First upon the list, therefore, I place his own son, Pomponio Allegri. He had hardly time to benefit by his father's instructions, or to receive his earliest rudiments, having lost him at the age of twelve. His grandfather then took him under his care, until the period of his death, occurring five years after, when he left a pretty handsome provision for the orphan, who boasted likewise no common degree of talent. With whom he pursued his education, however, is not known, whether with Rondani, a faithful disciple of his father, or with some other of the same school. It is certain he was a youth of fair abilities, and that with the aid of his father's studies he acquired some reputation, and established himself at Parma. In the cathedral there appears, wrought upon a large earthen bason, the story of the Israelites awaiting the arrival of Moses, to whom the Lord has just consigned the tablets of the law. Though not very successful as a whole, the work displays great merit in particular parts; many of the heads are beautiful, many of the motions spirited, and there are tones of colouring extremely clear and natural. It was believed that Pomponio had early abandoned the use of his pencil, disposing of his property in Coreggio, and afterwards dying in great poverty at an early age. These false or uncertain reports, however, have been rendered nugatory by authentic documents brought forward by Father Affò, stating him to have enjoyed, in Parma, high reputation and honourable public commissions, and confirmed by a public decree recording him, while the best disciples of the school of Parma were yet alive, as being _ottimo pittore_.
We now proceed to other artists belonging to the city and state of Modena. Among these we find the name of Francesco Cappelli, a native of Sassuolo, who established himself in Bologna, without, however, leaving there any public specimen of his labours. Most probably he was employed by private persons, or, as Vedriani is led to conjecture, also by princes; though in respect to their names he is certainly mistaken. There is an altar-piece in S. Sebastiano at Sassuolo, commonly attributed to his hand, representing a figure of the Virgin, with some saints, among which last appears the Titular, the most noble and conspicuous of the whole, in such fine impasto and relief, as to be attributed to the pencil of his master.