PROCACCINI, pre-kiit-che'ne, the name of a family of artists of the 16th century who under the patronage of the Borromeo family, founded a distinct school of Italian painting at Milan, as the Caracci had done at Bo logna. The members of this family were (1) Eacom Paoc.acattr, called the Elder: b. Bo logna, 1520; d. later than 1591. His works, principally at Bologna and Parma, are not re markable for talent, but exhibit industry and care, although they are not free from the man nerism of his contemporaries. He was in great request as a teacher and after his removal to Milan became the founder of the famous school bearing his name. (2) Camnio PROCACCINI, son and pupil of the former: b. Bologna, 1546; d. Milan 1626. He was the most accomplished artist of this school. He profited by studying the school of the Caracci and took Correggio and Parrnegismo for his models. His imitation of them is obvious from his work but the re sult is equally successful. His works are dis tinguished for spirited composition, exquisite coloring and devotional elevation, but are man nered. Among those at Milan are a (Madonna and Child' in the church of Santa Maria del Carmine and an of the Magi' in the Brera. Many other churches in Milan contain works of his, as do also galleries in Bologna, Dresden, Leipzig, Munich, Stuttgart, Vienna, Madrid. (3) Gruuo CESARE PaocAccnn, brother of Camillo: b. Bologna, 1548; d. Milan, 1626. He likewise strove to equal the school of the Caracci and took for his model Correg gio, whom he imitated with so much success that several of his pictures, though far from reaching the grace and harmony of that great master, have often been ascribed to him. This has been the case especially with cabinet pic tures of the Fall. His works, all of a religious nature, are to be met with in many churches of Milan especially in the cathedral. In the An nunziata in Genoa is his (Last by some considered his masterpiece. Others of his works are in galleries in Florence, Genoa, Milan, Parma, Turin, Madrid, Edinburgh; Brus sels, Berlin, Dresden, Munich, Petrograd, Stutt gart, Vienna. (4) CARLO Astrotrio PROCACCINI, youngest brother of the two preceding: b. Bo logna, about 1555, d. about 1605. He. too, was a pupil of his father, but the least gifted of the three brothers. He painted landsCapes, fruits
and flowers. Much of his work went to Spain, though some may be found in private collec tions in Milan. (5) ERCOLE PROCACCINL called the younger, son of Carlo Antonio: b. Milan, 1596; d. there, 1676. He was a pupil of his uncle Giulio Cesare whom he succeeded as head of the Procaccini SchooL He painted historical subjects and still life, excelling especially in the latter. Religious subjects by him can be seen in the church of Saint Maria Maggiore at Ber gamo in the Brera, Milan, etc. Consult Blanc, C., Bolonaise' (Paris 1874).
in law, the methods of ini tiating and maintaining litigation, usually em bracing practice, pleading, evidence and the rules governing them. The term is sometimes restricted in its meaning to include only prac tice. Three widely differing systems of proce dure were early developed in England by the courts of common law, courts of admiralty and courts of equity. While changed by statute and otherwise from the early forms, these systems are preserved to-day generally throughout the British Empire and the United States.
As developed in the common law courts, procedure differed radically from that in the courts of admiralty and courts of equity, being distinguished by extreme formality; and as a consequence the substantive rights of the liti gants were often entirely disregarded by the rigid manner in which the rules were applied. Dating back to an early period, civil actions in common law courts were commenced by the issuance of the original writ at the instance of the plaintiff, commanding the sheriff to sum mon the defendant to appear before the court. This writ gave jurisdiction to the court of the subject matter of the action and its service gave jurisdiction over the defendant. The court could compel the attendance of the defendant at any judicial proceeding by issuance of its process known as a judicial writ. The plaintiff's claim was set forth in a prescribed form in the decla ration, stating the cause of action in one or more counts and ending with a prayer for re lief. (See COMPLAINT; DECLARATION). Then fol lowed the plea or answer by the defendant, replication by the plaintiff and sometimes other pleadings, until an issue was reached. (See