Annibal formed, as stated in the second volume, a Gio. da Udine of his own, in a distinguished painter of fruits, called il Gobbo di Cortona, or il Gobbo de' Caracci. Similar reputation was acquired by two Bolognese artists, Antonio Mezzadri, whose flowers and fruits are in abundance at Bologna; and Anton Maria Zagnani, who received commissions even from princely foreigners. Both were excelled by Paolo Antonio Barbieri, as famous for his representation of animals, flowers, and fruits, as his brother Gio. Francesco for the human figure. He bestowed, however, little study on the art, being too much occupied with his family affairs.[45] There was a pupil of Guido, by birth a Milanese, but settled at Bologna, named Pierfrancesco Cittadini, commonly called il Milanese, who surpassed all his fellow scholars. Some of his altar-pieces shew him to have been capable of greater performances; but following the genius and example of several artists whom he saw at Rome, he restricted himself to painting small pictures on canvass, and small branches of histories and landscapes. Yet these were excelled by his specimens of fruits and flowers, with birds of every kind, to which he occasionally added portraits and very graceful figures, in the same piece. Bologna abounds with his paintings, as such a line of study proved useful to the quadraturists,[46] who were often desirous to secure Cittadini's assistance and that of his pupils in their ornamental labours. Footnote 45: As the head of the domestic establishment, he inserted in a book the pictures on which he and his brother were employed, with the prices which they obtained. On his death this was continued by Benedetto and Cesare Gennari, who recorded the works conducted by their surviving uncle. Such a registry was very useful to ascertain the dates and prices of the Guercinesque pictures; from the family of Gennari it came into possession of the Prince Ercolani, who made a valuable collection of MSS. and very rare books on the fine arts. Footnote 46: Ornamental and architectural painters. For portraits drawn from life, without any other accessaries, Gio. Francesco Negri, pupil of Fialetti, in Venice, was then in credit at Bologna; where he had for his fellow pupil Boschini, who finally became a designer and engraver in copper. Commendations of Negri are met with in the volumes of Malvasia and of Crespi.