Lanfranc instructed in Rome a noble lady, who filled the church of S. Lucia with her pictures. These were designed by her master, and coloured by herself. Her name was Caterina Ginnasi. There were also with Lanfranc in Rome, Mengucci, of Pesaro, and others, who afterwards left Rome, and will be mentioned by us elsewhere. Some have added to these Beinaschi, but he was only an excellent copyist and imitator, as we shall see in the fourth book. At the same time, we may assert, that none of the Caracci school had a greater number of followers than Lanfranc; as Pietro di Cortona, the chief of a numerous family, derived much of his style from him, and the whole tribe of machinists adopted him as their leader, and still regard him as their prototype. Albano too, here deserves a conspicuous place as a master of the Roman School. Giambatista Speranza, a Roman, learned from him the principles of the art, and became a fresco painter of the best taste in Rome. If we inspect his works at S. Agostino, and S. Lorenzo in Lucina, and in other places where he painted religious subjects, we immediately perceive that his age is not that of the Zuccari, and that the true style of fresco still flourished. From Albano too, and from Guercino, Pierfrancesco Mola di Como derived that charming style, which partook of the excellences of both these artists. He renounced the principles of Cesari, who had instructed him for many years; and after having diligently studied colouring at Venice, he attached himself to the school of the Caracci, but more particularly to Albano. He never, however, equalled his master in grace, although he had a bolder tone of colour, greater invention, and more vigour of subject. He died in the prime of life whilst preparing for his journey to Paris, where he was appointed painter to the court. Rome possesses many of his pictures, particularly in fresco, in the churches; and in the Quirinal palace, is Joseph found by his Brethren, which is esteemed a most beautiful piece. There are also many of his pictures to be found in private collections; and in his landscapes, in which he excelled, it is doubted whether the figures are by him or Albano. He had in Rome three pupils, who, aspiring to be good colourists, frequented the same fountains of art as their master had done, and travelled through all Italy. They were Antonio Gherardi da Rieti, who on the death of Mola frequented the school of Cortona; and painted in many churches in Rome with more despatch than elegance;[76] Gio. Batista Boncuore, of Abruzzo, a painter in a grand though somewhat heavy style;[77] and Giovanni Bonatti, of Ferrara, whom we shall reserve for his native school.