Finally, Bergamo boasted in Andrea Previtali one of the most excellent disciples of Gian Bellini. He appears, indeed, less animated than his master, and less correct in the extremities of his figures; neither have I discovered any of his compositions which are free from the ancient taste, whether in the grouping of his forms, or in the minute ornamenting of the accessaries of his art. Nevertheless, in a few pictures produced, perhaps, later in life, such as his S. Giovanni Batista, at S. Spirito; his S. Benedetto, in the dome of Bergamo, and several more in the Carrara Gallery, he very nearly attained to the modern manner; and was indisputably one of the most distinguished artists, in point of colours and perspective, belonging to the school of the Bellini. His Madonnas are held in the highest esteem; in whose features he appears less a disciple of Gian Bellini, than of Raffaello, and of Vinci. Two of them at Milan I have seen, both bearing his name: one is in possession of the Cavalier Melzi; the other in that of Monsig. Arciprete Rosales, painted in 1522; and both are surrounded with figures of other saints, portraits executed with discrimination and truth. There is also a picture of Our Lord announced by the Angel, at Ceneda, a work so uncommonly beautiful in regard to the two heads, that Titian, in passing occasionally through the place, is said, according to Ridolfi, to have repeatedly contemplated it with rapture; charmed by the spirit of devotion it expressed. Upon the same boundaries, between the ancient and modern taste, we find various other painters, natives of the valleys of Bergamo, a fruitful source both of wealth and intellect to the city. Such is Antonio Boselli,[38] from the Valle Brembana, of whom there has recently been discovered a fine altarpiece at the Santo of Padua; besides two other artists of the same vale, who approach even nearer to the softness, if not to the elegance of Previtali. These are Gian Giacomo, and Agostino Gavasii di Pascante. We may add to these Jacopo degli Scipioni, of Averara, and Caversegno, of Bergamo, besides others handed down to us by Tassi. These, having flourished at a period so distinguished for the art of colouring, may be compared to certain writers of the fourteenth century, who throw little light upon learning; but who, observes Salvini, in respect to language, appear to me as if every separate page were embued with gold.