Numerous other artists very nearly approached the style of Palma. Boschini enumerates six, whose manner so extremely resembles him, as to impose upon those who have not tact enough to detect the peculiar characteristics of each; (and in Palma there is a mixture of the Roman and Venetian,) consisting of the names of Corona, Vicentino, Peranda, Aliense, Malombra, and Pilotto. The same author extols them as illustrious painters; and truly, besides the splendour of their colouring, they composed upon a magnificent scale, emulating, for the most part, the fire and the striking contrasts that produced such an impression after the time of Titian, executing pictures every way deserving of a place in good collections. Leonardo Corona, of Murano, who, from a copyist, succeeded in becoming a painter, was the rival of Palma, and nevertheless enjoyed the patronage of Vittoria; whether to keep alive the emulation of the former, or for some other reason, is uncertain. He sometimes prepared models in clay, to discover the best distributions of his chiaroscuro. By aid of these he painted his Annunciation, at SS. Giovanni and Paolo, a work very highly commended, as well as his picture at San Stefano, displaying a grandeur that arrests the eye, and reminds us more of Titian than any other model. In general, however, Corona exhibited more of Tintoretto, if not in his colouring, which in the present day appears to more advantage, at least in many other points. He produced a crucifixion so much in this artist's style, that Ridolfi has defended him with the utmost difficulty from the charge of theft. He availed himself likewise of the engravings of Flemish artists, particularly in the composition of his landscape. He did not long flourish; but left an excellent imitator of his style in Baldassare d'Anna, an artist of Flemish origin, who completed a few of his master's pieces. He also produced some original pieces for the Servi and other churches, which, though inferior to those of Corona in the selection of forms, yet surpass them in the softness, and sometimes in the force of their chiaroscuro.