In the grand Zambeccari gallery there is a concert by him, with three female figures, altogether enchanting; the forms, the motions, the colouring, the taste of the lines and folding so easy and chaste, all combined with a certain originality pervading the whole, are well calculated to attract and rivet the eye at the first moment. When dying, he assigned Niccolo Abati, called too dell'Abate, to continue his grand works, because he had brought him from Bologna, and laid the ground-work of his fortunes. An account of this delightful painter may be found in the Modenese School. He was not Primaticcio's pupil, but one Ruggiero Ruggieri was, and conducted by him into France, he left few paintings in his own country; to whom we may perhaps add one Francesco Caccianemici, called by Vasari his disciple, from whose hand, at Bologna, there only remain a few doubtful specimens. Much under the same circumstances as Primaticcio and Abati appeared Pellegrino Pellegrini, whose patronymic was Tibaldi, a native of Valdelsa in the Milanese; though residing from his childhood, educated, and established at Bologna. He next filled the same situation at the court of Spain, as the two preceding had done at that of France; he decorated it with his paintings, improved its taste in architecture, formed pupils, and rose in fortune until he at length became Marquess of that Valdelsa, where his father and uncle had resided as poor masons before they went to Bologna. It is not known who first imbued his liberal spirit with the elements of learning; but Vasari traces his progress from some pictures of his in the refectory of S. Michele in Bosco, copied by Tibaldi when young, along with other select pieces at Bologna. From this place he follows him to Rome in 1547, eager to study the finest works in that capital, where, after three years' residence, he re-conducts him to Bologna, still very young, but advanced in the knowledge of his art. His style was in great part formed upon the models of Michelangiolo--vast, correct in drawing, bold, and happy in his foreshortenings; yet, at the same time, tempered with so much mellowness and softness, as to induce the Caracci to denominate him the reformed Michelangiolo. The first work which he conducted, subsequent to the year 1550, is in the Bolognese Institution, and it is the most perfect, in Vasari's opinion, ever executed by him. It contains in particular various stories from the Odyssey, and this work, with that by Niccolino, mentioned elsewhere,[11] both executed for the Institution, were afterwards finely engraved by Sig. Antonio Buratti of Venice, accompanied with the lives of the two painters, written by Zanotti. Both there, and in the great merchants' hall at Ancona, where he subsequently represented Hercules, the monster-slayer, Tibaldi exhibited the true method of imitating the terrible in the style of Michelangiolo, which consisted in a fear of too nearly approaching him. Although Vasari