I mentioned, not far back, in treating of Titian's disciples, the names of Callisto da Lodi and Gio. da Monte, and I have here to add that of Simone Peterzano, or Preterazzano, who, on his Pietà, at S. Fedele, inscribed himself _Titiani Discipulus_; and his close imitation seems to confirm its truth. He produced also works in fresco, and particularly at S. Barnaba several histories of St. Paul. He there appears to have aimed at uniting the expression, the foreshortening, and the perspective of the Milanese to the colouring of the Venetian artists; noble works, if they were thoroughly correct; and if the author had been as excellent in fresco as in oil painting. From Venice, or rather from its Senate, we trace the name of Cesare Dandolo, who went to settle at Milan, and whose paintings adorn various palaces, esteemed no less for their art than on account of the rank of the noble artist. The Campi were among the most eager to establish themselves at Milan, where they were much employed, and Bernardino more than the rest. He painted, likewise, in the adjacent cities, and it was at that period that he completed for the Certosa, at Pavia, the before-mentioned altar-piece of Andrea Solari, which, remaining unfinished at his death, was, after the lapse of many years, completed in the same style by Bernardino, so as to appear wholly from the same hand. Unable alone to despatch his commissions, he had his cartoons coloured by his pupils, who became, like their master, accurate, precise, and worthy of the commendations bestowed upon them by Lomazzo. One of these was Giuseppe Meda, both painter and architect, who represented upon an organ, in the Metropolitana, the figure of David seen playing before the ark. This work is cited by Orlandi, under the name of Carlo Meda, who, perhaps, belonged to the family of the preceding, and who, as stated in the dictionary, appears younger. Few of his other pictures are to be seen, as is observed by Scannelli. Another was Daniello Cunio, of Milan, who became a landscape painter of great merit; perhaps a brother, or other relation of the same Ridolfo Cunio, who is met with in several Milanese collections, and is particularly celebrated for his design. The third was Carlo Urbini da Crema, one of the least celebrated but most deserving artists of his age, and one whom we have commemorated elsewhere. Lamo observes, that Bernardino had a vast number of scholars and assistants, and from his account, we are here enabled to add the names of Andrea da Viadana, Giuliano or Giulio de' Capitani, of Lodi, and Andrea Marliano, of Pavia. Perhaps, also, Andrea Pellini belongs to this list, who, though unknown in his native city of Cremona, is celebrated at Milan for his Descent from the Cross, placed at S. Eustorgio, in 1595.