The popularity of Baroccio, both personally and as a painter, recruited to his studio many young artists, eager to enter the path which he had successfully trodden. But the faults of his style were of a sort which imitation was sure to exaggerate, and the absence of solid qualities in the master prevented the felicitous development of such talent as nature had granted to his pupils. We accordingly search in vain among his many scholars for a single name of eminence; and we might pass over the _Baroccisti_ without further notice, but that a considerable proportion of them claim a passing word as natives of the duchy. ANTONIO VIVIANI, son of a baker at Urbino, was a favourite of his master, though probably not his nephew, as supposed by Lanzi. In early life, his productions imitated those of Baroccio with great success, as may be seen at Fano and in various parts of the duchy, but on proceeding to Rome his style rapidly deteriorated. Emulating the flimsy and faulty manner of the Cavaliere d'Arpino, by which high art was then fatally degraded, he painted against time in the Vatican and Lateran palaces, as well as on many altar commissions. These, when compared with other contemporary trash, obtained a degree of applause which sounder criticism is compelled to withhold from il Sordo, the nickname by which their author was generally known. But he sacrificed his art without improving his fortune; and an old age, passed in poverty, was closed in disappointment and want. His brother Ludovico, "wicked, graceless, and disobedient, unworthy the name of son," had from his father's will five farthings in lieu of his patrimony, and his career maintained the prestige of this sad outset, both in his character and works.