The name of Antonio della Corna is handed down to us by history, and from this monument he is discovered to have been a pupil of Mantegna, and a follower of the first rather than the second style of his master. But he does not appear to have flourished a sufficient time, or he was not in repute enough to have a place among the painters of the cathedral, in the fourteenth century, who left there a monument of the art that may vie with the Sistine chapel; and if I mistake not the figures of those ancient Florentines are more correct, those of the cathedral more animated. There is a frieze surrounding the arches of the church, divided into several squares, each of which contains a scriptural history painted in fresco. Upon this work a number of Cremonese artists, all of high repute, were successively employed. The first in this list, subscribed in one of these compartments, _Bembus incipiens_, and in the other compartment 14-- ... under his paintings of the Epiphany and the Purification. The remaining figures after the above, have long been concealed by a side wing of the organ. But the sense is very clear, the name and the date of the centuries appearing together; nor are we at a loss to perceive that the artist, in an undertaking to be conducted by many, and during many years, was desirous of commemorating his name, as the first who commenced it, and in what year. Some, nevertheless, have wished to infer, by detaching the words _Bembus incipiens_ from the rest, that the artist meant to inform us he was then first entering upon his profession; as if the people of Cremona, in the decoration of their finest temple, which was long conducted by the most celebrated painters, would have selected a novice to begin. It is, however, a question whether the inscription refers to Bonifazio Bembo, or to Gianfrancesco his younger brother; but apparently we ought to give it, with Vasari, to the former, a distinguished artist who was employed by the court of Milan as early as 1461, while Gio. Francesco flourished later, as we shall shortly have occasion to shew. In the two histories with which Bembo commenced his labours, as well as in those that follow, he shews himself an able artist, spirited in his attitudes, glowing in his colours, magnificent in his draperies, although still confined within the sphere of the naturalists, and copying from the truth without displaying much selection, if he does not occasionally transgress it by want of correctness. Both our dictionaries of artists and Bottari have confounded this Bonifazio with a Venetian of the same name, whom we have mentioned in his place.