Their scholars, besides Bertoia, were Giambatista Tinti, pupil to Sammachini, Giovanni Lanfranco, and Sisto Badalocchi, who, having been acquainted with the younger Caracci, at Parma, became first attached to the school of Lodovico, in Bologna, and afterwards followed Annibal to Rome, where they continued to reside with him. These, although they were educated by the Bolognese, resemble certain characters who, though they may abandon their native soil, are never able to divest themselves of its memory or its language. In respect to Lanfranco, it is agreed by all, that no artist better imitated the grandeur of Coreggio in works upon a large scale; although he is neither equal to him in colouring, nor at all approaches him in high finish, nor is destitute of an air of originality peculiar to the head of a school. At Parma, he produced a picture representing all the saints in the church that bears their name; and in Piacenza, besides his saints Alessio and Corrado at the cathedral, works highly commended by Bellori, he painted an altar-piece of St. Luke, at the Madonna di Piazza, as well as a cupola, so avowedly imitated from that of S. Giovanni at Parma, that it can scarcely escape the charge of servility. Sisto Badalocchi,[30] no way inferior to Lanfranco in point of facility, and other endowments of the art, approached very nearly to his style. It was even doubted in Parma, whether the picture of S. Quintino, in the church of that name, was the production of Lanfranco or his. Of the rest who flourished for the most part among the disciples of the Caracci, beyond the limits of their own state, we shall treat more opportunely under the Bolognese School. Footnote 30: By Malvasia, tom. i. p. 517, he is called _Sisto Rosa_. Giambatista Tinti acquired the art of design and of colouring from Sammachini at Bologna; he studied Tibaldi with great assiduity, and painted upon his model at S. Maria della Scala, not without marks of plagiarism.[31] Having subsequently established himself at Parma, he selected for his chief model the works of Coreggio, and next proceeded to the study of Parmigianino. The city retains many of his productions, both in private and in public, among which that of the Assumption in the cathedral, abounding with figures, and the Catino, at the old Capuchin Nuns, are accounted some of the last grand works belonging to the old school of Parma. Footnote 31: Malvasia, tom. i. p. 212.