pupils of the Caracci, and of other Foreigners, until the period of the Foundation of the Academy._