In the above work the reader may find the names of other artists of Naples who belong to the close of this epoch, as Silvestro Bruno, who enjoyed in Naples the fame of a good master; a second Simone Papa, or del Papa, a clever fresco painter, and likewise another Gio. Ant. Amato, who to distinguish him from the first is called the younger. He was first instructed in the art by his uncle, afterwards by Lama, and successively imitated their several styles. He obtained considerable fame, and the infant Christ painted by him in the Banco de' Poveri, is highly extolled. To these may be added those artists who fixed their residence in other parts of Italy, as Pirro Ligorio, honoured, as we have observed, by Pius IV. in Rome, and who died in Ferrara, engineer to Alfonso II.; and Gio. Bernardino Azzolini, or rather Mazzolini, in whose praise Soprani and Ratti unite. He arrived in Genoa about 1510, and there executed some works worthy of that golden age of art. He excelled in waxwork, and formed heads with an absolute expression of life. He extended the same energetic character to his oil pictures, particularly in the Martyrdom of S. Agatha in S. Giuseppe. The provincial cities had also in this age their own schools, or at least their own masters; some of whom remained in their native places, and others resided abroad. Cola dell'Amatrice, known also to Vasari, who mentions him in his life of Calabrese, took up his residence in Ascoli del Piceno, and enjoyed a distinguished name in architecture and in painting, through all that province. He had somewhat of a hard manner in his earlier paintings, but in his subsequent works he exhibited a fulness of design and an accomplished modern style. He is highly extolled in the Guida di Ascoli for his picture in the oratory of the _Corpus Domini_, which represents the Saviour in the act of dispensing the Eucharist to the Apostles. Pompeo dell'Aquila was a finished painter and a fine colourist, if we are to believe Orlandi, who saw many of his works in Aquila, particularly some frescos conducted in a noble style. In Rome in S. Spirito in Sassia, there is a fine Deposition from the Cross by him. This artist is not mentioned either by Baglione or any other writer of his time. Giuseppe Valeriani, another native of Aquila, is frequently mentioned. He painted at the same period and in the same church of S. Spirito, where there exists a Transfiguration by him. We perceive in him an evident desire of imitating F. Sebastiano, but he is heavy in his design, and too dark in his colours. He entered afterwards into the society of Jesuits, and improved his first manner. His best works are said to be a Nunziata in a chapel of the Gesù, with other subjects from the life of Christ, in which are some most beautiful draperies added by Scipio da Gaeta. This latter artist also was a native of the kingdom of Naples; but of him and of the Cav. di Arpino, who both taught in Rome, we have already spoken in that school.