The other foreign pupils of the Cav. Carlo, who diffused his manner through the Italian schools, are commemorated in the places where they flourished; as Lamberti, for instance, at Rome, and Parolini at Ferrara. Here I shall add a brief sketch of the artists of Romagna, whom I unite to those of Bologna. Antonio Santi was an Ariminese, whose school only is mentioned by Crespi; but in the Guide of Rimini, where a few of his works remain, he is extolled as one of its best pupils, though he died young. The same Guide makes mention of some paintings in oil and fresco, particularly in the church of the Angioli, attributed to Angiolo Sarzetti, pupil to Cignani; from whom, also, he obtained a design for an altar-piece at S. Colomba. Innocenzio Monti is included by Crespi among the Bolognese, and by Orlandi among the painters of Imola, where he left some works. One, of the Circumcision of our Lord, at the Gesù of Mirandola, executed in 1690, is extolled in a little book of poems. He was more industrious than ingenious, and more successful in Germany and in Poland than in Italy. Gioseffo Maria Bartolini, also of Imola, is esteemed, in his native place, for a Miracle of S. Biagio, and for other works at S. Domenico, and in other churches. He was employed a good deal at Imola, where he opened school, and throughout Romagna; an artist of great facility, and partaking, in some degree, of the manner of Pasinelli, his first master. The artists of Forli, among whom Cignani lived during some years, are not a few. Filippo Pasquali was colleague to Franceschini, whose grand altar-piece at Rimini he surrounded with a very pleasing ornament. Some of his earliest efforts are met with in Bologna, at the portico of the Serviti; but not equal to the altar-piece in the church of S. Vittore at Ravenna, which he painted at a more advanced age, and which does him great credit. Andrea and Francesco Bondi, two brothers, are recorded by Guarienti; though, in the Guides of Pesaro and Ravenna only one is alluded to, whose name is not given; and what pieces I saw at Forli itself would seem to have proceeded from one hand; such as the chapel of S. Antonio, at the Carmelites, the Crucifixion at S. Filippo, besides others. He boasts the fine execution of Cignani; but the forms and expressions are not equally select. Among other artists of Forli, instructed by Cignani, was the priest Sebastiano Savorelli, employed in some church paintings even in the adjacent cities. To him we may add Mauro Malducci, and Francesco Fiorentini, both priests, too, of Forli; of all of whom there is found some account in the life of Cignani.