About the same period a family, sprung from Casalmaggiore in the Cremonese, distinguished itself in the line of architectural and ornamental painting. Giuseppe Natali, the elder, impelled by his natural inclination for this art, entered upon it notwithstanding the opposition of his father, which, being at length overcome, he was permitted to visit Rome, and to remain some time at Bologna in order to qualify himself. He flourished precisely at the period which the architectural painters are fond of considering as the happiest for their art. It had very recently been improved by Dentone, by Colonna, by Mitelli, and boasted, from its attractive novelty, a number of young geniuses, whom it inspired with the dignity of masters, and with the prospect of rewards, a subject on which I shall treat more particularly in the Bolognese School. He formed a style at once praiseworthy for the architectural, and judiciously pleasing for the ornamental parts. He gratifies the eye by presenting it with those views which are the most charming, and gives it repose by distributing them at just distances. In his grotesques he retains much of the antique, shunning all useless exhibition of modern foliages, and varying the painting from time to time, with small landscapes, which he also executed well in little oil pictures, which were in the highest request. The softness and harmony of his tints extorted great commendation. He did not permit his talents to remain idle, ornamenting a number of halls, chambers, chapels, and churches throughout Lombardy, often with a rapidity that appears almost incredible. He more particularly distinguished himself at San Sigismondo, and in the palace of the Marchesi Vidoni.