Further, among the scholars of Parma, there remain several who acquired less fame. A Daniello de Por is mentioned by Vasari in his life of Taddeo Zuccaro, who, according to his account, received some assistance from Daniello, more in the way of instructions than example. Yet he records no other of his productions besides a piece in fresco, to be seen at Vito, near Sora, where he invited Zuccaro to join him as an assistant; nor does it appear that he commends him for any thing beyond having acquired from Coreggio and Parmigianino a tolerable degree of softness of manner. In fact he must have rather occupied the place of a journeyman than of an assistant of Coreggio, and I suspect he is the same from whom Vasari obtained some information respecting this artist, in particular, such as related to his avarice, which the historian had assuredly no reason either for disbelieving or inventing. But a superior pupil of the same school will be found in M. Torelli, called a native of Milan in the MS. of Resta, where he is mentioned as the companion of Rondani, in executing the Frieze at San Giovanni in Parma, painted in chiaroscuro. It was taken from the design of Coreggio, who received likewise the proceeds from the work. It is added by Ratti, that the first cloister of the same monastery was also adorned with singular felicity by the same hand. The names of the following artists all enjoy more or less celebrity in Italy at the present day; but it is not therefore certain that they were all the pupils of Coreggio, nor that they all observed the same manner. Like young swimmers, some of them seem cautious of leaving the side of their master, while others appear fearful only of being seen to approach him too nearly, as if proud of the skill they had already acquired. To the first class belongs Rondani, who was employed along with Coreggio at the church of S. Giovanni, and to him is chiefly attributed a grotesque contained in the monastery, assigned to the school of Antonio, though we may detect some figures of cherubs which appear from the master's hand. Yet Rondani was accustomed to imitate his master pretty accurately in his individual figures; and on the exterior of the church of S. Maria Maddalena, he drew a Madonna, that in want of historical evidence, might have been attributed to Coreggio. There is also an altar-piece at the Eremitani, representing saints Agostino and Geronimo, so much in the Coreggio manner as to be esteemed one of the best pictures in Parma. But Rondani was unable to reach the grandeur of the head of the school; he is accused on the other hand of having been too careful and minute in the accessaries of his art, which we gather, indeed, from one of his frescos in a chapel of the cathedral, and in general from his other works. They are rarely to be met with in collections, though I have seen one of his Madonnas, with a Child, in possession of the Marchesi Scarani at Bologna,