From his school is supposed to have sprung Gaspero Venturini, who completed his education under Bernardo Castelli, in Genoa. This, however, is mere conjecture, founded on the style of Gaspero, which, in point of colouring, partakes of that ideal taste so pleasing to Castelli, to Vasari, Fontana, Galizia, and others of the same period; nor was Mona himself free from it. Jacopo Bambini, whom we have before commended, and Giulio Cromer, commonly called Croma, were assuredly from the school of Mona, though they acquired little from it. Subsequently they became more correct designers by studying from the naked model in the academy, which they were the first to open at Ferrara, and from the best antiques which they possessed in their native place--an art in which they attained singular excellence. Nor were they destitute of invention; and to Cromer was allotted the honour of painting the Presentation and the Death of the Virgin, at the Scala; a fraternity, which, previous to its suppression, was regarded as a celebrated gallery, decorated by superior artists. Bambini had studied also in Parma, whence he brought back with him a careful and solid style; and, if he sometimes displayed the colouring of Mona, he corrected its hardness, and excluded its capriciousness. This artist was assiduously employed at the Gesù, in Ferrara, and in that at Mantua. Croma was a painter of high reputation, and much inclined to the study of architecture, which he introduces in rather an ostentatious manner in nearly all his pictures. In other respects he more resembles Bambini than Mona, invariably studied, ruddy in his complexions, somewhat loaded in all his tints, and the whole composition sufficiently characteristic to be easily distinguished. He may be well appreciated in his large histories of the saint at St. Andrea, near the chief altar, and in several pictures belonging to the minor altars. Superbi, in his _Apparato_, describes one Gio. Andrea Ghirardoni as an able artist. He left some respectable works, but coloured in a languid, feeble style, with more of the effect of chiaroscuro than of painting. The names of Bagnacavallo, Rossetti, Provenzali da Cento, and others belonging to the Ferrarese state, who properly appertain to this epoch, have been already described under other schools. SCHOOL OF FERRARA. EPOCH III. _The Artists of Ferrara borrow different styles from the Bolognese School.--Decline of the Art, and an Academy instituted in its support._