From the period when the capital began to encourage the foreign schools preferably to her own, the cities of the state followed the example, in particular that of Pavia, which, during this last century, has had to boast more professors than any other state. Yet none of these moderns are much known beyond the precincts of their native place. Carlo Soriani,[62] however, deserved to be better known, an artist who painted for the cathedral his picture of the Rosario, accompanied by fifteen mysteries, an elegant production in the taste of Soiaro. The series of the artists alluded to begins with Carlo Sacchi, who is said by Orlandi to have been taught by Rosso of Pavia, but most probably by Carlantonio Rossi, a Milanese, who painted for the cathedral of Pavia his S. Siro, and two lateral pieces in the best Procaccini taste, and is described in the _Abbeccederio_ as an eccentric man, though well versed in his art. Sacchi continued his studies at Rome and Venice, and when he wished to imitate Paul Veronese, as in his Miracle of the Dead resuscitated by S. Jacopo, which is placed at the Osservanti, he succeeded admirably, shewing himself a good colourist, splendid in ornament, spirited in attitude, except that in these he is somewhat extravagant and affected. He supplied different collections, and I saw an Adam and Eve by him in possession of the Cav. Brambilla at Pavia, entitled to a place in that fine collection. It is doubtful whether Gio. Batista Tassinari ought to be ranked among his fellow disciples, if we only regard the period in which he flourished. But we may with more certainty, upon Orlandi's authority, pronounce Carlo Bersotti to have been his pupil, an excellent artist in inferior branches, to which he confined himself. Tommaso Gatti, together with Bernardino Ciceri, were, however, his best pupils, the first of whom pursued his studies at Venice, the second at Rome, and both succeeded at least as practical artists. Gatti instructed Marcantonio Pellini, and then consigned him to the schools of Venice and Bologna, which did not carry him beyond the sphere of his master. Ciceri was succeeded by his disciple Gioseffo Crastona, who, embued with Roman erudition, became a painter of figures and of landscapes in that city, of which a number may be seen at Pavia. Among the latest are Pierantonio Barbieri, pupil to Bastiano Ricci, and Carlantonio Bianchi, a disciple of the Roman manner. The artists whom I have described almost in a series, have filled all the churches of Pavia, though many, with their respective paintings and their frescos, conferring additional novelty perhaps, but little additional splendor upon their native state; and no one visits Pavia altogether on their account. Footnote 62: He is thus called by Bartoli.