Bernardino had two brothers, not known beyond Vercelli; Gaudenzio, of whom there is said to be an altar-piece in the Sacristy of the Padri Barnabiti representing the Virgin between various saints; and his second brother Girolamo, from whose hand I have seen a Descent from the Cross, belonging to a private individual. Both display some distant resemblance to Bernardino in the natural expression of the countenances, the former also in the force of his colouring, though alike greatly inferior in design. Three other Giovenoni, subsequent to Girolamo, flourished about the period of Lanini, whose names were Paolo, Batista, and Giuseppe; the last became an excellent portrait-painter. He was brother-in-law to Lanini, two of whose sons-in-law were likewise good artists; Soleri, whom I reserve for the school of Piedmont, and Gio. Martino Casa, a native of Vercelli, who resided, however, at Milan, whence I obtained my information. Perhaps the last in the list of this school was Vicolungo di Vercelli. In a private house at that place, I saw his Supper of Belshazzar, tolerably well coloured, abounding with figures, extravagant drapery, poor ideas, and no way calculated to surprise, except by exhibiting the successors of Raffaello reduced thus gradually to so mean a state. Good landscape painters were not wanting in this happy epoch in Milan, particularly in the school of Bernazzano, their productions appearing in several collections, though their names are unknown. To this list perhaps belongs the Francesco Vicentino, a Milanese so much commended by Lomazzo, who, in a landscape, succeeded even in shewing the dust blown about by the wind. He was also a good figure-painter, of which a few fine specimens remain at the Grazie and other churches. Some ornamental painters and of grotesques we have already noticed, to which list we may add Aurelio Buso, mentioned with praise among the native Venetian artists, and here again justly recorded for his labours. Vincenzio Lavizzario, an excellent portrait-painter, may be esteemed the Titian of the Milanese, to whose name we may unite that of Gio. da Monte of Crema, treated in the preceding book, and deserving of repetition here. Along with him flourished Giuseppe Arcimboldi, selected for his skill in portrait, as the court-painter of Maximilian II., in which office he continued also under the emperor Rodolph. Both these artists were much celebrated for those capricci, or fancy pieces, which afterwards fell into disuse. At a distance they appeared to be figures of men and women; but on a nearer view the Flora disappeared in a heap of flowers and leaves, and the Vertumnus was metamorphosed into a composition of fruits and foliage. Nor did these fanciful artists confine themselves to subjects taken from ancient fable; they added others in which they poetically introduced various personifications. The former even represented Cucina, with her head and