Nor did some others of Galeazzo's contemporaries rise much above mediocrity. To this class belonged Antonio Cigognini and Francesco Casella, a few of whose productions remain in their native place; Galeazzo Pesenti, called Il Sabbioneta, a painter and sculptor; Lattanzio of Cremona, who having painted at the school of the Milanese in Venice, has been recorded by Boschini in his _Miniere della Pittura_, besides Niccolo da Cremona, who was employed, according to Orlandi, in 1518 at Bologna. There are two, however, who merit a larger share of consideration, having produced works of a superior character which still exist, and belong in some degree to the golden period of the art. The name of the first is Gio. Batista Zupelli, of whom the Eremitani possess a fine landscape with a Holy Family. His taste, although dry, is apt to surprise the eye by its originality, and attracts us by a natural and peculiar grace, with which all his figures are designed and animated, as well as by a certain softness and fulness of colouring. If Soiaro had not acquired the principles of his art from Coreggio, we might suppose that this Zupelli had instructed him in regard to the strong body of his colouring, which is remarkable both in him and in his school. The second is Gianfrancesco Bembo, the brother and disciple of Bonifazio, highly commended by Vasari, if, indeed, he be, as is supposed, the same Gianfrancesco, called Il Vetraro, who is recorded by the historian in his Life of Polidoro da Caravaggio. It appears certain that he must have visited Lower Italy, from the style which he displays in one of his altar-pieces, representing saints Cosma and Damiano, at the Osservanti, to which his name with the date of 1524 is affixed. I have not observed any thing in a similar taste, either in Cremona or in its vicinity. It retains very slight traces of the antique, much as may be observed in those of F. Bartolommeo della Porta, whom he greatly resembled in point of colouring, however inferior in the dignity of his figures and his draperies. A few more of his specimens are met with in public places and the houses of noblemen, which exhibit him as one of those painters who added dignity to the style of painting in Lombardy, and improved upon the ancient manner. SCHOOL OF CREMONA. EPOCH II. _Camillo Boccaccino, Il Soiaro, The Campi._