of Cento was employed in such commissions more than any other artist. He had received rather superior instructions in the rules of perspective, and respectable practice in the line of statues, figures, and histories, with whatever went to give splendour and effect to a façade, a theatre, or a hall; more particularly he succeeded in delineating animals, however ferocious and wild. There was scarcely a house of any account in all Bologna, which, if nothing more, could not boast some specimen of his chiaroscuro, some frieze for ornament, chimney-piece, or vestibule, decorated by Cremonini; to say nothing of his numerous works in fresco which filled the churches. He was also employed for the adjacent cities, and in different courts of Lombardy kept open school and instructed Guercino, Savonanzi, Fialetti, who flourished in Venice as before stated. He had for his companion Bartolommeo Ramenghi, cousin of Gio. Batista, with whom also lived Scipione Ramenghi, son of Gio. Batista himself, and both eminent ornamental painters during that period. Cremonini had a rival in one Cesare Baglione, an artist in the same sphere, and of the same eager and expeditious character in the art. He was, moreover, a better painter of landscape, and even surpassed all others, including the most ancient, in the method of drawing his foliage. In his inventions too, both of a serious and comic kind, he displayed greater novelty and variety than Cremonini. He thus became a favorite at Parma, where in the ducal palace he left some of his best works, all in harmony with the places which he painted; in the larder illusive eatables of every kind, and cooks employed in dressing them; in the bakehouse utensils for the bakers, and incidents relating thereto; in the washhouses women were seen busied in their different duties, and all in dismay at some untoward or comic accidents; works abounding in spirit and reality sufficient to procure him reputation in his line, had he shewn less eagerness in the execution. This praise will not apply, however, to his decorative taste, which excited the ridicule of the Caracci, who were in the habit of laughing at the fantastic ornaments of his capitals, and those arabesques, most resembling, they declared, the staves of barrels; as well as that custom of filling his compositions with useless ornaments, without rule or discretion, which his own pupils afterwards proceeded to introduce, especially Spada and Dentone. Several others were instructed by him in the art, as Storali and Pisanelli, and some of less note, who painted well in perspective, without aspiring to the reputation of figurists.