The ornamented style of Bilivert had many imitators, whose works, in galleries and in private houses, would pass for those of Venetian artists, had they greater spirit and a better colouring. Bartolommeo Salvestrini is at their head; but he was cut off in his prime, by the plague of 1630, so disastrous to Italy and the art. Orazio Fidani, an assiduous artist, and skilled in the style of his master, painted much at Florence; where his Tobias, that was finished for the fraternity of Scala, but is now removed, is especially commended. Francesco Bianchi Buonavita was engaged in few public works. He was chiefly employed in copying ancient pictures, which the court presented to foreign princes, and in furnishing cabinets with little historical pieces, that were at that time in great request in countries beyond the Alps. They were painted on jasper, agate, lapis lazzuli, and other hard stones; the spots in which assisted in forming the shadows of the pictures. Agostino Melissi contributed much to the tapestry of the ducal family, by furnishing cartoons from the works of Andrea del Sarto, and also some of his own invention. He likewise possessed a genius for oil painting; in which branch his S. Peter at the Gate of Pilate, which he painted for the noble family of Gaburri, is particularly praised by Baldinucci. Francesco Montelatici, by some supposed a Pisan, by others a Florentine, and surnamed Cecco Bravo, from his quarrelsome disposition, abandoned the style of Bilivert, or at least mixed it with that of Passignano. He was a fanciful and spirited designer, and not a bad colourist. A fine painting of S. Niccolo Vescovo, by this artist, is to be seen at the church of S. Simone; but his works are rare in churches, for he was chiefly employed in painting for private, and sometimes for royal collections. He died painter to the court of Inspruck. Giovanni Maria Morandi remained but a little time with Bilivert, and on going to Rome, adopted the style of that school.