Fede Galizia introduced another foreign style into Milan, a female artist, who, according to Orlandi, was a native of Trent. Her father, Annunzio, was a celebrated miniaturist, born at the same place, and a resident at Milan, and from him perhaps she acquired that taste for accuracy and finish of hand, no less remarkable in her figures than in her landscapes; in other points, more similar to the Bolognese predecessors of the Caracci, than to any other school. There are some specimens of her style in foreign collections. One of her best studied pictures is seen at S. Maria Maddalena, where she painted the titular saint, with the figure of Christ in the dress of a gardener. This lady has been criticised by the excellent author of the Guide, for her too great study of the ideal, which she aimed at introducing both into her design and colouring, at the expense of nature and of truth, a practice pretty much in vogue at that period in Italy. About the same time, one Orazio Vaiano was employed a good deal at Milan, where he long resided, called Il Fiorentino from his extraction. He, in some way, came to be confounded, in some of his pictures, with the elder Palma, as we are informed by Orlandi; but how, it is difficult to say. The specimens of his composition at S. Carlo and at S. Antonio Abate, are judicious and diligent, though somewhat feeble in point of colouring; and in the distribution of their lights much resembling the tone of Roncalli. He likewise visited Genoa; but neither he nor Galizia, as I am aware, left any pupils at Milan. The same may be said of the two Carloni, noble fresco painters belonging to Genoa, and of Valerio Profondavalle, from Lovanio, who painted glass, as well as in oil and in fresco, for all which he had frequent commissions at court.