I cannot learn that he left any pupils of note. His brother, Carlo Francesco, however, instructed Gioseffo Zanata, extremely well versed in the art, according to the opinion of Orlandi. Under him, and subsequently under the Venetian artists, studied likewise Federigo Panza, an artist who began with using strong shadows, which he improved as his genius grew more mature. He was well employed and remunerated by the court of Turin. Filippo Abbiati frequented the same school, a man of wonderful talent, adapted for works on an immense scale; rich in ideas, and resolute in executing them. He painted with a certain freedom, amounting to audacity, which, however imperfect, does not fail to please, and would have pleased much more had he been better versed in the principles of his art. He was placed in competition with Federigo Bianchi, in the grand ceiling of S. Alessandro Martire, and with other fine fresco painters; and he every where left evidence of a noble genius. He appears to singular advantage in his Preaching of S. John the Baptist at Sarono, a picture to which is affixed his name. It has few figures, but they are fine and varied, with strong tints, and very appropriate shadows, which produce a good effect. Pietro Maggi, his disciple, was not equal to him in genius, nor did he observe his moderation and care. Giuseppe Rivola, employed for private persons more than for the public, is also deserving of mention, his fellow citizens esteeming him among the best of Abbiati's pupils.