Orazio Samacchini, the intimate friend of Sabbatini, his contemporary, and who followed him at a short interval to the tomb, began his career by imitating Pellegrino and the Lombards. Proceeding next to Rome, and employed in painting for the royal hall, under Pius IV.; he succeeded in catching the taste of the Roman School, for which he was praised by Vasari, (who calls him Fumaccini) and afterwards by Borghini and Lomazzo. In the display of this his new style, however, he contrived to please others more than himself; and returning to Bologna, he was accustomed to lament that he had ever removed from upper Italy, where he might have carried his early manner to greater perfection, without deviating in search of a new. Still he had no reason to feel dissatisfied with that which he had thus formed of various others, and so moulded by his own genius, as to exhibit something singular in its every character. In his altar-piece of the Purification, at S. Jacopo, it is all exquisite delicacy, in which the leading figures enchant us with at once a majestic and tender expression of piety; while those infant figures seen conversing near the altar, and that of the young girl holding a little basket with two doves, gazing on them in so peculiar a manner, delight us with their mingled simplicity and grace. Skilful judges even can take no exceptions but to the display of too great diligence, with which, during several years, he had studied and polished this single painting. This, however, as one of the most celebrated of its school, was engraved by Agostino, and it would seem that even Guido availed himself of it in his Presentation, painted for the cathedral of Modena, yet he was an equally powerful artist where his subjects required it of him. His chapel, of which we gave an account in the Parmese School, is highly commended, though his most vigorous effort is shewn in the ceiling of S. Abbondio, at Cremona. The grand and the terrible seem to strive for mastery in the figures of the prophets, in all their actions and positions; the most difficult from confinement of space, yet the best arranged and imagined. There is, moreover, a truth in the shortenings, and a skilful use of the _sotto in su_,[12] which appears in this instance to have selected the most difficult portion of the art, in order to triumph over it. His forte is believed to have consisted in grand undertakings in fresco, on which he impressed, as it were, the seal of a vast spirit, at once resolute and earnest, without altering it by corrections and retouches, with which he laboured his paintings in oil, as we have stated. Footnote 12: Foreshortening figures; here meant on a ceiling.