Gio. Donato Montorfano painted a Crucifixion, abounding with figures for the refectory of Le Grazie, where it is unfortunately thrown into the shade by the Grand Supper of Vinci. He cannot compete with a rival to whom many of the greatest masters are compelled to yield the palm. He excels only in his colouring, which has preserved his work fresh and entire, while that of Vinci shewed signs of decay in a few years. What is original in Montorfano is a peculiar clearness in his features, as well as in his attitudes, and which, if united to a little more elegance, would have left him but few equals in his line. He represents a group of soldiers seen playing, and in every countenance is depicted attention, and the desire of conquest. He has also some heads of a delicate air, extremely beautiful, though the distance in regard to their position is not well preserved. The architecture introduced, of the gates and edifices of Jerusalem, is both correct and magnificent, presenting those gradual retrocessions in perspective upon which this school at the time so much prided itself. He retained the habit which continued till the time of Gaudenzio at Milan, though long before reformed in other places, of mixing with his pictures some plastic work in composition, and thus giving in relief glories of saints, and ornaments of men and horses. Ambrogio da Fossano, a place in the Piedmontese,[46] was an artist, who, at the grand Certosa in Pavia, designed the superb façade of the church, being an architect as well as a painter. In the temple before mentioned there is an altar-piece, which is ascribed either to him or his brother, not very highly finished, but in a taste not very dissimilar from that of Mantegna. Andrea Milanese, who has been confounded by one of Vasari's annotators with Andrea Salai, extorted the admiration of Zanetti, by an altar-piece he produced at Murano, executed in 1495, and it would appear that he studied in Venice. I cannot agree with Bottari that he is the same as Andrea del Gobbo, mentioned by Vasari in his life of Coreggio, since this last was a disciple of Gaudenzio.[47] About the same time flourished Stefano Scotto, the master of Gaudenzio Ferrari, much commended by Lomazzo for his art in arabesques, and of his family is perhaps a Felice Scotto, who painted a good deal at Como for private individuals, and left a number of pictures in fresco at S. Croce, relating to the life of S. Bernardino. His genius is varied and expressive, he displays judgment in composition, and is one of the best artists of the fourteenth century known in these parts. He was probably a pupil of some other school, his design being more elegant, and his colouring more clear and open than those of the Milanese. We might easily amplify the present list with other names, furnished by Morigia in his work on the Milanese nobility, where we find mentioned with praise Nicolao Piccinino, Girolamo Chiocca, Carlo Valli, or di Valle, brother to