Two only of his disciples, his own sons, as far as I can learn, are known. At the period when Lomazzo published his treatise, in 1584, they were both living, and both mentioned by him with commendation. Of Evangelista, the second brother, he remarks, that in the art of ornamenting and festooning, he was equally ingenious and fanciful, at the same time giving him a high rank in other branches of painting; though it is to be regretted that he did not point out any of his productions. Aurelio Luini is frequently praised in the same work, as well as in the Teatro, for his knowledge of anatomy, and for his skill in landscape and perspective. He is subsequently introduced in the Treatise upon Painting, among the most celebrated artists of Milan who then flourished, as a successful rival of Polidoro's style, of which a specimen is praised, consisting of a large fresco, on the façade of the Misericordia. After the lapse of two centuries, Bianconi has written of him with more freedom, declaring, that though the son, he was not the follower of Bernardino, the purity of whose style he was far from attaining. And, in truth, if we except his composition, there is not much calculated to please in this artist. We may, indeed, often trace the paternal manner, much deteriorated however, and tainted with mannerism; his ideas are common, his attitudes less natural, the folds of his drapery are minute, and drawn in a mechanical manner. This character prevails in some genuine pieces of his that I have seen; among which is one in the Melzi Collection, with his name and the date of 1570. Others, however, which I have examined at Milan, are in a better taste, especially at S. Lorenzo, where an altar-piece with the Baptism of Christ, is ascribed to him, that would have done credit to Bernardino. Aurelio instructed in the art Pietro Gnocchi; and, if I mistake not, he was surpassed by his pupil, both in selection and in good taste. A Pietro Luini, having the reputation of a soft and accurate hand, and esteemed the last of the Luini, being admitted in history, I doubt whether he be not the Pietro of whom we here treat, occasionally surnamed from the house of his master, as we find in the case of Porta, and others of the sixteenth century. To him was ascribed the S. Pietro, painted for S. Vittore, seen in the act of receiving the Keys; but in the _New Guide_ it is correctly given to the hand of Gnocchi.