Pellegrino da Modena, of the family of Munari, of all the scholars of Raffaello, perhaps resembled him the most in the air of his heads, and a peculiar grace of attitude. After having painted in an incomparable manner the history of Jacob, before mentioned, and others of the same patriarch, and some from the life of Solomon, in the gallery of the Vatican, under Raffaello, he remained in Rome employed in the decoration of many of the churches, until his master's death. He then returned to his native place, where he became the head of a numerous succession of Raffaellesque painters, as we shall in due time relate. Bartolommeo Ramenghi, or as he is sometimes named, Bagnacavallo, and by Vasari Il Bologna, is also included in the catalogue of those who worked in the gallery. There is not however any known work of his in Rome, and we may say the same of Biagio Pupini, a Bolognese, with whom he afterwards united himself to paint in Bologna. Vasari is not prodigal of praise towards the first, and writes with the most direct censure against the second. Of their merits we shall speak more fully in the Bolognese School, to which Bagnacavallo was the first to communicate a new and better style. Besides these, Vasari mentions Vincenzio di S. Gimignano, in Tuscany, to whom, as a highly successful imitator of Raffaello, he gives great praise, referring to some façades in fresco by him, which have now perished. After the sacking of Rome he returned home, but so changed and dispirited, that he appeared quite another person, and we have no account of any of his subsequent works. Schizzone, a comrade of Vincenzio, a most promising artist, shared the same fate; and we find also, in the Bolognese School, Cavedone losing his powers by some great mental affliction. Among the subjects of the Vatican we do not find any ascribed to Vincenzio, but we may perhaps assign to him the history of Moses in Horeb, which Taja, on mere conjecture, ascribes to the bold pencil of Raffaele del Colle, who was employed by Raffaello in the Farnesina, and in the Hall of Constantine, under Giulio. Of this artist and his successors we have spoken in the first book, where we have made some additions to the account of Vasari.