Cremona, as was said in the Life of Lorenzo di Credi and in other places, has had at various times men who have executed in painting works worthy of the highest praise. And we have already related that when Boccaccio Boccaccino was painting the great recess of the Duomo at Cremona and the stories of Our Lady throughout the church, Bonifazio Bembi was also a good painter, and Altobello executed in fresco many stories of Jesus Christ with much more design than have those of Boccaccino. After these works Altobello painted in fresco a chapel in S. Agostino of the same city, in a manner full of beauty and grace, as may be seen by everyone. At Milan, in the Corte Vecchia--that is, the courtyard, or rather, piazza of the Palace--he painted a standing figure armed in the ancient fashion, much better than any of the others that were executed there by many painters about the same time. After the death of Bonifazio, who left unfinished the above-mentioned stories of Christ in the Duomo of Cremona, Giovanni Antonio Licinio of Pordenone, called in Cremona De' Sacchi, finished those stories begun by Bonifazio, painting there in fresco five scenes of the Passion of Christ with a grand manner in the figures, bold colouring, and foreshortenings that have vivacity and force; all which things taught the good method of painting to the Cremonese, and not in fresco only, but likewise in oils, for the reason that in the same Duomo, placed against a pilaster in the centre of the church, is an altar-piece by the hand of Pordenone that is very beautiful. Camillo, the son of Boccaccino, afterwards imitated that manner in painting in fresco the principal chapel of S. Gismondo, without the city, and in other works, and so succeeded much better than his father had done. That Camillo, however, being slow and even dilatory in his work, did not paint much save small things and works of little importance.