Giovanni, all of them Milanese, besides Vincenzo Moietta, a native of Caravaggio, who flourished in Milan about 1500, or something earlier, along with the foregoing. About the same period the study of miniature was greatly promoted by the two Ferranti, Agosto the son, and Decio the father, three works by whom are to be seen in the cathedral at Vigevano, consisting of a Missal, a book of the Evangelists, and one of the epistles illuminated with miniatures in the most exact taste. Footnote 46: A number of places which are now included in the Piedmontese, formerly belonged to the state of Milan, as we have already observed. The city of Vercelli was united to the house of Savoy in 1427, and was subsequently subject to a variety of changes. Many of its more ancient painters are referred to the Milanese as their scholars; but they may be enumerated among the Piedmontese as citizens. This remark will apply to many different passages, both in this and in the fifth volume. Footnote 47: Lomazzo, Trattato, c. 37. Other professors then flourished throughout the state, of whom either some account remains in books, or some works with the signature of their names. At that period the Milanese was much more extensive than it has been since the cession of so large a portion to the house of Savoy. The artists belonging to the ceded portion will be considered by me in this school, to which they appertain, being educated in it, and instructing other pupils in it, in their turn. Hence besides those of Pavia, of Como, and others of the modern state, we shall in this chapter give some account of the Novarese and Vercellese artists (of whom I shall also give the information found in the prefaces to the tenth and eleventh volumes of Vasari, edited at Siena by P. della Valle), with others who flourished in the old state. Pavia boasted a Bartolommeo Bononi, by whom there is an altar-piece bearing the date of 1507, at San Francesco, and also one Bernardin Colombano who produced another specimen at the Carmine in 1515. In other churches I likewise met with some specimens by an unknown hand, (but perhaps by Gio. di Pavia, inserted by Malvasia in his catalogue of the pupils of Lorenzo Costa,) partaking a good deal of the Bolognese style of that age. At the same period flourished Andrea Passeri of Como, for whose cathedral he painted the Virgin among different apostles, in which the heads and the whole composition have some resemblance to the modern. But there is a dryness in the hands, with use of gilding unworthy of the age, (1505) in which his picture was painted. A Marco Marconi of Como, who flourished about 1500, displayed much of the Giorgione manner, and was probably a pupil of the Venetians. Troso da Monza was employed a good deal at Milan, and painted some pieces at S. Giovanni in his native place. Several histories of the Queen Teodelina, adorning the same church, executed in