Crema, at this period, might pride itself on having produced such an artist as Carlo Urbini, who, though of limited genius, was very pleasing skilful in perspective, and equal to grand historical pieces. He had afforded a specimen of his powers in one of the public halls, in which he exhibited national battles and victories, besides having employed his talents in different churches. In ornamenting that of San Domenico, however, an artist of the name of Uriele, most probably of the Gatti family at Cremona, was preferred before him, though extremely inferior. This injustice seemed to alienate his mind from his native place, and he proceeded to Milan, by whose writers he has been recorded with honour. Yet his history piece at San Lorenzo, conducted in fresco, seems to contain rather the seeds than the fruits of noble painting, and he appears to greater advantage in oil colours, as we gather from his picture of our Saviour taking leave of his virgin mother previous to his sufferings, a production ornamenting Santa Maria near San Celso, where it may compete with the best Lombard masters of that time. Lomazzo makes mention of him in reference to such as produced pieces most suitable to the places for which they were intended; an useful practice, familiar to the old masters, who took care to adapt their pictures, not only to places, but to household furniture, insomuch that in many of their vases and drinking cups, which we meet with in the kingdom of Naples, are represented, for the most part, scenes of festivity, mysteries, and fables of the Bacchanalian God. Subsequent to him flourished Jacopo Barbello, whose paintings in various churches at Bergamo are extolled by Pasta, more particularly in that of San Lazzaro, an altarpiece representing the titular saint, remarkable no less for its dignity of design, than for decision of hand. In the series of this school I find mention of no other artist after him, a school distinguished in its origin by the name of Polidoro, and afterwards adorned by few but very select artists.