The provincial painters have been occasionally noticed in connexion with their masters. I here add a supplement, which may be useful in the way of completion. Foligno possessed a Fra Umile Francescano, a good fresco painter, engaged in Rome by Cardinal Castaldi, to ornament the tribune of S. Margaret, while Gaulli and Garzi were commanded to paint the pictures for it. The Abbate Dondoli lived at Spello at the beginning of this century. He was more to be commended for his design than for his colouring. Marini has some celebrity in S. Severino, his native place. He was the scholar of Cipriano Divini, whom he surpassed in his art. Marco Vanetti, of Loreto, is known to me more from his life of Cignani, who was his master, than from his own works. Antonio Caldana, of Ancona, painted a very large composition in Rome, in the sacristy of S. Niccola da Tolentino, from the life of that saint. I do not know whether there remain any works of his in his native place; but there are a great number by a respectable artist, one Magatta, whose name was Domenico Simonetti, and who painted the gallery of the Marchesi Trionfi; he furnished many churches with his paintings, and distinguished himself in that of the church of the Suffragio, which is his most finished production. Anastasi di Sinigaglia was a painter less elegant and finished, but free and spirited. His works are not scarce in that city, and his best are the two historical subjects in the church della Croce. Three pictures by him also in S. Lucia di Monte Alboddo, are highly prized, and are called by the writer of the _Guida_, "_Capi d'opera dell'Anastasi_." Camillo Scacciani, of Pesaro, called Carbone, flourished at the beginning of the age we are writing on, and had a Caracciesque style allied to the modern. There is a S. Andrea Avellino by him in the Duomo of Pesaro; his other works are in private collections. This notice I deem sufficient, always excepting the living artists, whom I of course omit.[90]