Guido cannot be said to have contributed much to the Roman School, except in leaving in the capital a great number of works displaying that charm of style, and distinguished by that superhuman beauty, which were his characteristics. We are told of two scholars who came to him at the same time from Perugia, Giandomenico Cerrini, and Luigi, the son of Giovanni Antonio Scaramuccia. The pictures of Cerrini, (who was commonly called Il Cav. Perugino) were frequently touched by his master Guido, and passed for originals of that artist, and were much sought after. In his other works he varies, having sometimes followed the elder Scaramuccia. His fellow disciple is more consistent. He displays grace in every part of his work, and if he does not soar, still he does not fall to the ground. There are many of his paintings in Perugia, both in public and private, amongst which is a Presentation at the Filippini, from all accounts a beautiful performance. He left many works in Milan, where in the church of S. Marco, is a S. Barbera by him; a large composition, and extremely well coloured. He published a book in Pavia, in 1654, which he intituled _Le Finezze de' Pennelli Italiani_. It is full, says the Abbate Bianconi, _di buona volontà pittorica_. It possesses nevertheless some interesting remarks. Gio. Batista Michelini, called Il Folignate, is almost forgotten in this catalogue; but there are in Gubbio various works by him, and particularly a Pietà, worthy of the school of Guido. Macerata possessed a noble disciple of Guido, in the person of the Cav. Sforza Compagnoni, by whose hand there is, in the academy de' Catinati, the device of that society, which might be taken for a design of Guido. He gave a picture to the church of S. Giorgio, which is still there, and presented a still more beautiful one to the church of S. Giovanni, which was long to be seen over the great altar, but is now in the possession of the Conte Cav. Mario Compagnoni. Malvasia mentions him in the life of Viola, but makes him a scholar of Albano. The Ginesini boast of Cesare Renzi, as a respectable scholar of Guido, and, in the church of S. Tommaso, they shew a picture of that saint by his hand. In addition to the scholars of Guido, whose names have been handed down to us, I shall here beg leave to add an imitator of Guido, who from the time in which he flourished, and from his noble style of colour, probably belonged to the same school. I found his name subscribed Giorgio Giuliani da Cività Castellana, 161.., on a large picture of the Martyrdom of S. Andrew, which Guido painted for the Camaldolesi di S. Gregorio at Rome: and which this artist copied for the celebrated monastery of the Camaldolesi all'Avellana. It is exposed in the refectory, and notwithstanding the dampness of the place, maintains a freshness of colour very unusual in pictures of that antiquity.