In this series Vasari has omitted to mention several others whom the Mantuans have enumerated as belonging to the school of Giulio, and as natives of their country. Among these is a Teodoro Ghigi, a Mantuan, as he subscribes himself, an excellent designer, and so familiar with the manner of the leader of his school, that on the decease of the latter, he was employed in the service of the prince, to complete his labours in the city, and in the country. Ippolito Andreasi also painted a good deal upon the cartoons of Giulio, and produced pictures of merit in S. Barbara as well as elsewhere. There are moreover two frescos in the dome, at the chapel of S. Lorenzo, attributed to one Francesco Perla; an altar-piece at S. Cristoforo by Gio. Batista Giacarolo, neither of them greatly celebrated in this class. Raffaello Pippi was a son of the head of the school; and there only remains of him the honourable recollection of the very promising efforts of his youthful genius, cut off in its happiest spring. Following Giulio, his pupil, the cavalier Gio. Batista Bertani continued to labour, and to instruct the school. He had accompanied his master to Rome; he was a great architect, and an excellent writer on the subject, as well as a painter of no ordinary talent. Assisted by his brother of the name of Domenico, he ornamented several chambers in the castle of the court; and he committed various altar-pieces to different painters, in the dome erected by Giulio, in Sta. Barbara, which is the work of Bertani himself, and in other churches of the place. To some of these artists he gave his designs. He was esteemed almost as another Giulio by Duke Vincenzio, though very inferior to his predecessor. For what Vasari observes of him, that his knowledge did not equal that of his master, is no less true, than that the chief part of his own assistants surpassed him. His assistants were Gio. Batista del Moro, Geronimo Mazzuola, Paol Farinato, Domenico Brusasorci, Giulio Campi, Paol Veronese; whose works, displayed in that cathedral, do no less honour to the sanctuary than to the city. Yet let this be said without the least reflection upon his merit, which, particularly in design, was undoubtedly very great. This, indeed, we gather from his picture of the Martyrdom of Sta. Agata, which, executed from the design of Bertani by Ippolito Casta, approaches much nearer to the composition of Giulio than other works of Ippolito, drawn from his own invention.