Father Resta, in his "Portable Gallery," cited by me in the third chapter, inserts also, among Vinci's Milanese disciples, one Gio. Pedrini, and Lomazzo, a Pietro Ricci, of whom I can learn nothing farther. Some, indeed, include in the same list Cesare Cesariano, an architect and painter in miniature, whose life has been written by Poleni. Lattuada, too, mentions Niccola Appiano, and makes him the author of a fresco painting over the gate of the Pace, which is certainly in the Vinci manner. Cesare Arbasia, of whom we shall further treat in the sixth book of the fifth volume, under the head of Piedmont, was erroneously referred, at Cordova, to the school of Vinci, and is mentioned as his pupil by Palomino. This was impossible, if we consider the epochs of his life, together with the character of his paintings. Were a resemblance of style enough to decide the question of preceptorship, I might here add to Leonardo's school a number of other Milanese, both of the city and the state. I cannot, however, dispense with a maxim, which, under a variety of forms, I have recommended to my readers; that history alone can ascertain for us the real pupils, as style does such as are imitators. Being unable, therefore, to pronounce them disciples, I shall give to Vinci only as his imitators the names of Count Francesco d'Adda, who was accustomed to paint on panels and on slate for private cabinets; Ambrogio Egogui, of whom there remains at Nerviano a fine altar-piece, executed in 1527; Gaudenzio Vinci, of Nova, who is distinguished also for another altar-piece at Arona, with a date anterior to the preceding. I never saw any of these; but it is agreed by all, that they are in the Vinci manner; and that the last especially is an astonishing production. Another work, which made its appearance only a few years ago at Rome, representing the figure of the Virgin, and quite in Leonardo's composition, as I have heard, bears the following inscription: _Bernardinus Faxolus de Papia fecit_, 1518. It was purchased by the Sig. Principe Braschi, for his very choice gallery; and it appeared truly surprising at Rome, that such a painter should be presented to our age, as it were alone, and without a word of recommendation from any historian. Yet similar occurrences are not unknown in Italy, and it forms a portion of her fame to enumerate her celebrated artists by ranks and not by numbers.