In his Mantuan School there appeared several foreigners, among whom Primaticcio proved the most celebrated; an artist whom Giulio employed to work in stucco, and whom, on being invited into the service of the king of France, he sent to that country in his stead. But we shall take no further notice of him here, having to treat of him more fully in our account of the Bolognese. The Veronese, who are in possession of a beautiful fresco, in the Piazza delle Erbe, with the name of _Alberto Cavalli Savonese_, have supposed this painter a scholar of Giulio, but without any other foundation beyond a strong resemblance to the style of Pippi, in the naked parts. It is strange that no other specimen of such a distinguished hand should be known in Italy, nor any memorial of him, notwithstanding the great researches that have been made; nor is it very improbable that he also may have changed his country, and died in foreign parts. Benedetto Pagni from Pescia had already tried his abilities in Rome, together with Bartolommeo da Castiglioni, with Paparello da Cortona, and with Gio. da Leone; artists of whom I know not if there exist any thing beyond the name; while Pagni, who accompanied Giulio into Mantua, has been as highly esteemed by Vasari as any other name. From his hand, besides what remains in his native place, we possess a S. Lorenzo, painted in S. Andrea, at Mantua, which does credit to such a school. Companion to him in the numerous works of the Tè, we find Rinaldo Mantovano, considered by Vasari the most celebrated painter of the city, while he laments the untimely termination of his days. His altar-piece of S. Agostino, at the Trinità, proves him to have been great even in his youth, so much is the design beyond the expectation of such an age; and it has by some been pronounced the work of his master. Fermo Guisoni had a longer career; he painted in the cathedral the Vocation of S. Pietro and S. Andrea, copied from one of the most beautiful and studied cartoons of Giulio. Other pieces of his are extant, in part designed by Bertani, and in part from his own hand. Such is a picture of the Crucifixion at S. Andrea, which both in point of design and force of colouring is indeed admirable.