Two other artists flourished after him in Cremona, of whom their biographer observes that they must have drunk at the same fountain, from the great resemblance of their paintings, at least during a certain period, though they differed greatly in point of colouring. One is Angelo Massarotti, a native of Cremona, the other Roberto La Longe, born at Brussels, ranked among those artists who have been denominated Fiamminghi, or Flemish, in Italy, an appellation which has given rise to frequent mistakes in history. Angelo was undoubtedly pupil to Bonisoli, and though he studied many years with Cesi at Rome, where he painted at S. Salvatore in Lauro, he exhibits very little of the Roman, except a more regular kind of composition than belongs to the Cremonese style. For the rest he was fonder of introducing portraits than ideal forms into his canvass, nor was he sufficiently careful to shun the faults of the naturalists; owing to which, more particularly in his draperies, he sometimes became heavy. He boasts moreover a more rich and oily colouring than was then prevalent at Rome, which gives his pictures an appearance of fulness and roundness, while it adds to their preservation. Perhaps his masterpiece is to be seen at S. Agostino, a vast production, in which the saint is represented giving rules to various religious orders, which form a body militant under his banners, and in such a crowd of figures, the ideas, the attitudes, and the draperies are all well varied.
Most probably Roberto la Longe frequented the academy of Bonisoli, and occasionally, as we have observed, conformed to the manner of Massarotti. But both there and at Piacenza, where he long resided and closed his days, he painted in a variety of styles, yet always soft, clear, and harmonious; much as if he had never ventured beyond the confines of Flanders. At times he emulates Guido, as in some histories of S. Teresa, painted for S. Sigismondo at Cremona; and in some histories of S. Antonio Martire, at Piacenza, he approaches Guercino, while at others he displays a mixture of strength, delicacy, and beauty, as in his picture of S. Saverio, in the cathedral at Piacenza, seen in the act of dying, and supported by angels. His landscapes give singular attraction to his figures, though the latter might be better designed, and more gradation may be desired in his landscape, as well as in other parts of his works.
Both these last masters had for their pupil Gian Angiolo Borroni, who, being taken under the patronage of the noble house of Crivelli, was retained many years at Bologna, during the period the Creti rose into repute. Monti and Giangioseffo del Sole, to whose style he most attached himself, were then likewise flourishing at the same place. He was particularly employed in ornamenting the palaces of his patrons, who were desirous of having him with them, both at Cremona and at Milan, and in this last city he spent the best part of his life, dying very infirm in the year 1772. There too he left the chief portion of his works, some of which are upon a very large scale, distributed throughout its temples and palaces, besides others in different cities of the Milanese, more especially in his native place. In the cathedral remains his picture of S. Benedetto, in the act of offering up prayers for the city, of which he is the patron, to paint which the Cav. Borroni exerted his utmost degree of industry and art. Its success was sufficient indeed to have placed it upon an equality with the best of its age, had the draperies been folded with a degree of skill at all corresponding to the rest of the work; but in this he certainly was not happy. A little subsequent to him began to flourish Bottani, an artist who has been mentioned also in the Mantuan School; for, though a native of Cremona, he resided elsewhere. Good artists continue to flourish at Cremona to this day, whose merits, however, according to my plan, I leave untouched to the judgment of posterity.
Professors of minor branches of painting were not wanting in this school, one of whom, named Francesco Bassi, who had fixed his residence at Venice, was there called Il Cremonese da' Paesi. His powers were extremely varied and pleasing, united to great polish, powerful in his shadows, warm in his airs, while he often added to his pieces figures of men and animals in a pretty correct taste. They enrich many collections both in Italy and elsewhere, and some, as we find from the catalogue published in Venice, were included in Algarotti's. We must be cautious to avoid mistaking this painter for another Francesco Bassi, also a Cremonese, who is in that city called the younger. He was a pupil of the former in the art of landscape, and although much inferior to him, is not unknown in different collections. But a still higher rank in the same class is occupied by Sigismondo Benini, a scholar of Massarotti, the inventor of beautiful methods in his landscapes, with well retiring grounds, and with all the accidents of light well portrayed. His composition is polished, distinct, and coloured with equal harmony and vigour, though to continue agreeable he ought not to have transgressed the limits of landscape; for, by the addition of his figures, he diminished the value of his works.
About the same period a family, sprung from Casalmaggiore in the Cremonese, distinguished itself in the line of architectural and ornamental painting. Giuseppe Natali, the elder, impelled by his natural inclination for this art, entered upon it notwithstanding the opposition of his father, which, being at length overcome, he was permitted to visit Rome, and to remain some time at Bologna in order to qualify himself. He flourished precisely at the period which the architectural painters are fond of considering as the happiest for their art. It had very recently been improved by Dentone, by Colonna, by Mitelli, and boasted, from its attractive novelty, a number of young geniuses, whom it inspired with the dignity of masters, and with the prospect of rewards, a subject on which I shall treat more particularly in the Bolognese School. He formed a style at once praiseworthy for the architectural, and judiciously pleasing for the ornamental parts. He gratifies the eye by presenting it with those views which are the most charming, and gives it repose by distributing them at just distances. In his grotesques he retains much of the antique, shunning all useless exhibition of modern foliages, and varying the painting from time to time, with small landscapes, which he also executed well in little oil pictures, which were in the highest request. The softness and harmony of his tints extorted great commendation. He did not permit his talents to remain idle, ornamenting a number of halls, chambers, chapels, and churches throughout Lombardy, often with a rapidity that appears almost incredible. He more particularly distinguished himself at San Sigismondo, and in the palace of the Marchesi Vidoni.
He had three brothers who followed in his footsteps, and all of whom he had himself instructed. Francesco, the second, approached nearest to Giuseppe in point of merit, and even surpassed him in dignity. He was employed in works on a large scale for the churches of Lombardy and Tuscany, as well as for the courts of the dukes of Massa, of Modena, and of Parma, in which city he closed his days. Lorenzo, the third, chiefly assisted his brothers, or if he had the misfortune to execute any works alone, he was rather pitied than applauded. Pietro, the fourth brother, died young and uncommemorated. There were two sons, the one of Giuseppe, the other of Francesco, who were initiated by their parents in the same art. The first, named Giambatista, became court-painter to the elector of Cologne; and the second, who bore the same name, honourably occupied a similar rank at the court of Charles, King of the two Sicilies, and in that of his son, a station in which he died. Giuseppe educated a pupil of merit in Gio. Batista Zaist, a name to which we have frequently referred. Memoirs of him were collected by Sig. Panni, both his pupil and relation. To him also we are indebted for the publication of the work of Zaist, by which we have been guided in this account. It is a guide, however, not to be followed by a reader who is in haste, inasmuch as he is found to proceed very leisurely, and is very apt to go over the same ground again.