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, a learned Italian of the fifteenth century, was a native of Perugia, and of a family of some rank. He was the scholar of Joannes Antonius Campanus, and published the first and perhaps only entire edition of Campanus’ works, 1495. Michael Fernus, a Milanese scholar, at his request superintended the press, and enriched the publication with a copious life of Campanus, and a variety of elaborate prefaces addressed to various persons. That which is addressed to Antiquarius himself bears ample testimony to his literary reputation. On quitting his native city, Antiquarius obtained a political orKce of consequence and responsibility at Bologna. About 1460 he removed to Milan, where his erudition enabled him to secure the favour and patronage of Giovanni Galeozzo and Lud. Maria Visconti, dukes of Milan, to whom he was secretary and prime minister, and employed his influence in the patronage of literature. As he was in the church he obtained some rich benefices from pope Alexander VI. Many learned works, the publication of which he had encouraged, were dedicated to him, but we have nothing of his own, except an “Oratio,” Milan, 1509, 4to, and a volume of Latin letters, 1519, 4to. He died at Milan in 1512.

, a Milanese count, the son of Horace Archinto and Leonora Tousa, was born about the end of the sixteenth century. He was employed in several political offices, and received from Philip III. king of Spain, the title of count de Barata. He died June 15, 1656. Much of his time had been devoted to the study of the antiquities of his country, and he formed a large collection of antiques, of which he published descriptions. His principal works are, 1. “Epilogati racconti delle aniichita, c nobilta dell a famiglia Archinti, &c. Aggiunlavi una breve expositione degli antichi marmi, che ne' palagi di questa famiglia si leggono,” Milan, 1648, fol. 2. “Collectanea antiquitatum in ejus domo,” fol. without date or place, and so rare as to be unknown to Argellati, who takes no notice of it in his library of Milanese writers; but it is frequently mentioned by Muratori.

, a Milanese, was born about 1519. His father, who was not rich, having suffered by the war, sent him on his travels, to seek his fortune in Italy, France, Spain, and Germany. He did not find what he sought, but became so captivated with the accounts recently received from the new world, that he determined to go there. Accordingly in 1541, he went to Spain, and embarked for America, where he remained fourteen years. In 1556, he returned to his country, rich only in the observations he had made, and which he communicated to the public, in a “History of the New World,” in Italian, Venice, 1565, 4to, reprinted 1572, 8vo, and afterwards translated into Latin, French, German, and Flemish.

, a Milanese painter, flourished about the year 1536. His Christian name is not known. Orlandi speaks of him by the name only of Bernazzano of Milan. His friend Cscsar de Sesta, the scholar of Leonard da Vinci, being a good painter of figures, but deficient in landscape, a branch in which Bernazzano excelled, they agreed to a partnership in their works. Among their numerous paintings is a “baptism of our Saviour,” in which Bernazzano painted some fruit so naturally that birds came and pecked at it. Such anecdotes are not uncommon in the history of painting, but generally to be received with caution. Lomazzo in his Trattato dell' arte della pittura," Milan, 1584, 4to, does not give the date of Bernazzano’s death.

, a famous chemist, quack, and heretic, was a Milanese, and born in the beginning of the seventeenth century. He finished his studies in the seminary at Rome, where the Jesuits admired him as a prodigy for his parts and memory. He applied himself to chemistry, and made some discoveries; but, plunging himself into the most extravagant debaucheries, was obliged at last, in 1654, to take refuge in a church. He then set up for a pietist; and, affecting an appearance of great zeal, lamented the corruption of manners which prevailed at Rome, saying, that the distemper was come to the height, and that the time of recovery drew near: a happy time, wherein there would be but one sheepfold on the earth, whereof the pope was to be the only shepherd. “Whosoever shall refuse, said he, to enter into that sheepfold, shall be destroyed by the pope’s armies. God has predestinated me to be the general of those armies: I am sure, that they shall want nothing. I shall quickly finish my chemical labours by the happy production of the philosopher’s stone; and by that means I sball have as much gold as is necessary for the business. I am sure of the assistance of the angels, and particularly of that of Michael the archangel. When I began to walk in the spiritual life, I had a vision in the night, attended with an angelical voice, which assured me, that I should become a prophet. The sign that was given me for it was a palm, that seemed to me surrounded with the light of paradise.”

