The three following names belong to the school of the Caracci, also in regard to style. Giacomo Cavedone, born in Sassuolo, but absent from the state after the period of youth, was esteemed one of the best disciples of Lodovico. Giulio Secchiari, of Modena, resided also at Rome, and in Mantua, where he produced several excellent pictures for the court, which perished in the sack of 1630. What remains of him in his native place, and in particular the Death of the Virgin, in the subterranean part of the cathedral, with four crowns around, is calculated to give rise to lively regret, that Giulio should not be equally well known in different collections, with the other disciples of the Caracci. Camillo Gavassetti, likewise of Modena, may boast also of a greater degree of merit than of fame; no less because he died young, than because of his attaching himself to works in fresco, which, confined to the place in which they are produced, confine also the reputation of the artist. He is better known in Piacenza than in Modena, Parma, or, indeed, any other city. One of his paintings adorns the presbytery of the church of S. Antonino, accompanied with figures taken from the Apocalypse, so finely executed as to induce Guercino, when coming to Piacenza to complete his finest work, to bestow the highest commendation upon it; and it is still enumerated among the chief ornaments of that rich and ornate city. There is something so grand, spirited, and choice, in its whole expression, combined with so much grace and harmony of tints, that it equally surprises us when viewed together, and satisfies us when examined part by part. The action only is sometimes too extravagant, and some of the figures are hardly sufficiently studied. In fact, this artist preferred expedition to high finish; and held a dispute, reported by Baldinucci, with Tiarini, who practised and maintained the contrary, a plan by which, in all works of importance, he was preferred to him in Parma. In Santa Maria di Campagna, at Piacenza, however, where they both painted scriptural histories in opposition, Gavassetti maintains his ground against Tiarini, and other competitors, very numerous and distinguished for that period.