Marriage of the Virgin, the figures not large, but well coloured and correctly drawn, if indeed some of them may not be thought rather attenuated than slender and elegant. A celebrated scholar of Ridolfi, Benedetto Marini, of Urbino, went to Piacenza, where he left some highly valued pictures in several churches, in which the style of Barocci is mixed with the Lombard and Venetian. The work which excites our greatest admiration is the Miracle of the Loaves in the Desert, which he painted in the refectory of the Conventuals in 1625. It is one of the largest compositions in oil which is to be seen, well grouped and well contrasted, and displaying uncommon powers.[74] I should not hesitate to prefer the scholar to the master in grandeur of idea and vigour of execution, though in the fundamental principles of the art he may not be equal to him. The history of his life, as well as his works, scattered in that neighbourhood, in Pavia, and elsewhere, were deserving of commemoration; yet this artist as well as Bellini remains unnoticed by the catalogues, and what is more, he is little known in his native place, which has no other specimen of his pencil than a picture of S. Carlo at the Trinità, with some angels, which does not excite the same admiration as his works in Lombardy.[75] Some other scholars of Claudio are found in Verona, to which city he returned, and remained for a short time; and in the Bolognese School mention will be made of Cantarini, among the masters of which he is numbered. In the meantime let us turn from these provincial schools, which were the first that felt the reviving influence of the age, to the capital, where we shall find Caravaggio, the Caracci, and other reformers of the art.