I may further observe, that as Perugino was the most celebrated name at the beginning of the sixteenth century, many other artists of the Roman States, who studied the art about his time, are given to his school without any sufficient authority; and particularly those who retained a share of the old style. Such was a Palmerini of Urbino, a contemporary of Raphael, and probably his fellow scholar in early life, of whom there remains at S. Antonio, a picture of various saints, truly beautiful, and approaching to a more modern style. In the same style I found, in the Borghese Gallery at Rome, the Woman of Samaria at the Well, painted by a Pietro Giulianello, or perhaps _da_ Giulianello, a little district not far from Rome; an artist deserving to be placed in the first rank of _quattrocentisti_, although not mentioned by any writer. There are besides, some pictures by Pietro Paolo Agabiti, who in tom. xx. of the _Ant. Pic._ is said to be of Masaccio, where he painted in 1531, and some time afterwards. But I have seen a work by him in the church of S. Agostino in Sassoferrato, a series of small histories, with an inscription in which he names Sassoferrato as his native place, with the date of 1514; a date that will carry him from the moderns to the better class of the old school. Lorenzo Pittori da Macerata painted in the church of the Virgin, highly esteemed for its architecture, a picture of Christ in 1533, in a manner which has been called _antico moderno_. Two artists, Bartolommeo, and Pompeo his son, flourished in Fano, and painted in 1534 in conjunction, in the church of S. Michele, the resurrection of Lazarus. It is wonderful to observe how little they regarded the reform which the art had undergone. These artists strictly followed the dry style of the quattrocentisti, with a thorough contempt of the modern style. Nor was the son at all modernized on leaving his father's studio. I found at S. Andrea di Pesaro a picture by him of various saints, which might have done him honour in the preceding age. Civalli mentions other works by him in a better style: and he certainly in his lifetime enjoyed a degree of reputation, and was one of the masters of Taddeo Zuccaro. There are a number of painters of this class, of whom a long list might be compiled; they are generally represented to be pupils of some well known master, and in such cases Pietro Perugino is selected; though it would be more candid to confess our ignorance on the subject.