His place and his employ in Rome were soon filled up by Cerquozzi, who had for some time past exchanged the name of M. A. delle Battaglie, for that of M. A. delle Bambocciate. Although the subjects which he represents are humourous, like those of Laar, the incidents and the characters are for the most part different. The first adopted the Flemish boors, the other the peasantry of Italy. They had both great force of colour, but Bamboccio excels Cerquozzi in landscape, while the latter discovers more spirit in his figures. One of Cerquozzi's largest compositions is in the Spada palace at Rome, in which he represented a band of insurgent Lazzaroni applauding Maso Aniello. Laar had another excellent imitator in Gio. Miel, of Antwerp, who having imbibed a good style of colouring from Vandyke, came to Rome and frequented the school of Sacchi. From thence, however, he was soon dismissed, as his master wished him to attempt serious subjects, but he was led both by interest and genius to the burlesque. His pictures pleased from their spirited representations and their excellent management of light and shade, and brought high prices from collectors. He afterwards painted on a larger scale, and besides some altarpieces in Rome, he left some considerable works in Piedmont, where we shall notice him again. Theodore Hembreker, of Haerlem, also employed himself on humourous subjects, and scenes of common life, although there are some religious pieces attributed to him in the church della Pace in Rome, and a number of landscapes in private collections. He passed many years in Italy, and visited most of the great cities, so that his works are frequently found not only in Rome, where he had established himself, but in Florence, Naples, Venice, and elsewhere. His style is a pleasing union of the Flemish and Italian.