[Footnote 111: In tom. iii. of the _Lett. Pittoriche_, is a letter of P. Sebastiano Resta dell'Oratorio, wherein he says, it is probable that the Cav. d'Arpino imitated him in his youth: which cannot be admitted, as it is known that Cesari formed himself in Rome, and resided only in Naples when an adult. As to the resemblance between them, that applies as well to other artists. In the same letter Corenzio is called the Cav. Bellisario, and some anecdotes are related of him, and among others, that he lived to the age of a hundred and twenty. This is one of those tales to which this writer so easily gives credit. In proof of this we may refer to Tiraboschi, in the life of Antonio Allegri, where similar instances of his credulity are noticed.] [Footnote 112: Caravaggio had another scholar of eminence in Mario Minniti of Syracuse, who however passed a considerable part of his life in Messina. Having painted for some time in Rome with Caravaggio, he imbibed his taste; and though he did not equal him in the vigour of style, he displayed more grace and amenity. There are works remaining of him in all parts of Sicily, as he painted much, and retained in his service twelve scholars, whose works he retouched, and sold as his own. Hence his pictures do not altogether correspond with his reputation. Messina possesses several, as the Dead of Nain at the Church of the Capucins, and the Virgin, the tutelar saint, at the Virginelle.] [Footnote 113: Among the scholars of Annibale, I find Carlo Sellitto mentioned, to whom Guarienti assigns a place in the Abbeccadario, and I further find him commended in some MS. notices of eminent artists of the school.] [Footnote 114: There is a different account of him in the Memorie de' Pittori Messinesi, where it is said that his true family name was Rodriguez. It is there said that he studied in Rome, and went from thence to work in Naples, in the Guida of which city he is frequently mentioned. It is added that, from his Roman style, he was called by his brother Alonso, the _slave of the antique_; and that he returned the compliment by calling his brother, who was instructed in Venice, _the slave of nature_. But Alonso, who spent his life in Sicily, surpassed his brother in reputation; and it is a rare commendation that he painted much and well. He particularly shone in the Probatica in S. Cosmo de' Medici, and the picture of two Founders of Messina in the senatorial palace, a work rewarded with a thousand scudi. His fame declined, and he began to fail in commissions on the arrival of Barbalunga. But he did not, on that account, refuse him his esteem, as he was accustomed to call him the Caracci of Sicily.]