in point of design, but bold in colouring. In Gio. da Monte, Crema boasted a disciple of Titian, as he is described by Torre, who numbers him among the more distinguished artists who ornamented Milan. A grado, executed by him in chiaroscuro for an altar of Santa Maria, at San Celso, where he ought also to have painted the altarpiece, obtained for him a high reputation; but he was deprived of the altarpiece, owing to the intrigues of Antonio Campi.[62] The work of Campi still remains there, and the opinion is that though it was paid for at a higher rate than the grado itself, it is yet a work of inferior merit to that of Giovanni, which much resembles Polidoro da Caravaggio, giving rise to a suspicion that Aurelio Buso, of Cremona, a scholar and assistant of Polidoro's, in Rome, may have been the only, or at least the earliest master of Giovanni. We know from Ridolfi that Buso produced various histories, in his native place, in the manner of his master, and historians of Genoese art record other works from his hand in their city. They assert that he departed thence unexpectedly, while Ridolfi concludes his life, by saying, that notwithstanding his worth, he died in poverty. From the period in which he flourished, he might possibly have been the master of Gio. da Monte, no less than Titian. Callisto Piazza is likewise announced, by Orlandi, as another imitator of the latter, which is very evident from his picture of the Assumption, in the collegiate church of Codogno. It contains figures of apostles, and two portraits of the Marchesi Trivulzi, not unworthy of any of Titian's disciples. And for such, indeed, was Callisto esteemed, both elsewhere and in Lodi, possessing, in the church of the Incoronata, three chapels, each ornamented with four of his very beautiful histories. One of these contains the mysteries of the Passion, another the acts of S. John the Baptist, and the third displays histories in the life of the Virgin. A report is current there, that Titian, in passing through Lodi, produced several heads, probably only a story originating in the exceeding beauty that may be observed in some. It appears, however, certain, that he also imitated Giorgione, in whose style he conducted his altarpiece, representing the Virgin between various saints, at San Francesco, in Brescia, esteemed one of the most beautiful in the whole city. He produced others for Brescia, for Crema, for the dome of Alessandria, and for Lodi, though in this last he succeeded better in fresco than in oil. From the circumstance of his residing in so many different places, I shall not refer him to the school of Milan, preferring to place him here, no less because of the vicinity of Crema to Lodi, than from his belonging to the list of the imitators of Titian.[63] Little justice has been done to the memory of such a man by Ridolfi, who commends him for nothing besides his colouring in fresco, and water colours; when, in fact, he boasts very noble design, and forms