He educated two pupils in Milan, whose names have survived. One of these is Nolfo da Monza, who is said to have painted from the designs furnished by Bramante, at S. Satiro and other places; an artist who, if not equal to the first painters, was nevertheless, it is remarked by Scanelli, of a superior character. In the sacristy also of S. Satiro, placed near the beautiful little temple of Bramante, are a number of old pictures, most probably from the hand of Nolfo. The other artist is Bramantino, supposed by Orlandi to have been the preceptor of Bramante, by others confounded with him, and finally discovered to have been his favourite disciple, from which circumstance he obtained his surname. His real name was Bartolommeo Suardi, an architect, and, what is more to my purpose, a painter of singular merit. In deceiving the eye of animals, he equalled the ancients, as we are acquainted by Lomazzo in the opening of his third book. During a period he followed his master; but on occasion of visiting Rome he improved his style, though not so much in regard to his figures and proportions, as in his colouring and his folds, which he made more wide and spacious. He was doubtless invited or conducted to Rome by Bramante, and there, under Pope Julius II., painted those portraits so highly praised by Vasari, and which, when about to be removed, to give place to Raffaello's, were first copied at the request of Jovius, who wished to insert them in his museum. It is certain that the Vatican paintings by Bramantino do not belong to the time of Nicholas V. as we have shewn. He returned from Rome to Milan, as we are informed by Lomazzo; and to this more favourable period we may refer his production of S. Ambrogio, and that of S. Michele, with a figure of the Virgin, coloured in the Venetian style, and recorded in the select Melzi gallery, and to be mentioned hereafter. There are also some altar-pieces both designed and coloured by him, in the church of S. Francesco, which display more elevation and dignity than belonged to his age. But his chief excellence was in perspective, and his rules have been inserted by Lomazzo in his work, out of respect to this distinguished artist. He likewise holds him up as a model, in his picture of the Dead Christ between the Maries, painted for the gate of S. Sepolcro, a work which produces a fine illusion; the legs of the Redeemer, in whatever point they are viewed, appearing with equal advantage to the eye. Other artists I am aware have produced the same effect: but it is a just, though a trite saying, that an inventor is worth more than all his imitators. The Cistercian fathers have a grand perspective in their monastery, representing the Descent of Christ into Purgatory, from his hand. It consists of few figures, little choice in the countenances, but their colouring is both powerful and natural; they are well placed, and well preserved in their distance, disposed in beautiful groups, with a pleasing retrocession of the pilasters, which serve to mark the place, united to a harmony that attracts the eye. He had a pupil named Agostin da Milano, well skilled in foreshortening, and who painted at the Carmine a piece that Lomazzo proposes, along with the cupola of Coreggio at the cathedral of Parma, as a model of excellence in its kind. His name is made very clear in the index of Lomazzo, as follows:--_Agostino di Bramantino of Milan, a painter and disciple of the same Bramantino._ I cannot imagine how such a circumstance escaped the notice of Sig. Pagave, and how he was led to present us with that more ancient Agostino Bramantino, (so called from his family name, not from that of his master) whose existence we have shewn to have been ideal, wholly arising out of a mistake of Vasari. The one here mentioned was real, though his name is so little known at Milan, as to lead us to suppose he must have passed much of his time in foreign parts. And we are even authorized to conjecture that he may be the same _Agostino delle Prospettive_ whom we meet with in Bologna, in 1525. All the circumstances are so strong, that in a matter of justice, they would have proved sufficient to establish his identity; his name of Agostino, his age, suitable to the preceptorship of Suardi, his excellence in the art, which procured for him his surname, and the silence of Malvasia, who could not be ignorant of him, but who, because he was drawing up a history of the Bolognese School only, omitted to mention him.