Francesco Zugni, of Brescia, is mentioned by Ridolfi among the best of Palma's disciples. He could not compete with him in the beauty of his forms and attitudes, though he surpassed him in the fulness of his colouring, and in the spirit in which he conducted his works. These were for the most part in fresco, and frequently exhibited the perspectives of Sandrini, an architect of great merit. With him he was employed in the hall of the Podestà, in that of the Capitano, and in several villas. He displayed equal excellence in his oil paintings, as we gather from that of the Circumcision at the Grazie, and from some small figures adorning one of the choirs, designed and touched with great spirit. Grazio Cossale, or Cozzale, produced a variety of pieces upon a large scale, still remaining in his native province. He was gifted with a rich imagination, and of a character, compared by Cozzando, the historian of Brescia, to that of Palma; and he indeed appears to have emulated his facility without abusing it. His picture of the Presentation, which he left at the church of the Miracoli; his Epiphany at the Grazie, and other pieces dispersed throughout Brescia, are all calculated to arrest the eye of the spectator, who must likewise possess little feeling, should he fail to lament the unhappy fate of so great a man, who fell by the hand of one of his own sons. Neither in Camillo Rama, Ottavio Amigoni, nor in Jacopo Barucco, all disciples of Palma, have I met with any works of equal beauty throughout that city, the last of whom, indeed, has loaded his pieces with a more than ordinary degree of shade. Amigoni, who had been pupil to Gandino, likewise held his school, in which he counted, among other scholars, Pompeo Ghiti, an artist who, under Zoppo of Lugano, succeeded in improving his manner, or rendered it at least more powerful. He possessed a rich imagination, excellent in the art of design, and in his touch similar to, though perhaps not so strong as the Luganese. Francesco Paglia was a pupil and imitator of Guercino, and the father of Antonio and Angelo, both devoted to the art. He was most successful in his portraits, though he painted also scriptural pieces; one of the most esteemed of which is to be seen at La Carità. He was excellent in the laying on of his colours, and in chiaroscuro, but displayed little spirit, while his proportions were frequently too long and slender. But to describe minutely the manner of the successors of Ghiti and Paglia, would occupy too much of our space; such are the names of Tortelli, very spirited in Venetian composition, of Cappelli, instructed likewise by Pasinelli at Bologna, and by Baciccio at Rome, along with some others of a more modern character, who succeeded tolerably in the path marked out by the artists of Bologna, and a few of whom may be referred to the ensuing epoch.