On devoting themselves, at the suggestion of Lodovico, to the pictoric art, they still found themselves opposed to each other in genius, as they were in manners. Agostino was timid, and extremely select, backward in resolve, difficult to please himself, and was never aware of a difficulty that he did not encounter, and attempt to vanquish it. Annibal, in common with numbers of artificers, was an expeditious workman, intolerant of doubts and delays, eagerly seeking every remedy for the intricacies of the art, trying the most easy methods, and to perform much in little time. Had they indeed fallen into other hands, Agostino would have become a new Samacchini, Annibal a new Passerotti; and painting would have owed no improvement to their efforts. But their cousin's fine judgment led him, in their education, to imitate Isocrates, who, instructing Ephorus and Theopompus, was accustomed to say, that he was compelled to apply spurs to the one, and a rein to the other. With similar views he consigned Agostino to Fontana, as an easy and rapid master, and retained Annibal in his own studio, where works were carried to higher perfection. By such means too he kept them apart, until riper age should by degrees remove the enmity subsisting between them, and convert it into a bond of amity, when devoted to the same profession, they might unite their capital, and mutually assist each other. In a few years he succeeded in reconciling them, and in 1580 he placed them at Parma and at Venice, of which an account has been given under those schools. During this period Agostino collected materials for his varied learning, and enlarged his design; and as before leaving Bologna he had made great progress in engraving under Domenico Tibaldi, he continued in Venice to practise it under Cort with such success, as to excite his master's jealousy, who drove him, but in vain, from his studio; for Agostino was already esteemed the Marc Antonio of his time. Annibal, devoted to a single aim, both at Parma and Venice continued to paint, availing himself of the works and conversation of illustrious men, with whom at that period the Venetian School abounded. It was then, or shortly subsequent, that he executed his beautiful copies of Coreggio, Titian, and Paul Veronese; in whose taste he also conducted some small pictures. Several specimens of these I saw in possession of the Marchese Durazzo at Genoa, displaying opposite, but very graceful styles.