Giorgio Picchi of Durante I included in a former edition among the scholars of Barocci, in conformity to the general opinion prevalent in Pesaro and Rimini; but I have not found this confirmed in the chronicle of Castel Durante, published by Colucci, which contains a particular account of this artist, written soon after his death. I am therefore inclined to think him only a follower, like Lilio, with whom he was associated in Rome in the time of Sixtus V., if the chronicle is to be relied on. It relates that he worked in the library of the Vatican, at the Scala Santa, and at the Palazzo di S. Giovanni; and it appears unaccountable that all this was unknown to Baglione, who narrates the same circumstances of Lilio and others, and makes no mention of Picchi. However this may be, he was certainly a considerable artist, and was attached to the style of Barocci, which was in vogue at that period, as we may perceive from his great picture of the Cintura, in the church of S. Agostino, in Rimini, and still more from the history of S. Marino, which he painted in the church of that saint in the same city. Others of his works are to be found both in oil and fresco in Urbino, in his native place, at Cremona, and elsewhere; and although on a vast scale, embracing whole oratories and churches, they could not have cost him any great labour, from the rapid manner which he had acquired in Rome. In S. Ginesio, a place in the March, Domenico Malpiedi is considered as belonging to Federigo's school, and of him there are preserved in the collegiate church, the Martyrdoms of S. Ginesio and S. Eleuterio, which are highly commended. From Colucci we learn that there also remain other works by him; and from the prices paid, we may conclude that he was esteemed an excellent artist. He was living in 1596, and about the same time there flourished also another Malpiedi, who painted a Deposition from the Cross in S. Francesco di Osimo, and inscribed on it _Franciscus Malpedius di S. Ginesio_, a picture feeble in composition, deficient in expression, and little resembling the school of Barocci, except in a distant approximation of colour.