Some

being for Those who are Lefs Obliging, or Less capable of feeing, or being Touch'd with what we do for them. are done in hopes of Confiderable Recompence, Others without any fuch Profpect. Tintoret was particularly remarkable for undertaking all forts of Business, and at all Prices, and perform'd accordingly.

The Nature of the Works they did make another Variety in the Hands of the Masters. Parmeggiano in his Drawings appears to be a greater Man than one fees him in his Paintings, or Etch'd Prints. Polidore upon Paper, or in Chairo Scuro is one of the foremost in the School of Raffaele, but give him Colours, and you remove him

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back many degrees. Battifta Franco's Drawings are exquifitely Fine, his Paintings Contemptable; even Giulio Romano's Pencil in Oyl has not the tranfcendent Merit of his Pen in Drawings, This has a Spirit, a Beauty, and Delicacy inimitable, That is comparatively Heavy, and Difagreeable, for the moft part, for I know of fome Exceptions. The Subject alfo makes a vaft difference in the Works of these great Men; Giulio Romano was fitter to paint the Birth of the Son of Saturn, than that of the Son of God; as Michelangelo was better qualified to paint a Hercules, and Anteus, than the Laft Judgment; but Parmeggiano and Coreggio, who were Prodigies in all Subjects

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that were Lovely, and Angelical would have been almost upon the level with Common Men in either of those other; a Holy Family of Raffaele is as the Work of an Angel of the Highest Order, a Slaughter of the Innocents of Him feems to be done by One of the Loweft.

'Tis no Unusual thing for Mafters to go from one Manner to Another that they like Better, whether to Imitate fome other Masters, or Otherwife. Spagnoletto fet out a finely, Imitating Coreggio with great Succefs, this Good Manner he forfook for that Terrible one he is fo well known by, and in which he continued to the last. Giacomo Pontormo from a Good Italian Style fell S

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to imitating Albert Durer, Cau: Giacinto Brandi left his first Caravaggio-Manner in which he was an excellent Master, and apply'd himself to it's direct Oppofite, that of Guido, in which not fucceeding, he endeavour'd to return to his former way of Painting, but could never regain the Ground he had loft. Befides this, One Mafter Imitates Another Occafionally, and Coppies their Works, or their Style at least to try Experiments, or to please Themselves, or Those that Employ them, or perhaps fometimes to Deceive, or for whatever other reasons.

In Coppying tho' never fo Servilely there will be fuch a Mixture of the Coppier as to make what is done a Different

Manner; but 'tis very apparently fo when This is done by a Mafter who Cannot, or Will not fo strictly confine himself. Sometimes fuch a One Coppies as it were but in Part that is he takes the Thought of Another but keeps to his Own Manner of Executing it; This was frequently done by Raffaele after the Antique, Parmeggiano, and Battista Franco Thus Coppied Raffaele, and Michelangelo; and fo Rubens Coppied Raffaele, Titian, Pordonone, &c. of which I have many Instancse. In these Cafes the Mafter will be Evidently seen but being mix'd with the Idea of Other Men this Compound Work will be very different from one Intirely his

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