Some writers have also included among the followers of Polidoro, Antonio Catalano, because he was a scholar of Deodato. We are informed he went to Rome and entered the school of Barocci; but as Barocci never taught in Rome, we may rather imagine that it was from the works of that artist he acquired a florid colouring, and a _sfumatezza_, with which he united a portion of the taste of Raffaello, whom he greatly admired. His pictures are highly valued from this happy union of excellences; and his great picture of the Nativity at the Capuccini del Gesso is particularly extolled. We must not mistake this accomplished painter for Antonio Catalano _il Giovane_, the scholar of Gio. Simone Comandè, from whose style and that of others he formed a manner sufficiently spirited, but incorrect, and practised with such celerity, that his works are as numerous as they are little prized.] [Footnote 110: These traditions are frequently nothing more than common rumour, to which, without corroborating circumstances, we ought not to give credit. It has happened more than once, that such portraits have been found to belong to the patrons of the church.] NEAPOLITAN SCHOOL. THIRD EPOCH. _Corenzio, Ribera, Caracciolo, flourish in Naples. Strangers who compete with them._ About the middle of the sixteenth century, Tintoretto was considered one of the first artists in Venice; and towards the close of the same century Caravaggio in Rome, and the Caracci in Bologna, rose to the highest degree of celebrity. The several styles of these masters soon extended themselves into other parts of Italy, and became the prevailing taste in Naples, where they were adopted by three painters of reputation, Corenzio, Ribera, and Caracciolo. These artists rose one after the other into reputation, but afterwards united together in painting, and assisting each other interchangeably. At the time they flourished, Guido, Domenichino, Lanfranco, and Artemisia Gentileschi, were in Naples; and there and elsewhere contributed some scholars to the Neapolitan School. Thus the time which elapsed between Bellisario and Giordano, is the brightest period of this academy, both in respect to the number of excellent artists, and the works of taste. It is however the darkest era, not only of the Neapolitan School, but of the art itself, as far as regards the scandalous artifices, and the crimes which occurred in it. I would gladly pass over those topics in silence, if they were foreign to my subject, but they are so intimately connected with it, that they must, at all events, be alluded to. I shall notice them at the proper time, adhering to the relation of Malvasia, Passeri, Bellori, and more particularly of Dominici.