There is no doubt that Gio. Maria Bottalla was instructed by Cortona. The Cardinal Sacchetti, his patron, from his happy imitation of Raffaello surnamed him Raffaellino; an appellation which I am not sure was confirmed to him in Rome, and it certainly was refused to him in Genoa. In both those cities he left very considerable works, in which he did not go so far in his imitation of Pietro, as to neglect the style of Annibal Caracci. A large composition of Jacob, by his hand, is to be seen in the collection of the Campidoglio, formerly in the Sacchetti; and there exists in the Casa Negroni in Genoa, a picture in fresco by him. Both are very considerable works for a painter who had not passed his thirty-first year. Another undoubted scholar of Pietro was Gio. Batista Langetti, although in his colouring he adhered more to the elder Cassana, his second master. Langetti is one of the foreign painters who, after 1650, flourished in Venice, and excited the poetic genius of Boschini. He extols him as an artist eminent in design and execution;[69] and this commendation is confirmed by Zanetti; with an understanding, however, that this extends only to his more studied pictures; as, for instance, his Crucifixion in the church delle Terese. As to the rest he generally painted for profit; painting heads of old men, philosophers, and anchorets, for which he is very remarkable in Venetian and Lombard collections. It is said that he was accustomed to paint one a day; his portraits were always drawn with truth, without adding that ideal grandeur which we so much admire in the Greek sculptures in similar subjects. He animated these countenances, however, with a strength of colour and with a vigour of pencil that caused them to be highly sought after; often receiving for them not less than fifty ducats a-piece. His name is not found in the Abbeccedario, which is not to be wondered at, for in so vast a work it is impossible to notice every individual artist. Footnote 69: L'opera con bon arte, e colpi franchi, L'osserva el natural con bon giudizio, In l'atizar l'atende al bon ofizio, Che i movimenti sia vivi e nò stanchi. _Carta del Navegar Pittoresco_, p. 538.