There flourished likewise, for a few years, at Rome, the Cav. Pier Francesco Mazzuchelli, called from his birthplace Morazzone. After practising there for a period, from all the best models, which influenced both his mind and his productions, he directed his attention to the Milanese School, in which he taught, and succeeded beyond all example, in improving his own style. It will be sufficient to compare his picture of the Epiphany which he painted in fresco for one of the chapels of S. Silvestro _in capite_, which boasts no beauty beyond that of colouring; and his other Epiphany, placed at S. Antonio Abate, at Milan, which appears like the production of another hand; such is the superiority of the design, the effect, and the display of drapery, in the manner of the Venetians. He is said to have studied Titian and Paul Veronese; and some of his angels are painted with arms and legs, in those long proportions that are not the best characteristics of Tintoretto. In general, the genius of Morazzone was not adapted for the graceful, but for the strong and magnificent; as appears in his S. Michael's Conquest over the bad Angels, at S. Gio. di Como, and in the chapel of the Flagellazione, at Varese. In 1626 he was invited to Piacenza, to paint the grand cupola of the cathedral, a work which was left very incomplete by his death, and bestowed upon Guercino. He had drawn the figures of two prophets, which, in any other place, would have appeared to the greatest advantage; but there they are thrown into the shade by those of his successor, that magician of his art, who threw into it the whole enchantment of which he was capable. Morazzone was employed for different collections, no less than for churches; and received a number of commissions from Cardinal Federigo, and the king of Sardinia, from which last he received his title of cavalier.