He is better known in his own country than at Rome, in particular at S. Paolo, where there remains a Nativity of our Lord which seems to breathe, in every part, the graces of D'Urbino. This unhappy artist had a son who, having committed homicide, was threatened with the vengeance of the parents of the deceased; and meeting with the father, they directed their fury against him, and slew him upon the spot, a truly tragic event, which occurred in 1523. Another of his sons, Tiraboschi conjectures to have been Cesare di Pellegrino Aretusi, the same, who by many writers is called _Modenese_, having been born in Modena; _Bolognese_ by others, because he lived in Bologna, and there took up his citizenship. This artist, to whom we shall again refer, formed his taste in Bologna by copying Bagnacavallo, being unable to obtain the instructions of Pellegrino. A Giulio Taraschi, however, was more fortunate, and benefitted much by his instructions, as appears from many of his paintings at S. Pietro, in Modena, in the Roman taste; a taste which he is said to have cultivated in two of his brothers, and transmitted to others whose names will appear as we proceed. Somewhat later, also, Coreggio began to afford a new model for the school of Modena; he who is now held their master, and whose skull is preserved, upon the example set by Rome, (vol. ii. p. 143), in the academy recently opened with so much splendour. He employed himself a good deal in Parma, in which school we shall more decidedly treat of him, though he also, in some measure, adorned Modena, Reggio, Carpi, and Coreggio; drawing scholars from all these places, who will appear in a catalogue with the rest in their appropriate chapter. In this way he early began to exercise an influence over the school of Modena, and to be esteemed in it a sort of master, whose manner might be pursued with advantage, either in emulating it altogether, or uniting it with that of Raffaello.