At the church of Sarono, situated between Pavia and Milan, are seen the figures of four Saints, drawn on four narrow pilasters; the two equestrian saints, already mentioned, and Saints Sebastiano and Rocco, to whom especially invocations are made against the plague. They are inscribed with the name _Cæsar Magnus_, f. 1533: the foreshortening is well adapted to the place; and the figure of S. Rocco more especially displays a composition such as we have mentioned. The features are not very pleasing, with the exception of those of St. George, as they are somewhat too round and full. These pieces are in general assigned to the artist of whom we here treat, and many are inclined to infer, from the inscription, that he belonged to the family of the Magni. But it is doubted by others; the frescos not appearing to justify his high reputation, however excellent in their way. Besides, I find the death of Cesare da Sesto recorded, in a MS. communicated to me by Sig. Bianconi, as occurring in the year 1524, though not in such a manner as to remove all kind of doubt. I find some reason for inclining to an opposite opinion in the great diversity of style, remarkable in this artist, the conformity of various ideas in the frescos and in his altar-piece, together with the silence of Lomazzo, generally so exact in his mention of the best Lombards, and who records no other Cesare but da Sesto.
I ought not to separate the name of this noble figurist from that of Bernazzano the landscape painter, as they were united no less in interest than in friendship. It is uncertain whether he was instructed by Vinci; he doubtless availed himself of his models, and in drawing rural landscape, fruits, flowers, and birds, he succeeded so admirably as to produce the same wonderful effects as are told of Zeuxes and Apelles, in Greece. This indeed Italian artists have frequently renewed, though with a less degree of applause. Having represented a strawberry-bed in a court-yard, the peafowl were so deceived by its resemblance, that they pecked at the wall until the painting was destroyed. He painted the landscape part for a picture of the Baptism of Christ, and on the ground drew some birds in the act of feeding. On its being placed in the open air, the birds were seen to fly towards the picture, as if to join their companions. As this artist had the sense to perceive his own deficiency in figures, he cultivated an intimacy with Cesare, who added to his landscapes fables and histories, sometimes with a degree of license that is reprobated by Lomazzo. These paintings are held in high esteem, where the figure-painter has made a point of displaying his powers.