ALESSANDRO VITALE, born at Urbino in 1580, so completely caught the amenity of his instructor's manner, as to be employed during his advanced years to copy many of his works, which, with a few finishing touches, passed as originals. ANTONIO CIMATORIO, _alias il Visacci_ or the Ugly, was chiefly employed on festive and scenic decorations, aided by GIULIO CESARE BEGNI of Pesaro: the latter went afterwards to Venice, and, devoting himself to better things, left not a few good pictures in the March of Treviso. GIORGIO PINCHI of Castel Durante, and ANDREA LILLIO of Ancona, both approached the Baroccesque manner with considerable success, and shared the labours of il Sordo on the pontifical frescoes in Rome. Among those who carried the same style to a distance, may be named ANTONIO ANTONIANO of Urbino, who, after aiding Baroccio with his great picture of the Crucifixion, was sent by him with it to Genoa, and there settled. GIOVANNI and FRANCESCO, two brothers of Urbino, and probably offsets of this school, emigrated to Spain, and painted in the Escurial, under the patronage of Philip II. FILIPPO BELLINI, a native of the same city, though a pupil of Baroccio, adopted a more vigorous manner, but his works are scarcely met with out of Umbria. To this catalogue it is enough to add the names of Francesco Baldelli, Lorenzo Vagnarelli, Ventura Marza, Cesare Maggieri, Bertuzzi, and Porino, all born in the duchy; and those of Bandiera and the Pellegrini of Perugia, the Malpiedi of La Marca, and the Cavaliere Francesco Vanni of Siena, the latter of whom, though not among his scholars, so thoroughly adopted the peculiarities of Baroccio, as to be perhaps the happiest of his imitators. TERENZIO TERENZI of Urbino, known by the soubriquet of Rondinello, earned a dishonourable reputation by his successful imitations of the older masters, which he passed off as originals; and having fallen into merited disgrace with his kind patron, the Cardinal of Montalto, in consequence of pawning upon him one of his forgeries as a Raffaele, he died of vexation in the first years of the seventeenth century, aged thirty-five. * * * * *