Proceeding to the other disciples of Paul, and to his imitators, it will not be found easy to enumerate them. For having been interested beyond any other painter in the cultivation of an art, whose object is to give pleasure, so he excelled all others in the number of his followers. We are told by Zanetti, that many of them were also very successful, owing to which, less accurate judges are apt to confound the master with those of his school, if they do not cautiously attend to the two following points, in which none will be found to equal him. These are, 1st, the fineness and peculiar lightness of his pencil combined with sound judgment; 2d, a very ready and spirited expression of grace, and a dignity in his forms, particularly in the air of his heads. It must, however, be observed, that his scholars, in the progress of time, for the most part varied the grounds and the colouring, as they approached the style of the succeeding epoch. Among the Venetians, there is only enumerated by Zanetti the name of Parrasio Michele,[73] an artist who enriched with the designs of Paul, and experienced in the art of colouring them, produced several works worthy of him, more especially that of a Pietà, adorning a chapel within the church of San Giuseppe, a piece in which he added a portrait of himself. The people of Coneglia have preserved the recollection of one of their citizens named Ciro, to whom they attribute an altarpiece of the Nativity of Christ, as nearly resembling the style of Paul as possible, for which reason it was transferred from the church of the Riformati in that city to Rome; and they add, that its author was a youth, who never attained to mature age. Castelfranco boasts one Cesare Castagnoli as a pupil of Paul; though in his numerous paintings in fresco he cannot be said to display much power, at least beyond a certain degree of spirit, promptness, and copiousness of ideas. A few less shewy and fanciful productions from the hand of Bartolo, his brother, executed in oil, acquired for him higher reputation than that of Cesare. Angelo Naudi, an Italian, is much commended by Palamino for his labours in the royal palaces, and in various churches in Spain, when painter to the court of king Philip. There is reason to doubt whether he really received the instructions of Paul, instead of imbibing his manner by dint of study and copying, like Bombelli and many others; it being recorded of this writer, otherwise very estimable, that in regard to masters he was apt to embrace opinions by no means always true. Omitting the names of a great number of foreigners, we make mention here only of the Veronese, in order that their master should not appear unaccompanied by the noble train of disciples bestowed by him upon his country.