We have above alluded to a branch of the Veronese School, transplanted to Padua, where it flourished with extraordinary success. Referring to its origin, and to those Veronese artists who lived contemporary with Palma, and until the close of the 17th century, it must be observed, that they maintained the national reputation no less than those of Padua, and were even more constant in the good old method of managing their grounds and their style of colouring. I have noticed the name of Claudio Ridolfi[82] in a former school, from the circumstance of his having flourished in the pontifical state. He did not, however, desist from his labours in the Venetian state, some of which appear in the capital and the adjacent cities, particularly in his native place, and Padua. In the celebrated church of S. Giustina, there is a very fine piece, representing the honours of the Benedictine order, professed by princes, adorned by martyrs, and the nurse of the most distinguished pastors of the holy church. The invention is very appropriate, the execution altogether elegant and well finished, and the ornaments equally rich as in any of his other works. He presented his country with a good disciple of his style, in Gio. Batista Amigazzi, though his chief talent seemed to consist in the excellence of his copies. In San Carlo, at Verona, there is one taken from a Supper by Paul Veronese, not only finely drawn, but exhibiting colours fresh and vivid even at the present day. Still superior to him, and almost equal to his master, we meet with Benedetto Marini, of Urbino, an artist unheard of in his own country, though greatly distinguished at Piacenza.[83]