Dosso survived Gio. Batista some years, during which he continued to paint, and to form pupils, until infirmity and old age compelled him to desist. The productions of this school are recognised in Ferrara by their resemblance of style; and from their great number it is conjectured that the Dossi directed the works, while their assistants and disciples executed them. Few of these however are known, and among them one Evangelista Dossi, who has nothing to recommend him but his name, and whose works Scannelli did not care to point out to posterity. Jacopo Pannicciati, by birth a noble, is mentioned by historians as a first rate imitator of the Dossi, though he painted little, and died young, about the year 1540. Niccolo Rosselli, much employed at Ferrara, has been supposed to belong to this school, from his resemblance in some pictures to Dosso, particularly in that of Christ with two angels, on an altar of the Battuti Bianchi. But in his twelve altar-pieces at the Certosa, he imitated also Benvenuto and Bagnacavallo, with several other artists. His school, then, must remain uncertain; the more so as his composition, so very laboured, soft, and minute, with reddish tints like those of crayons, leaves it even doubtful whether he studied at Ferrara at all. The same taste was displayed by Leonardo Brescia, more a merchant than a painter; from which some have supposed him Roselli's pupil. Better known than these is the name of Caligarino, in other words the little shoe-maker, a title derived from his first profession. His real name was Gabriel Cappellini; and one of the Dossi having said, in praise of a pair of shoes made by him, that they seemed to be painted, he took the hint and relinquished his awl to embrace his new profession. The old Guide of Ferrara extols his bold design and the strength of his colours. The best that now remains is his picture of the Virgin between two Saints John, at S. Giovannino; the ground of which has been retouched, or rather spoiled. An altar-piece, in good preservation, is also ascribed to him in S. Alessandro, at Bergamo, representing our Lord's Supper. The manner partakes in some degree of that of the fourteenth century, though very exact and boasting good tints. In time, however, he approached nearer to the moderns, as we gather from another Holy Supper, a small picture in possession of Count Carrara. This new style has led to the supposition that he was pupil to Paul Veronese, which it is difficult to believe respecting an artist who was already employed in his art as early as 1520.