Of some of the artists mentioned by Vasari as his assistants in the decoration of the palace, in the preparations for the marriage of Prince Francesco, in the funeral obsequies of Bonarruoti, or in the collection of pictures on the writing desk, the masters are unknown; and the knowledge would be of little consequence. Such artists are Domenico Benci, and Tommaso del Verrocchio, whom he names in his third volume at page 873, and Federigo di Lamberto, a Fleming, called F. del Padovano, whom he had a little before noticed as a new citizen of Florence, and as a considerable ornament to the academy. Omitted by Vasari, but inscribed on the writing desk, we find the names of Niccolo Betti, who painted the story of Cæsar; of Vittor Casini, who there represented the Forge of Vulcan; of Mirabello Cavalori, who pourtrayed Lavinia Sacrificing, and also the emblems of the art of weaving; of Jacopo Coppi, who there painted the Family of Darius, and the invention of gunpowder. I suspect that they were all scholars of Michele; and Vasari has more than once thus generally noticed them. Perhaps Cavalori is the Salincorno mentioned in another place, and Coppi is believed to be that Jacopo di Meglio, who is more severely treated by Borghini than any other in the church of the Holy Cross; and not without reason; for his _Ecce Homo_ in that place has all the defects of this epoch. Whether Coppi is to be identified with this person or not, he cannot be equally reprehended for his pictures on the writing desk; and in S. Salvator at Bologna, he produced a picture of the Redeemer Crucified by the Jews, that might vie with the best pictures in that city previous to the time of the Caracci, and is yet one of those most full of subject and most carefully studied. He imitated Vasari in colouring, and in propriety of invention, in variety of figures, and in diligence in every part, I have seen no picture of Vasari by which it is surpassed. It bears the date of 1579, together with his name. There is an account of two of his frescos in the Guida di Roma; one of which, very copious in subject, is placed in the tribune of S. Pietro in Vincoli. To the same period belongs the name of Piero di Ridolfo, by whom there is a large altar-piece, consisting of the Ascension, and bearing the date 1612; it is supposed that he took his name from the last of the Ghirlandai, in whose service he may have been during his early life. Whoever may be desirous of adding to the list of names, will find a great number in a letter of Borghini to the Prince D. Francesco (Lett. Pittor. tom. i. p. 90), in which he suggests a plan for the preparations of the Prince's nuptials, as well as the artists best qualified to conduct them. The names, however, I here give would be more than amply sufficient, were it not my wish to illustrate Vasari by every means in my power.