Fabio Ceruti was a landscape painter of some repute in the style of Agricola his master. His pictures are pretty numerous, both throughout the city and the state. Mention is also made of one Perugini, recorded by the Cav. Ratti, in his life of Alessandro Magnasco of Genoa, called Lisandrino.

The latter, educated in the school of Abbiati, and a long time resident in Milan, added to the pictures of Perugini, of Spera, and other artists, small figures of such merit as will be ent.i.tled to a particular description in his native school.

In compositions of a minor branch, wholly executed by himself, Magnasco may be p.r.o.nounced an able artist, especially in those diminutive pieces on the Flemish scale, consisting of childish scenes and representations of a popular cast, with which he decorated many collections. He also opened school at Milan, and was imitated by Coppa and other artists, though Bastiano Ricci approached him the nearest of any, possessing a wonderful versatility of genius in respect to imitation. In a similar taste Martino Cignaroli painted at Milan, who had acquired at Verona and at the school of Carpioni, singular skill in conducting pictures for private cabinets. He established himself together with Pietro his brother and his family, in this his new abode, where he had a son named Scipione, who became a good landscape painter at Rome, and subsequently flourished at Milan and at Turin.

About the year 1700 Lorenzo Comendich established himself in the former of these cities, an artist already recorded in this work among the disciples of Monti. In the residence of the Baron Martini, his patron, he produced a variety of works, the most commended among which was his Battle of Luzzara, won by Louis XIV., who is said to have beheld it, as represented by this artist, with singular pleasure.

In pictures of herds of animals of every kind, more perhaps than for his human figures, Carlo Cane rose into some repute. Orlandi likewise greatly commends Angiolmaria Crivelli in the same branch, though I have seen nothing from his hand ent.i.tling him to so much eulogy. At Milan this artist is known by the name of Crivellone, in distinction to his son Jacopo, whose princ.i.p.al merit lay in his drawings of birds and fishes. He was much employed by the court of Parma, and died in 1760. Still nearer us in point of time is Londonio, an artist also of some repute for his herds of cattle: his rural and pastoral views are in possession of the Counts Greppi, and other n.o.ble houses. At Como flourished one Maderno, whose skill consisted in drawing all kind of kitchen furniture, in the taste of the Ba.s.sani, with whom less experienced judges are apt to confound him. I have seen several small pictures by him in possession of the Counts Giovio, that display great beauty. He was also a fine flower-painter, though he was here surpa.s.sed by Mario de' Crespini, one of his pupils, whose productions are interspersed throughout his own and the adjacent cities. Of some other artists of inferior note I have given accounts in different places.

It remains for me to mention a third academy which was founded at Milan in 1775, by that distinguished princess, Maria Teresa, and which was afterwards invariably encouraged by new benefactions from her two sons, the emperors Joseph and Leopold, and by their successor to the Empire, Francis II. who, amidst all the distractions of war, is not unmindful of the prosperity of the fine arts. The complete inst.i.tutions of which this academy had to boast, even in its outset, are described in a compendious manner by its accomplished secretary, in his work ent.i.tled the New Guide, already frequently cited. In this we find an account of the number, the variety, and the merit of the different professors; the collections of models, of designs, of prints, and of books, which are there provided for the use of the students; to which he adds the methods of education there inculcated, to the great benefit of the nation, which has already, for some time past, been embued with a more refined taste, and displayed a more extended cultivation.

END OF VOL. IV.