Gio. Andrea de' Ferrari perfected himself under this master, having been previously the scholar of Castelli, whose feeble style may be detected in the Theodosius, painted by Ferrari as an altar-piece in the Gesù. In many works he is a respectable follower of Strozzi; as in the Nativity in the Duomo of Genoa, and in the Nativity of the Virgin, in a church of Voltri, full of figures which seem inspired with life. Although little known, and perhaps too little commended by Soprani, he is one of the first Genoese artists; and, to establish his reputation, it is sufficient to state, that he was the master of Gio. Bernardo Carbone, the chief of this school of portrait painters. Even by the more experienced his portraits were often mistaken for those of Vandyke, or purchased at prices little inferior to those given for a true Vandyke. He also composed well, as may be seen in his picture of the King S. Louis at the Guastato. But this picture did not please the person who gave the commission, and a second was ordered in Paris, and afterwards a third, which successively superseded each other on the altar. But they did not prove satisfactory, and that of Carbone was restored to its place, and the other two were added as laterals, as if to attend on it. Another deserving scholar of Strozzi resided a considerable time in Tuscany, and there distinguished himself; Clemente Bocciardo, from his great size called Clementone. He first studied in Rome, afterwards in Florence, and practising much with Castiglione, he formed a style more correct and ideal than that of his master, to whom, however, he is inferior in truth of colour. Pisa was his theatre of art, where, in the Duomo and elsewhere, he left some highly respectable works; over all of which, in his life, the preference is given to S. Sebastian, placed in the church of the Carthusians. He painted his own portrait for the royal gallery of Florence, which has had a better fate than those of many common artists, and remains there to the present day.