Morazzone had to boast a numerous list of pupils, imitators, and copyists, both at Milan and elsewhere. The Cav. Francesco Cairo reflected honour upon this school, who, having commenced his career, as is usual, by pursuing his master's footsteps, afterwards changed his manner on meeting with better models, which he studied at Rome and Venice. He also worked on a great scale, and coloured with effect, united, however, to a delicacy of hand and grace of expression, altogether forming a style that surprises us by its novelty. His pictures of the four saints, founders of the church at S. Vittore, of his S. Teresa swooning with celestial love at S. Carlo, his S. Saverio at Brera, various portraits in the Titian manner, and other pieces, public and private, at Milan, at Turin, and elsewhere, entitle him to rank high in the art, though he is not always free from the reproach of sombre colouring. Morazzone derived some credit from the two brothers Gioseffo and Stefano Danedi, more commonly called the Montalti. The first, after being instructed by him in the art, became more refined in his taste under Guido Reni, of whose style he sufficiently partakes, as we may perceive in his Slaughter of the Innocents at S. Sebastiano, and in his Nunziata its companion. Stefano frequented no foreign schools that I know of, though he did not wholly confine himself to Morazzone's manner, rather aiming at refining it upon the example of his brother, and painting with a degree of accuracy and study that he did not find recommended by the taste of his times. His martyrdom of S. Giustina, which he produced for S. Maria in Pedone, forms a specimen of this refinement, while it is moreover exempt from that cold and languid tone which diminishes the value of his other works. One of those artists most attached to Morazzone's style, and who nearest approaches him in the boldness of his pencil, is the Cav. Isidoro Bianchi, otherwise called Isidoro da Campione, a better fresco than oil painter, from what we gather at the church of S. Ambrosio at Milan, and in others at Como. He was selected by the Duke of Savoy, to complete a large hall at Rivoli, left imperfect by the decease of Pier Francesco. There he was declared painter to the ducal court in 1631.