The same city possesses a variety of other pieces by this Bertucci, and in the soffitto of S. Giovanni, various histories, both of the Old and New Testament, were pointed out to me as his. There too are several of inferior character attributed to another Bertucci, his son, an artist who in his heads repeats the same idea, even to satiety. Still his merit ought not, I think, to be estimated from a single work, but rather from some pictures cited by Crespi.[19] One of these is the Beheading of St. John the Baptist, animated and high toned in its colours, beautiful in point of design and character, and worthy of decorating the Ercolani collection at Bologna. Upon it is inscribed "Bertucius pinxit, 1580." The other is at the Celestini of Faenza, a singular work, as Crespi denominates it, from which he appears to have learnt the proper name of this younger Bertucci, whom he calls Giambatista. Baldinucci treats of Jacopone at the commencement of his fifth volume, and on the credit of Count Laderchi, he enumerates his different paintings, which then remained at Faenza. Of his surname he mentions nothing; nothing of his altar-piece of the Nativity; nothing of S. Vitale; nothing of the son, or the other artist of Faenza lately alluded to. He adds, that works of Jacopone were to be seen up to the year 1570, but I believe these last to have belonged to the son, inasmuch as the father, at the period when Vasari wrote, was already deceased. Other pictures by this artist are mentioned, painted in glowing and attractive colours, and in particular the Baptizing of Christ, preserved in the public collection, valuable from its giving the epoch of 1610, which must have been towards the close of his days. Footnote 19: Lettere Pittoriche, vol. vii. p. 66.