Cerano, though engaged in a variety of other labours, instructed many pupils, and more particularly Melchiorre Giraldini, with success. He very happily caught the manner of his teacher, easy, agreeable, and harmonious, but still inferior to him in the more masterly power of his pencil. At the Madonna at S. Celso is seen a picture of S. Caterina da Siena by his hand, that has been greatly commended. Cerano gave him his daughter in marriage, and left him the whole of his studio. He engraved in acqua forte some minute histories and battle-pieces in the manner of Callot, and he instructed his son in the same branch, whose battle-pieces have been much prized in collections. He also taught a young artist of Gallarate, named Carlo Cane, who, devoting himself at a more advanced age to the manner of Morazzone, became a great proficient in it. He imitated with some success his strength of colouring and his relief; in other points he was common both in his forms and conceptions. He painted some altars, and in the larger one of the cathedral at Monza, there is one representing different saints, at the feet of whom is seen the figure of a dog, which he inserted in all his pieces, even that of Paradise, to express his name. He observed an excellent method in his frescos, his histories of Saints Ambrogio and Ugo, which he painted for the grand church of the Certosa at Pavia, as well as others, still retaining all their original freshness. He opened school at Milan, and we may form an idea of the character of his pupils from his own mediocrity. Cesare Fiori, indeed, acquired some degree of reputation, several of whose ornamental works on a great scale, have been made public. He too had a scholar named Andrea Porta, who aimed at catching the manner of Legnanino. There are others who approach the two best of the Cerani, namely, Giuliano Pozzobonelli, an artist of good credit, and Bartolommeo Genovesini,[60] by whom there remain works possessing some degree of grandeur; besides Gio. Batista Secchi, surnamed from his country Caravaggio, who painted for S. Pietro in Gessato, an altar-piece of the Epiphany with his name. Footnote 60: I thus named him in the former edition, because all other writers had so done before me, but his family name was Roverio and his surname Genovesino. See the first index.