An assemblage of his fishes, birds, and flowers, is to be seen in the fine gallery of the Casa Ercolani. Footnote 55: Malvasia, vol. ii. p. 265. At the same period the art was indebted to the judgment of Cignani for a good painter of battle-pieces in Antonio Calza, a Veronese, mentioned in the third volume; where it is observed that, being subsequently assisted by Borgognone, he became master of that branch of art at Bologna. Contemporary with him was another pupil of Cortese, who resided during several years in the same city, named Cornelio Verhuik, of Rotterdam. Besides his battle-pieces in his master's manner, displaying strong and vivid colouring, he painted in the Flemish style markets, fairs, and landscape, which he enlivened with small figures, like those of Callot. From Cignani also the Bolognese School received an excellent portrait painter in Sante Vandi, more commonly called Santino da' Ritratti. Few of his age were qualified to compete with him in point of talent, grace, and correctness in the characteristic features, particularly when drawn in small proportions, such as were calculated even to decorate boxes and rings. For these he had constant commissions, both from private persons and from princes, most of all from the Grand Duke Ferdinando of Tuscany, and Ferdinando, Duke of Mantua, who gave him a salary at his court, until his return to Bologna on the duke's death. But he remained there only a short time, being still invited to different cities, so that he educated no pupils for his native place, and died abroad. With him, observes Crespi, "disappeared the manner of producing portraits at once so soft and powerful, combined with such natural expression."