Born in Milan on December 11 1825 and died in the same city November 24, 1898. Is formed first with pa¬dre Giovan Battista on painting on real and, later, with Luigi Sabatelli and Giuseppe Bisi all'Ac¬cademia Brera, where in 1845 he won the Rome meeting with the painting of Dante and L ?? Brother Hilary. He improves later in Rome, Venice and Florence, and was fascinated by ?? ancient art, especially the Renaissance. In 1880 he was appointed teacher of painting at ?? Brera Academy, a position he held until his death; two years after taking over from Francesco Hayez in the direction of ?? Academy itself. During his forty years of teaching ?? has as students, among others, Bouvier, Faruffini, Cremona, Ranzoni, Moses Bianchi, Carcano, Heel, Pelizza Volpedo. At the same time he was appointed director and prosecutor in the life of the museum's cavalier Gian Giacomo Poldi Pezzoli (opened in 1881) and director of the Pinacoteca di Brera, which promotes and arranges collections. Is predominantly focused on oil painting and fresco, subject to historical and religious and portraiture. Among the frescoes are reminiscent of the decoration of St. Spyridon in Trieste (1880) and, in Milan, a ground floor hall of the palace Sola Busca already Serbelloni on Corso Venezia, some rooms of Palazzo Turati, the ceilings of the palace Poldi Pezzoli and theater Manzoni (destroyed), the decoration of the great hall of the villa bridges Biume Superiore (Varese). Among the altarpieces, in the Church of the Annunciation Valmarana (Vicenza), the Ecstasy of St. Francis in Santa Babila in Milan, the Transit of St. Joseph Parish in Paderno d'Adda, the Parish of the Immaculate ?? valmadrera (1885). Among the historical-romantic paintings emerge Ofelia (Milan, already in the collection Negroni-Prati-Morosini), Torquato Tasso presented to Emanuele Filiberto (Royal Palace of Turin), Maidens between doves in a garden (1869, Villa Belgioioso Bonaparte Milan) , and various other, kept at the Gallery of modern Art in Milan ?? (maceration of hemp; the court of Ludovico il Moro; Francesco Guardi who sells his paintings; Paolo and Francesca; entrance of Vittorio Emanuele II and Napoleon III Milan after the Battle of Magenta, 1859). Also painted the curtain of the Teatro alla Scala (Events Atella, Varese, Villa Ponti) and the Teatro Manzoni. His numerous portraits, those of the members of the royal family, replicated several times, in Lombard characters; many of them are in the Civic Museum of Modern and Contemporary Art ?? Castle Geisler Tour of Varese (eg, Woman with flowers, circa 1870), the Gallery of Modern Art in Milan ?? and ?? in the picture gallery of the Ospedale Maggiore (between where the portrait of the lawyer Calcaterra, 1856). In addition to painting portraits and historical and religious practice also ?? glassmaking, whose father and grandfather were specialists. With the family company Fratelli Bertini ?? ??, in collaboration with his brother Pompey, realizes the stained glass windows of prestigious places of worship, in Italy and abroad ??, among which include: the Cathedral of Como (1849-1850 ), the cathedral of Milan (1852-1859) - which plays an arbitrary restoration, on the footsteps of his father, dismembering and remodeling the ancient glass (1862, 1864-1865, 1867-1890) - the large windows in the facade with St. Charles, S . Ambrose and the Archangel Michael), the S. Martino di Lucca (1856), the St. Michael of Pavia (1861) and, after 1866, the church of Santa Giulia in Turin, the church of Santa Maria sopra Minerva in Rome (six windows of the choir and the window of the front), S. Petronio in Bologna, the cathedral of Arezzo, the SS. Martyrs of Arona (apse) and the shrine of the Pietà of Cannobio; all ?? abroad, the cathedral of Glasgow, the South Kensington Museum (V & A) in London, the cemetery of Lima, the Cathedral of Rio de Janeiro. His works are considered the best youth glazed with Dante and the Divine Comedy, exhibited in London in 1853 and now all ?? Ambrosiana, and the stained glass windows made by Gian Giacomo Poldi Pezzoli.