various compartments in 1444, are now also ascribed to him. It is not very easy to follow his inventions, somewhat confused and new in regard to the drapery and the Longobardish customs which he has there exhibited. There are some good heads, and colouring by no means despicable; for the rest, it is a mediocre production, and perhaps executed early in life. He is an artist much praised by Lomazzo for his other works which he left at the Palazzo Landi. They consist of Roman histories, a production, says Lomazzo, (p. 272) _quite surprising for the figures as well as the architecture and the perspective, which is stupendous_. Father Resta, cited by Morelli, who saw it in 1707, says that it almost astounded him by its surpassing excellence, beauty, and sweetness. (Lett. Pittor. tom. iii. p. 342.) In the new state of Piedmont is situated Novara, where, in the archives of the cathedral, Gio. Antonio Merli painted in green earth Pietro Lombardo, with three other distinguished natives of Novara; an excellent portrait-painter for his age. In Vercelli, adjoining it, there flourished about 1460 Boniforte, Ercole Oldoni, and F. Pietro di Vercelli, of which last there is an ancient altar-piece preserved at S. Marco. Giovenone afterwards appeared, who is esteemed in that city as the first instructor of Gaudenzio, although Lomazzo is silent upon it. If he was not, he was worthy of the charge. The Augustin fathers possess a Christ risen from the Dead, between saints Margaret and Cecilia, with two angels, a picture of a noble character, in the taste of Bramantino and the best Milanese artists, and conducted with great knowledge of the naked figure and of perspective. SCHOOL OF MILAN. EPOCH II. _Leonardo da Vinci establishes an Academy of Design at Milan. His Pupils and the best native Artists down to the time of Gaudenzio._