Andrea Lanzani, after receiving the instructions of Scaramuccia, pupil to Guido, who remained for some period at Milan, passed into the school of Maratta at Rome. But his genius finally decided him to adopt a less placid style, and he began to imitate Lanfranco. His best productions, as it has been observed of others, are those which on his first return from Rome he executed in his native place, while still fresh from the Roman maxims and the Roman models. A proof of this is seen in his S. Carlo Beatified, which on certain days is exhibited along with other pictures in the capital. He painted also a fine piece for the Ambrosian library, representing the actions of Cardinal Federigo, in which there is a rich display of imagination, of drapery, and good effect of chiaroscuro. He is for the most part praised on account of his facility, and the boldness of his hand. He died in Germany, after being honoured with the title of Cavalier, and left no better pupil behind him in Italy than Ottavio Parodi, who resided for a long period at Rome, and is mentioned with commendation by Orlandi. From Rome also, and from the school of Ciro Ferri, Ambrogio Besozzi returned to Milan, in order to study the Cortona manner as a counterpoise to that of Maratta. But he chiefly employed himself in ornamental, rather than historic painting, though very able in the last, as far as we may judge from his S. Sebastian, at S. Ambrogio. He studied Pagani at Venice, and likewise taught there, boasting the celebrated Pellegrini as one of his disciples. Zanetti remarks that he introduced into the academies of that city a new taste of design for the naked figure, somewhat overstrained, indeed, but of good effect. He left there a few pieces in public, and returned to close his days in Lombardy. The churches and collections of Milan abound with his pictures, and there are others in the Dresden gallery. Pietro Gilardi passed from his native school into that of Bologna, and there, under Franceschini and Giangioseffo del Sole, greatly improved himself. His style is clear, easy, harmonious, and adapted to adorn cupolas, ceilings, and magnificent walls, as appears in the refectory of S. Vittore, at Milan, where his works do him credit. At Varese he completed the chapel of the Assumption, after the cartoons of Legnanino, who died before it was finished; and a few of his own works left imperfect by death were, in their turn, continued and finished by the Cav. Gio. Batista Sassi.