Having thus shewn, as in a family tree, the regular successors of Leonardo at Milan, we must prepare to examine the other school, that traces its origin to Foppa, and other artists of the fourteenth century, who are mentioned in their place. It is not to be confounded with that of Vinci, and is separately considered by writers on the subject, though it is known to have derived great advantage from his models, and, I believe, from his discourse, inasmuch as he is allowed, like Raffaello, to have been extremely courteous and agreeable in his reception of every one, and in communicating his knowledge to all who desired it without any feeling of jealousy. If we take the pains to examine Bramantino and the rest of the Milanese artists, subsequent to the middle of the sixteenth century, we shall find them all more or less imitators of Vinci, aiming at his mode of chiaroscuro and his expression, rather dark in their complexions, and addicted to colour rather with force than with amenity. They are, however, less studious of ideal beauty, less noble in their conceptions, less exquisite in their taste, with the exception of Gaudenzio, who in every thing rivals the first artists of his age; and he is the only one of the ancient school who inculcated its maxims by teaching as well as by example. Gaudenzio Ferrari da Valdugia is called by Vasari Gaudenzio Milanese. We mentioned him among Raffaello's assistants, referring to the account of Orlandi, who gives him as a pupil to Pietro Perugino, and noticing certain pictures that are attributed to him in lower Italy. But in those parts, where he only tarried a short time, or attempted some new method, he can scarcely be recognized, the information regarding it being very doubtful, which will be further shewn under the Ferrarese School. In Lombardy we may now treat of him with more certainty, many of his works being met with, and many particulars of him from the pen of Lomazzo, his successor in the art, as we shall shortly shew. He mentions Scotto as his master, and next to him Luini; and that previous to either of these he studied with Giovanone, is a current tradition at Vercelli. Novara is thought to be in possession of one of his first paintings, an altar-piece with various divisions at the cathedral, in the taste of the fourteenth century, and with the gilt decorations then so much in request. Vercelli possesses at S. Marco his copy of the cartoon of S. Anna, to which are added the figures of S. Joseph and some other saints. It is a youthful production, but which shews Gaudenzio to have been an early imitator of Vinci, from whom, says Vasari, he derived great assistance. He went young to Rome, where he is said to have been employed by Raffaello, and acquired a more enlarged manner of design, and greater beauty of colouring than had been practised by the Milanese artists. Lomazzo, against the opinion of Scannelli, ranks him among the seven greatest painters in the world, among whom he erred in not