Vasari remarked at Modena some ancient paintings at S. Dominico, and he might have seen more in possession of the Padri Benedettini, and elsewhere; from which he judged, that "in every age there had been excellent artists in that place." Their names, which were unknown to Vasari, have in part been collected from MSS., consisting of a Tommaso Bassini,[5] whose age and productions are uncertain, and some others of the fourteenth century, approaching nearer to a more improved era. One of these was Andrea Campana, to whom a work, bearing the initials of his name, in the Colorno Villa of the Duke of Parma, has been attributed, representing the acts of S. Piero Martire, a piece extremely pleasing and well coloured. Another is Bartolommeo Bonasia, excellent both in painting and inlaid work, a specimen of which he left in a picture placed in the convent of S. Vincenzo. There are, moreover, in Sassuolo, some notices of Raffaello Calori of Modena, beginning in 1452 and terminating in 1474; besides a picture of the Virgin in the best manner of those times, during which he was in the service of Duke Borso. Later than him flourished Francesco Magagnolo, an artist who terminated his career early in the sixteenth century, and one of the first who drew countenances in such a manner as to appear looking at the spectator, in whatever point of view he might observe them. His contemporaries, it appears, were Cecchino Setti, whose labours have wholly perished, with the exception of a few altar-ornaments, in the most finished taste; Nicoletto da Modena, at once a painter, and one of the very earliest engravers, whose prints are much sought after for cabinets, and are placed at the head of collections; Giovanni Munari, commended by historians, and distinguished for the great name of his son and pupil Pellegrino; and finally Francesco Bianchi Ferrari, who died in 1510. To this last has been ascribed the honour of instructing Coreggio, which, however, can by no means be asserted beyond dispute. One of his altar-pieces was formerly to be seen in S. Francesco, executed with some degree of modern softness, though still partaking of the ancient stiffness, and the eyes designed without a due regard to rotundity.