Among his pupils were Mornassi, Grassaleoni, Paggi, Raffanelli, Giacomo Filippi, and one who surpassed all the rest, Antonfelice Ferrari, his son. This artist did not attempt figures, but confined himself to architecture, in which he added to the somewhat minute style of his father, a magnificence well adapted to attract the public eye. He was employed with success in the Calcagnini palace, in that of the Sacrati, Fieschi, and in other private and public places in Ferrara, as well as at Venice, Ravenna, and elsewhere. Suffering much however in health by painting in fresco, and on this account being reduced to live with less comfort, he conceived such aversion for the art, that on making his will he enjoined that his son was to forfeit his inheritance if he ever became a fresco painter. Some of his pupils therefore succeeded him, among whom Giuseppe Facchinetti most distinguished himself. He painted at S. Caterina da Siena and other places, at once in a delicate and sound style, and is almost reputed the Mitelli of his school. Maurelio Goti of Ferrara nearly approached his style, not without marks of plagiarism. From the same country and school was Girolamo Mengozzi Colonna, who became a long resident at Venice. He accompanied the figures of Zompini with ornamental work at the church of the Tolentini, and those of Tiepolo at the Scalzi; and conducted the architecture in the ducal palace and elsewhere. Zanetti, in his Guide, mentions his name as above; but, in his "Pittura Veneziana," (thirty-eight years afterwards) he calls him Colonna Mengozzi, and a native of Tivoli. Guarienti extols him as the first architectural and ornamental painter of his time.