At this time, and in the disasters above alluded to, the city lost many able artists, and also several families, from whom eminent artists were descended, and whose Sienese origin is confirmed by history. Baglione says of Camillo Mariani, that he was born at Vicenza, and that his father was a native of Siena, who had expatriated himself on account of the wars; and he praises the cabinet pictures of this artist, who died at Rome with the reputation of an excellent sculptor. I likewise find at Bologna an Agostino Marcucci, of Siena, who is wholly unknown in that place, probably because he was the son of an emigrant. He was a disciple of the Caracci, till a schism arose in that school, which we shall notice in its proper place, when he ranged himself with the foremost adherents of Facini, the leader of the party, and they had the boldness to set up a new academy in opposition to that of the Caracci. He continued to reside in Bologna, and to teach to the time of his death, and is reckoned by Malvasia among "the first men" of that age. Of his scholars Malvasia mentions only Ruggieri, and he only notices one of his pictures at the Concezione;[299] to which several others, however, are added in the New Guide. Siena, in the mean time, began to breathe from her misfortunes, and to be reconciled to the new government, which, through the prudence of Cosmo, appeared rather a reformation in the old, than a new domination. No long time elapsed before the void left in the city by the artists who had emigrated was filled up by others. Rustico had remained there, as well as his superior, Riccio, who painted the celebrated scene, already noticed, on the coming of Cosmo. Siena also possessed Tozzo and Bigio, whom Lancillotti reckons "among the most famous painters," I believe, in small figures; and it is not easy to distinguish between those two artists, who had an extraordinary similarity of style. Arcangiolo Salimbeni, who is expressly said by Baldinucci to be a "scholar of Federigo Zuccari," may have received the rudiments of the art from one of them. Perhaps, as the historian goes on to say, during his residence at Rome he might contract an intimate friendship with Zuccari; but the style of Salimbeni discovers very opposite principles from those of that master; and notwithstanding all researches, no one has succeeded in finding pictures of his that bear indications of that school. He loved precision more than fulness of design; and we may even observe in him an attachment to the manner of Pietro Perugino, as was observed by Della Valle with regard to a Crucifixion attended by six Saints, in the parish church of Lusignano. In his other pictures at Siena, especially in the S. Peter-Martyr, in possession of the Dominicans, he appears wholly modern;[300] but diligent, and free from the defects which we often observe in Federigo, who may be considered as a professed mannerist of that period. It was the good fortune of the Sienese school, that Riccio