To this uniformity of style in Milan, Ercole Procaccini the younger most probably contributed, an artist in whom an unprejudiced critic will be at no loss to detect the character we have described. But in his more studied works, as we find in an Assumption, at S. M. Maggiore, in Bergamo, he exhibits dignity, spirit, and a happy imitation of the Coreggio manner. He received his first instructions from his father Carlantonio, and next from Giulio Cesare, his paternal uncle. It is known that by public report, by his insinuating manners, and by the family reputation, he arrived at a degree of consideration beyond his merit, and lived till he reached the age of eighty. Hence he induced many to follow his maxims, and the more as he kept an open academy for the study of the naked figure at his own house, and succeeded his uncles in their instructions; equal to them perhaps in rapidity, but not so well grounded in the art. He painted much; and in the best collections in Milan, if he is not in as much request as many others, he yet maintains his place.
Two young artists educated in his school reflected credit upon it; Carlo Vimercati, who owed his success to the most pertinacious study of Daniele's works at the Certosa, which he daily visited for a long period while at Milan, and Antonio Busca, who likewise employed his talents upon the best models both at Milan and Rome. Vimercati exhibited few of his pictures in public at Milan; he painted more at Codogno, and in his best manner, as well as in a new one in which he was greatly inferior. Busca assisted his master, and at S. Marco also was employed in competition with him. There, placed opposite to some histories by Procaccini, is seen his picture of the Crucifixion full of pious beauty, surrounded with figures of the Virgin, of Mary Magdalen, and S. John, who are all weeping, and almost draw tears from the eyes of the spectator. But he did not always succeed as in this specimen; the gout deprived him of the use of his feet, and he fell into a weak and abject style, the result of mere mechanic practice. In this state of health, I imagine, he must have conducted two holy histories, placed opposite each other, in the chapel of S. Siro at the Certosa in Pavia, in which he idly repeated in the second the same features as distinguished the first, so greatly is an artist sometimes in contradiction with himself. A similar complaint might be alleged for a different reason, in regard to the style of Cristoforo Storer, a native of Constance. A pupil to the same Ercole, he also produced works of solid taste, as in the instance of his S. Martino, which I saw in possession of the Ab. Bianconi, a picture much valued by its intelligent owner. Subsequently he became a mannerist, and not unfrequently adopted gross or common ideas. In other points he displays much spirit, and is one of the few belonging to that age who may lay claim to the title of a good colourist. I am uncertain whether Gio. Ens, of Milan, sprung from the same school, as well as at what precise time he nourished; I know that he was an artist of less talent, whose delicacy often bordered upon weakness, as we may perceive at S. Marco in Milan. Lodovico Antonio David of Lugano, a scholar of Ercole, of Cairo, and of Cignani, resided at Rome. There he produced some portraits, and at one period made the tour of Italy. The city of Venice possesses one of his Nativities at S. Silvestro, conducted in a minute manner, that betrays a disciple of Camillo more than of any other of the Procaccini. He wrote too upon painting, and compiled some account of Coreggio, for which the reader may consult Orlandi under the head of that artist,[59] or perhaps in preference, Tirasboschi, in his life of him.