The attempt succeeded admirably in a few; while others, on the contrary, as it occurred in Venice, at Cremona also became only coarse and sombre. I have not been very anxious to cultivate an acquaintance with the artists of this period; though I shall take care to make mention of such as succeeded in raising themselves above the crowd. Each of the Campi, therefore, claims his own disciples, though they have not always been distinguished in history, being described under the general designation of pupils of the Campi; as the two Mainardi, Andrea and Marc Antonio, by Orlandi. The two pupils of Giulio, best entitled to commendation, namely, Gambara of Brescia, and Viani of Cremona, having flourished in other schools, have been recorded by us, the first among the Venetians; and the second among the Mantuan artists. Antonio Campi has left us an account of three of his own disciples: Ippolito Storto, Gio. Batista Belliboni, and Gio. Paolo Fondulo, who passed into Sicily. All of them remained in obscurity, however, in Lombardy, and are omitted in the painters' Dictionaries. Towards the close of his life, he instructed one Galeazzo Ghidone, an artist of weak health, who employed himself only at intervals, but with success; as we may judge from his picture of the Preaching of St. John the Baptist, at S. Mattia, in Cremona, which has been highly commended by good connoisseurs. Another, is Antonio Beduschi, who, in his twenty-sixth year, produced a Pietà for S. Sepolcro, in Piacenza, and a still superior painting of the Martyrdom of S. Stefano; he is referred to the school of the Campi, and strongly partakes of the style of Antonio; I esteem him one of his imitators, if not in the list of his pupils. He was unknown to the historian Zaist, and is indebted for commemoration to the Sig. Proposto Carasi. Luca Cattapane was initiated in the art by Vincenzio, and devoted much time to copying the works of the Campi family. He succeeded in this by exhibiting a rare boldness of hand, so as to give his pieces the air of originals, and they continue to impose upon the most experienced, even to the present day. He likewise counterfeited the style of Gambara in a Pietà of his, at the church of S. Pietro, in Cremona; and in order to enlarge the picture, he added three figures in a taste agreeable to the former. For the rest, being misled by his ambition to form a new style, or to approach nearer Caravaggio, he became even more sombre than the Campi, with still less taste. Many of his altar-pieces yet remain. In S. Donato, at Cremona, he represented the Beheading of St. John; one of his most successful works, in which the effect is superior either to the design or to the expression. To these we may add a number of his fresco paintings, though inferior to those he executed in oil.