In the Guide of Rimini, he is named Sammartino, as well as by Zanetti and Guarienti. This last declares that he remained at Venice most part of his life; and, in the next article, gives the name of one Marco Sanmarchi, a Venetian, both a landscape and a figure painter, on a small scale, much extolled by Malvasia, and flourishing about the time of Sammartino. On the authority of Melchiori, who names him Sammartino, or Sanmarchi, I believe that these two landscape-painters of Guarienti resolve themselves into one; and that the mistake arose from the resemblance of the two names, by which one and the same person was popularly known; as we have had occasion to observe in other instances. Moreover, what could be the reason that this Sanmarchi, a Venetian, is not known in Venice itself, but only in Bologna, where it does not appear that he ever had a permanent abode? The elder Cittadini, who excelled in flowers, and fruits, and animals, is commended in the preceding epoch. In the present, we shall make mention of his three sons, Carlo, Gio. Bastista, and Angiol Michele, who, however able in figures, at least the two first, are known to have assisted their father, and imitated him in the subjects most familiar to him; hence they were termed by Albano, syndic to the Bolognese professors,[55] the fruiterers and florists. From Carlo sprung Gaetano, the landscape painter, and Gio. Girolamo, who down to our own days, though without attempting figures, excelled in painting different animals, fruits, and vases of flowers. But this family was successfully rivalled by Domenico Bettini, a Florentine professor in the same line; who, after remaining a long time at Modena, where we have mentioned him, came to establish himself at Bologna, towards the end of the sixteenth century. He had learnt design under Vignali, and next continued to improve himself in the school of Nuzzi, at Rome. He was among the first, says Orlandi, who dismissing those obscure and dismal grounds, painted more clear and openly; adding attractions to such paintings, by the invention of situations, and by the introduction of perspective: he was frequently invited to different Italian cities, to decorate halls and cabinets. But the favourite artist in this kind, of his day, was Candido Vitali, who, taught by Cignani, always attentive to the peculiarities of his pupils, made rapid progress in these attractive branches of the art. The freshness which appears in his flowers and fruits, the beauty of his quadrupeds and birds, are farther recommended by a taste of composition, and a delicacy of hand, which are prized both in Italy and abroad. Baimondo Manzini, a miniaturist rather than a painter, painted less in oil; but with such a degree of nature, that his animals, exhibited in cartoons, and placed by him in a certain light, have deceived even painters themselves; for which he has been extolled by Zanotti as a modern Zeuxis.