If we examine into further particulars of his style, we shall find Ferrari's warm and lively colouring so superior to that of the Milanese artists of his day, that there is no difficulty in recognizing it in the churches where he painted; the eye of the spectator is directly attracted towards it; his carnations are natural, and varied according to the subjects; his draperies display much fancy and originality, as varied as the art varies its draperies; with middle tints, blended so skilfully as to equal the most beautiful produced by any other artist. And if we may so say, he represented the minds even better than the forms of his subjects. He particularly studied this branch of the art, and we seldom observe more marked attitudes or more expressive countenances. Where he adds landscape or architecture to his figures, the former chiefly consists of very fanciful views of cliffs and rocks, which are calculated to charm by their novelty; while his edifices are conducted on the principles of the best perspective. As Lomazzo, however, has dwelt so much at length on his admirable skill both in painting and modelling, it would be idle to insist upon it further. But I ought to add, that it is a great reflection upon Vasari that he did not better know, or better estimate such an artist; so that foreigners, who form their opinions only from history, are left unacquainted with his merit, and have uniformly neglected to do him justice in their writings. Ferrari's disciples for a long period maintained the manner of their master, the first in succession with more fidelity than the second class, and the second than the third. The chief part were more eager to imitate his expression and his facility than the elegance of his design and colouring, even so far as to fall into the bordering errors of negligence and of caricature. The less celebrated scholars of Gaudenzio were Antonio Lanetti da Bugnato, of whom I know of no remaining genuine production; Fermo Stella da Caravaggio, and Giulio Cesare Luini Valsesiano, who are still to be met with in some of the chapels at Varallo. Lomazzo, in the thirty-seventh chapter of his Treatise, besides Lanino, to come shortly under consideration, mentions, as imitators of Gaudenzio, Bernardo Ferrari of Vigevano, where two sides of the cathedral organ are painted by his hand; and Andrea Solari, or del Gobbo, or Milanese, as he is called by Vasari at the close of his life of Coreggio, in whose age he flourished. He says he was "a very excellent and beautiful painter, and attached to the labours of the art," adducing some of his pictures in private, and an Assumption at the Certosa in Pavia, in which Torre (p. 138) gives him Salaino as a companion. His two most distinguished pupils were Gio. Batista della Cerva and Bernardino Lanino, from whom sprung two branches of the same school, the Milanese and that of Vercelli.