Francesco Monti, another pupil of the same school, was endowed by nature with an enthusiasm for ample and copious subjects, to which he applied himself without much previous culture, either from imitation or from art. He executed for the Counts Ranuzzi, who patronised him, a picture of the Rape of the Sabines; and for the court of Turin the Triumph of Mardocheo; works abounding with figures, and highly extolled; besides many other oil paintings for different collections and churches. But his surpassing merit is to be sought for in his frescos, and more particularly at Brescia, in which city he fixed his residence. He also conducted many pieces for the adjacent places, applauded for his fertile genius and his masterly style of colouring. A number of churches and noble houses, such as the Martinengo, the Avogadro, the Barussi, were also decorated by him on a very extended scale of painting. Some portraits, too, executed by his daughter Eleonora, who received constant commissions from the same nobility, are held in high esteem. Gio. Batista Grati and Cesare Mazzoni remained at Bologna, and as belonging to the Clementine Academicians who then flourished, we meet with their lives in Zanotti. Subsequent to their decease, Crespi was enabled to treat their memory with more fairness. He praises the accuracy of the former, and regrets his want of talent; the second he pronounces a commendable artist, observing that he was long employed at Faenza, Turin, and Rome, as well as at Bologna itself; though not with good fortune. Antonio Lunghi also flourished for the most part in foreign states; at Venice, in Rome, and the kingdom of Naples. He returned, at an advanced age, to his native place, where there is his picture of S. Rita at S. Bartolommeo, and others in different churches, which merited for their author some favourable consideration of Crespi. Yet he has omitted him, for the purpose, as I suppose, of reserving him for the fourth volume of the "Felsina Pittrice." It would be too much to attempt a complete sketch of Gio. Gioseffo's disciples who flourished in other schools, such as Francesco Pavona of Udine, a good painter in oil, and better in crayons; superior in his large altar-pieces, and still more in his portraits. He afterwards studied at Milan, and thence proceeded to Genoa; next into Spain, Portugal, and Germany, being well received in all these courts; after which he married and had a family at Dresden. Subsequently he returned to Bologna, which he left in the course of a few years for Venice, where he shortly afterwards died. Francesco Comi also left Bologna, called il Fornaretto,[49] and the Mute of Verona, being deprived both of speech and hearing. Nevertheless he was distinguished in the art, and is commemorated by Pozzo among the artists of his country, and also by Orlandi. There are others, of whom we make mention in almost every school. Footnote 49: Literally, the little baker.