Domenico Tibaldi de' Pellegrini, once conjectured to be the son, was the pupil and brother of Pellegrino; and his name is in great repute among the architects and engravers of Bologna. His epitaph at San Mammolo states him also to have been a distinguished painter; but we must receive the authority of epitaphs with some caution; and not even a portrait from his hand is to be met with. Faberio speaks less highly of his powers, and in the funeral oration upon Agostino Caracci, whose master he had been, he mentions him as an able designer, engraver, and architect. Pellegrino's pupils in painting, and no obscure artists, were Girolamo Miruoli, commended by Vasari among the artists of Romagna, who left one of his frescos at the Servi, in Bologna, and several other pieces at Parma, where he filled the office of court-painter, and there died; and secondly, Gio. Francesco Bezzi, called Nosadella, who painted a great deal at Bologna and in other cities, in the style of his master, exaggerating it in point of power, but not equalling it in care, and in short, reducing it to mere mechanic labour and despatch. Vasari, in his life of Parmigianino, has mentioned with praise Vincenzio Caccianemici, of a good family in Bologna, respecting whom there have been some discussions, to avoid confounding him with Francesco, who bore the same surname. The correctors of the old _Guide_ suppose him to be the author of a Decollation of St. John, placed at S. Petronio, in the family chapel; a picture well designed and better coloured, and executed, as they observe, in the style of Parmigianino. Whilst the three great geniuses of the Bolognese School were residing abroad, the two first mentioned in France, and the third in Milan, and afterwards in Spain, the art continued stationary, or, more correctly, declined in Bologna. In the year 1569 three masters are pointed out by Vasari, namely, Fontana, Sabbatini, and Sammachini, whom he calls Fumaccini. For what reason he excluded Ercole Procaccini, an artist, if not of great genius, at least of finished execution, I am unable to say. Certain it is that Lomazzo, whilst he resided with him in Milan, mentioned him in the highest terms, and enumerated in the list of his pupils Sabbatini, and Sammachini too. I shall not here repeat what I have detailed in the Milanese School respecting Ercole and his sons; but, passing on to the others, I shall begin with Fontana, the principal cause of the decline above alluded to.