Bernardino Gatti, named from his father's profession Soiaro, of whom I shall again make mention in the Cremonese School, is an artist, who, in different countries, left various specimens of his art. Parma, Piacenza, and Cremona abound with them. He ranks among the least doubtful disciples of Coreggio, and was strongly attached to his maxims, more especially in regard to the subjects treated by the hand of his master. His picture of a Pietà, at the Magdalen, in Parma, that of his Repose in Egypt, at S. Sigismond, in Cremona, with his Christ in the Manger, at S. Peter's, in the same city, afford ample evidence of his power of imitating Coreggio without becoming a servile copyist. No one has emulated him better in the delicacy of his countenances. His young girls and his boys appear animated with the spirit of innocence, grace, and beauty. He is fond of whitish and clear grounds, and infuses a sweetness into his whole colouring which forms one of his characteristics. Nor does he want relief in his figures, from which, like the head of the school, he seems never to have removed his hand until he had rendered them in every way perfect and complete. He possessed singular talent for copying, as well as for imitating those masters whom he had engaged to assist. He succeeded to the place of Pordenone, in Piacenza, where he painted the remainder of the tribune at S. M. di Campagna, of which Vasari observes, that the whole appeared the work of the same hand. His picture of S. George, at the same church, is deserving of mention, placed opposite that of S. Augustine by Pordenone, a figure displaying powerful relief and action, which he executed from the design of Giulio Romano, at the request, it is supposed, of the person who gave the commission. We may form an estimate of his unassisted powers by what he has left in the churches of Parma, and more particularly in the cupola of the Steccata. It is an excellent production in every part, and in its principal figure of the Virgin truly surprising. Another of his pieces representing the Multiplication of Loaves, is highly deserving of mention. It was executed for the Refectory of the Padri Lateranensi at Cremona, and to this his name, with the date of 1552, is affixed. It may be accounted one of the most copious paintings to be met with in any religious refectory, full of figures larger than the life, and varied equal to any in point of features, drapery, and attitudes, besides a rich display of novelty and fancy; the whole conducted upon a grand scale, with a happy union and taste of colouring, which serves to excuse a degree of incorrectness in regard to his aërial perspective. There remain few of his pieces in private collections, a great number having been transferred into foreign countries, particularly into Spain.