The _Guida_ of Pesaro assigns to the same school Terenzio Terenzj, called il Rondolino, whom it characterises as an eminent painter, and of whom there exist four specimens in public, and many more in the neighbourhood of the city (page 80). It is also mentioned that he was employed by the Cardinal della Rovere in Rome, and that he placed a picture in the church of S. Silvestro. The picture of S. Silvestro _in capite_, which represents the Madonna, attended by Saints, is ascribed by Titi to a Terenzio of Urbino, who, according to Baglione, served the Cardinal Montalto. It is most probable, that in the records of Pesaro there arose some equivoque on the name of the cardinal, and that these two painters might, or rather ought to be merged in one. Terenzio Rondolino, it appears to me, is the same as Terenzio d'Urbino, and very probably in Rome took his name from Urbino, the capital of Pesaro. But by whatever name this painter may be distinguished, we learn from Baglione that Terenzio d'Urbino was a noted cheat; and that, after having sold to inexperienced persons many of his own pictures for those of ancient masters, he attempted to pass the same deceit upon the Cardinal Peretti, the nephew of Sixtus V. and his own patron, offering to his notice one of his own pieces as a Raphael: but the fraud was detected, and Terenzio in consequence banished from the court; a circumstance which he took to heart, and died whilst yet young. Two brothers, Felice and Vincenzio Pellegrini, born and resident in Perugia, are recorded by Orlandi and Pascoli, as scholars of Barocci. The first became an excellent designer, and in the pontificate of Clement VIII. was called to Rome, probably to assist Cesari, though it is not known that he left any work in his own name. Some copies after Barocci by him exist in Perugia, and it is well known that his master was highly satisfied with his labours in that line. The other brother is mentioned by Bottari in the notes to his life of Raffaello; and I recollect having seen in Perugia a picture in the sacristy of S. Philip, in rather a hard manner, in which it is difficult to recognize the style of his supposed master. It is possible that these two artists might have had their first instructions from Barocci, and that they afterwards returned to another manner. A similar instance occurs in Ventura Marzi. In the Biographical Dictionary of the Painters of Urbino he is given to the school of Barocci. His manner however is different, and I should say bad, if all his pictures were similar to that of S. Uomobuono, which I saw in the sacristy of the metropolitan church; but he did indeed paint some better, and it is an ancient maxim, that to improve we must sometimes err. Benedetto Bandiera, of Perugia, who approaches nearer to the style of Barocci than most others, is said to have been a relative of Vanni, from whom he derived that manner, if we may believe Orlandi. But Pascoli, both on this point, and on the period in which he