Indeed after his return to the art, and particularly after the death of Pantaleo, who had assiduously assisted him in every work, Lazzaro was only memorable for the extreme protraction of his life, which extended to 105 years. Footnote 66: This work is extolled by Lomazzo as one of the best of Lazzaro; it is classed with the Triumphs of Giulio Romano, Polidoro, and other eminent artists, in the _Trattato della Pittura_, p. 398. Of the two Semini, Andrea and Ottavio, it is not ascertained that they had in Genoa any other master than their father Antonio; but after the example of their father, they deferred much to Perino, as did also Luca their contemporary. In confirmation of which it is said, that Perino having found them engaged with a print of Titian, and hearing them remarking on some incorrectness in the drawing, reproved them by observing, that in the works of the great masters we ought to pass over their faults and extol their excellence. But the two brothers, enchanted by the style of Raffaello, became ambitious of drinking at the fountain of the art, and, repairing to Rome, applied themselves to the diligent study of the works of that master, and the remains of antiquity, particularly the Trajan column. They were afterwards employed both at Genoa and in Milan, where they painted many works, both in conjunction and separately, all in the Roman style, particularly in their early career. Andrea discovered less talent than Ottavio; and was, perhaps, more tenacious than he in his imitation of Raffaello, especially in the contours of his faces. He sometimes wants delicacy, as in a crucifixion lately come into the possession of the Duke of Tuscany; and sometimes correctness, as in the Presepio, in the church of St. Francis in Genoa, which is in other respects very Raffaellesque, and may be reckoned among his best works. Ottavio, an unprincipled man, was an eminent artist, and succeeded so well in the imitation of his master, as is scarcely credible to those who have not seen his works. He painted the façade of the palace Doria, now Invrea, and there displayed so fine a taste in the architecture, and decorated it with busts and figures of such relief, and particularly with a Rape of the Sabines, that Giulio Cesare Procaccini took it for a performance of Raffaello, and asked if that great master had left any other works in Genoa. Of equal merit, or nearly so, were many of his frescos, painted for the nobility, until, as is often the case with fresco painters, he ended his career in a freer but less finished style. Of these latter he left many specimens at Milan, where he passed the latter years of his life. In that city the entire decoration of the chapel of S. Girolamo at S. Angelo is painted by him, the chief composition of which is the funeral group which accompanies the saint to the sepulchre. It possesses, if not a noble design, yet great fertility of invention, great