This last was a native of Albino, in the territory of Bergamo, where he produced, both for the city and the state, a variety of altar and history pieces, which he continued to supply from early youth, until within a few months of his decease. So much has been made out, from authentic documents, by the Conte Tassi, who brought forward a long series of his noble compositions. This artist is not, however, at all comparable to his master in point of invention, of composition, or design; which last sometimes betrays a dryness approaching that of the _quattrocentisti_. Pasta notices the same defect, in his Incoronazione of our Lord at the Trinità, although very finely coloured, and a work equalling any of his others in point of merit. For the rest, it is certain that no artist of the Venetian School, besides Titian, has excelled him in the truth and nature of his portraits, and in the life and spirit of his heads, insomuch that Titian was in the habit of recommending him to the governors of Bergamo, as the best face painter he could offer them. There exist specimens in the Carrara collection, in possession of the Conti Spini, and in other noble houses, which still appear to breathe and live; the drapery is in the Titian manner, and if any thing can be said to be wanting, it is a greater degree of mastery in the design and attitude of the hands. Francesco Ricchino, of Brescia, is another name deserving of record among the better disciples of Moretto, even in point of colouring. He was desirous, however, from what we learn from his pieces at San Pietro in Oliveto, of extracting improvement from the pictures, or at least from the engravings of Titian. Luca Mombelli followed him in some of his earliest works, until giving into too great delicacy of manner, his productions became somewhat feeble and tame. Girolamo Rossi, another pupil or imitator, has, if I mistake not, better displayed his master's manner than any other, particularly in an altarpiece, placed at San Alessandro, representing the Virgin between various saints. Bagnatore was also a good copyist of the same style, an artist who, in his Slaughter of the Innocents, subscribes his name _Balneator_, and who, if not displaying great power, is nevertheless judicious, correct, and sober in his works in oil; and he was one to whom was committed by public order the task of copying a picture by Moretto.