Of Bertuzzi and Porino I have not seen any works, except copies in the style of Barocci, or feeble productions of their own. An excellent copyist was found in Alessandro Vitali of Urbino, in which city, at the Suore della Torre, is found the Annunciation of Loreto, copied by him in such a manner that it might be taken for the original picture. Barocci was pleased with his talent, and willingly retouched some of his pictures, and probably favoured him in this way in the S. Agnes and S. Agostino, placed by Vitali, the one in the Duomo, the other in the church of the Eremitani, where he may be said to surpass himself. Antonio Viviani, called il Sordo of Urbino, also made some very accurate copies of his master, which are still preserved by his noble posterity. He too was a great favourite of Federigo, and was in his native city called his nephew; although Baglione, who wrote his life, is silent on this head. He left some pictures in Urbino, in the best style of Barocci; particularly the S. Donato, in a suburban church of the saint of that name. This however cannot be called his own style, for he visited Rome at various times, where, having received instructions from Mascherini, and employed himself for a time in the imitation of Cesari, and of the rapid manner of the practicians recorded by us, he exhibited in that metropolis various styles, and some of the most feeble which he adopted. Assuredly his fresco pictures, which remain in various places in Rome, do not support the opinion which is inspired by a view of the vast work which he conducted in the church de' Filippini at Fano. There, in the vault, and in the chapel, are executed various histories of the chief of the apostles to whom the church is dedicated. His style in these exhibits a beautiful imitation of Barocci and Raffaello, in which the manner of the latter predominates. Lazzari maintains that this Antonio Viviani repaired to Genoa, and that Soprani changed his name to Antonio Antoniani; thus giving to Barocci a scholar who never existed. Of this supposition we shall speak with more propriety in the Genoese School. Another Viviani is mentioned by tradition in Urbino, Lodovico, a brother or cousin of the preceding. This painter sometimes imitates Barocci, as in the S. Girolamo in the Duomo, and sometimes approaches the Venetian style, as in the Epiphany at the Monastery della Torre.