Guido Reni was either the master or the prototype of Gio. Batista Pesari; if this artist, who resembles Guido in his Madonna at S. Paolo, imitated him as closely in his other works. But of this we cannot judge, as he flourished only during a short period, and part of that time in Venice, where he died before enjoying any degree of fame. Guido himself undoubtedly bestowed his instructions on Luca da Reggio, and on Bernardo Cervi da Modena. Luca I have mentioned in the preceding book. The second according to the judgment of Guido, was possessed of distinguished talents for design; and though meeting with a premature fate in the pestilence of 1630, he left behind him works in the cathedral, and other churches, not inferior, perhaps, to those of Luca. From the same school sprung Giovanni Boulanger, of Troyes, painter to the court of Modena, and master in that city. We find, in the ducal palace, various specimens of his pencil truly delicate, though his want of good grounds in many pictures, occasionally casts some reflection upon his merit. He is happy in his inventions, warm and harmonious in his colours, spirited in his attitudes, but not without some touch of excessive enthusiasm. The sacrifice of Iphigenia, if a genuine production, is sufficient to establish his character; although the figure of Agamemnon may appear veiled in a capricious style, scarcely adapted to an heroic subject. Two of his best imitators and disciples are Tommaso Costa, of Sassuolo, and Sigismondo Caula, of Modena; the first of whom succeeded as a powerful colourist, of very general talent, and was eagerly employed by the neighbouring courts and cities in perspective, in landscape, and in figures. Reggio, where he usually resided, retains many of his productions: Modena has several, and in particular the cupola of S. Vincenzo bears proud testimony to his merit. Caula left his native place, only in order to improve his knowledge in Venice. Thence he returned with the acquisition of a copious and richly coloured style, as Orlandi very justly remarks, in regard to his great picture of the Plague, at S. Carlo. He subsequently changed his tints, which became more languid, and in such taste are most of the pictures he produced for the ornament of altars and cabinets.