A host of well-known sculptors accompany and follow Amadeo. Gio. Dolcebuono, Cristoforo Solari, known as il Gobbo (the Hunchback), Benedetto Briosco, the Cazzaniga brothers, Agostino Busti, called il Bambaia—all show the local characteristics. But an inclination to softness and sensuousness and a lack of the old virile energy begins to vitiate their work as time goes on, and signals the coming of the decadence, though the technical skill of the school increases. Il Gobbo, scion of the old artistic stock of the Solari, was one of the most highly-reputed of the sculptors, though he has left little of high worth behind him. He was much favoured by the Moro, who chose him to execute the monument for Beatrice’s tomb. The interesting sepulchral figures of this ill-fated pair, completed many years later, and now in the Certosa, are his work. In Agostino Busti the school reaches its highest technical proficiency. But the old freshness and inspiration is gone. Il Bambaia, who is at times great—as in the beautiful recumbent figure of Gaston de Foix—degenerates often into coldness and conventionality, and his decorative taste was as ill-regulated as that of his less accomplished predecessors and contemporaries. A number of other artists—Gian Giacomo della Porta, Andrea Fusina, Cristoforo de’ Lombardi, Angelo Siciliano, and, later on, Gabrio Busca, Vincenzo Seregni, etc.—were engaged on architectural and decorative work in Milan in the sixteenth century, chiefly on the never-ending subject of the Duomo, the exterior of which is a vast object-lesson in the artistic decadence of the Milanese. The pious zeal of S. Carlo and the cultured tastes of his nephew and successor in the Archbishopric, Cardinal Federigo Borromeo, gave a new impetus to art; but it was ill-directed by the false taste of the age, and Lombard sculpture, like the architecture, ends in the empty pomposity and extravagance of the baroque style.