The name of Bernardino, or Bernardo Gatti, for he subscribed both to his pictures, was mentioned at length among the pupils of Parma; and I have now to record it among the best masters of Cremona. Both Campi and Lapi refer him without scruple to Cremona, though he is given by others to Vercelli, and supposed to be the same Bernardo di Vercelli who succeeded Pordenone in painting S. Maria di Campagna at Piacenza, as we find related in Vasari. By others he is supposed again to have come from Pavia, where he was employed in the cupola of the cathedral, and according to the testimony of Count Carasi, mentioned before with commendation, he there subscribed his name _Bernardinus Gatti Papiensis_, 1553. I leave the question to others, though it seems hardly credible that two contemporary historians, who wrote shortly after the death of Bernardino, while the public recollection of his native place must have been yet fresh, and ready to refute them, should have each fallen into error. We might add that Cremona is in possession of many of Soiaro's paintings from his earliest age until he became an octogenarian, and owing to a paralytic affection was in the habit of painting with his left hand. At that advanced period he produced for the cathedral his picture of the Assumption, fifty hands in height, and which, although he never lived to complete it, is a work, as is justly observed by Lamo, that excites our wonder. Moreover he left his possessions and a family at Cremona, from which sprung two artists deserving of record, one of whom is celebrated in history, the other never before noticed. As there still remains some degree of foundation for attributing him to Pavia, upon the authority also of Spelta, who wrote the Lives of the Pavese Bishops, and was almost contemporary with Bernardino, and what is more, he himself thinks that the difference might be thus reconciled, we may agree with him in stating that our artist was either derived from, or a citizen of Pavia, and at the same time a citizen and a resident at Cremona.