Upon the whole St. Charles Borromeo appears entitled to the praises bestowed on him. His piety, however mistaken in some points, was sincere, and he practised with perfect disinterestedness and true consistency what he recommended to others. His life was written by Austin Valerio, bishop of Verona, Boscape, bishop of Novara, and by Giussano, a Milanese priest; but the best life of him, and the most free from superstitious narrative, is that of the abbé Touron, “La Vie et l'esprit de St. Charles Borromeo,” Paris, 1761, 3 vols. 12 mo.

, founder of the society of the priests, or fathers, of the Christian doctrine, was born of a noble family at Cavaillon, Feb. 3, 1544. He at first cultivated poetry, and gave himself up to a life of pleasure, but afterwards reformed, lived in a most exemplary manner, went into holy orders, and travelled from place to place, confessing and catechising. His zeal having procured him many disciples, he formed them into a society, whose principal duty was to teach what they called the Christian doctrine. He was appointed general of this society in 1598, the institution having been first approved by pope Clement VIII. in the preceding year. That which goes by the same name in Italy was founded by Mark Cusani, a Milanese knight, and was established by the approbation and authority of Pius V. and Gregory XIII. Caesar de Bus had also some concern in establishing the Ursulines of France. He lost his sight about fourteen years before his death, which happened at Avignon, April 15, 1607. He left only a book of instructions, drawn up for his society, called “Instructions familieres sur les quatre parties de la Doctrine Chretienne,” 1666, 8vo. His life was written by James Beauvais, 4to.

, a Milanese, born in 1592, at first was a disciple of Gio. Batista Crespi, though he afterwards studied under Giulio Cesare Procaccini, and soon became superior to the first, and at least equal to the second. With great vigour of conception, and facility of execution, he combines equal suavity and strength of colour in oil and fresco the distribution of his figures leavesk> wish for alteration. He seems familiar with the best principles of the Caracci, without having frequented their school. In the church della Passione at Milan, where he painted the “Taking down from the Cross,” he has left many portraits that may vie with the best of Titian’s. Continued progress from good to better marked the short period of his life. His last and most admired works are the histories from the life of St. Bruno, in the Certosa at Milan. The most celebrated of them is that of the Parisian teacher, who, raising himself from the bier, pronounces his own condemnation; despair and terror are personified in him and the assembly. Nor is that of the duke of Calabria, who in hunting discovers the solitary cell of the hermit, much inferior. On this the painter wrote, “Daniel Crispus Mediolanensis pinxit hoc temphim an. 1629,” one year before his death, for he died of the plague in 1630, extremely lamented, and with him all his family.

, an artist of temporary fame, was born at Belluno, near Trevisano, in 1659; and having discovered an early genius for painting, was conducted by his father to Venice, and placed as a disciple with Fred. Cervelli, a Milanese artist of good reputation, with whom he studied for nine years. He afterwards improved his practice at Bologna, &c. by copying, and obtained the favour and patronage of Rannuccio, the second duke of Parma. By the liberality of that prince, he was honourably maintained at Rome, studying the productions of the best ancient and modern masters; and there he formed that manner which distinguishes his productions, and for a while raised him into the highest esteem. Having quitted Rome, he returned to Venice, where he was so eagerly solicited for his paintings, that he had scarcely time to take even necessary refreshment. His fame spread through Europe, and he received an invitation to the court of the emperor at Vienna, to adorn the magnificent palace of Schoenbrun. From thence he was encouraged to visit London, where he was immediately and incessantly employed by the court, the nobility, and persons of fortune. Here he remained ten years, with his nephew and coadjutor, IVfarco Ricci, who painted skilfully scenes of architecture and landscape at Burlington house and Bulstrode. He acquired great wealth by the immense occupation he found; and then returned to Venice, where he remained until his death, in 1734, in the seventy-fifth year of his. age.