Spolverini instructed in the art Francesco Simonini, a distinguished battle-painter of that period. Orlandi says he was a scholar of Monti, and educated at Florence upon the model of Borgognone. He long resided at Venice, where, in the Sala Cappello, and in different collections, he left pictures which abound in figures, ornamented with fine architecture, and varied with every kind of skirmish and military exploits. Ilario instructed several young Parmese in the art, among whom, perhaps, were Antonio Fratacci, Clemente Ruta, and more indisputably the Ab. Giuseppe Peroni. The first under Cignani became a better copyist of his master than a painter, being called _pittor pratico_, a mechanical hand, by Bianconi in his Guide to Milan, where, as well as in Bologna, a few of his pictures are to be seen. At Parma he was not employed in public, as far as I can learn, but for collections, in which he holds a pretty high rank. Ruta was likewise educated in the academy of Cignani at Bologna. Returning to his native state, whose paintings he has described, he there entered into the service of the Infant Charles of Bourbon, as long as he remained at Parma, after which he accompanied his patron to Naples. Subsequently returning to Parma; he continued to employ himself with credit, until, near the period of his decease, he lost the use of his eyes.
The Ab. Peroni, in the first instance, repaired to Bologna, where he received the instructions of Torelli, of Creti and of Ercole Lelli. He next visited Rome, where he became pupil to Masucci; though it is probable that he was struck with the colouring of Conca and Giacquinto, who were then much in vogue, as his tints partake more or less of their verds, and other false use of colouring. For the rest he could design well, and in elegant subjects partakes much of Maratta, as we perceive from his S. Philip in S. Satiro at Milan, and from the Conception, in possession of the Padri dell' Oratorio, at Turin. In Parma his productions are to be seen at S. Antonio Abbate, where his frescos appear to advantage, and there is an altar-piece of Christ Crucified, placed in competition with Battoni and Cignaroli, and here more than elsewhere he is entitled to rank among the good painters of this last age. He adorned his native place and its academy with his pictures, and died there at an advanced age. The career of Pietro Ferrari was much shorter, although he had time to produce several fine pictures for the public, besides that of his B. da Corleone in the church of the Capuchins, as well as more for private collections. He imitated the ancient manner of his school, no less than more recent styles.[32]