Pietro Facini entered late into the profession, at the suggestion of Annibal Caracci, who from one of his playful sketches in charcoal, declared how excellent a painter he would become, if he were to enter his school. Annibal subsequently regretted the discovery, not only because Facini's progress excited his jealousy, but, because, on leaving the academy, he became his rival in educating young artists, and even plotted against his life. He has two striking characteristics, vivacity in his gestures, and in the expression of his heads, such as to place him on a footing with Tintoretto, and a truth of carnations, which induced Annibal himself to observe, that he seemed to have ground human flesh in his colours. With this exception, he has nothing superior; feeble in point of design, too large in his naked figures of adults, incorrect in the placing of his hands and heads. Neither had he time to perfect himself, dying young, and before the Caracci, in 1602. There is a picture of the Patron Saints, at S. Francesco, in Bologna, with a throng of cherubs, which is indeed among his best works. In the Malvezzi collection, and in others of the city, are much esteemed some of his Country Dances, and Sports of Boys, in the manner of Albani, but on a larger scale. He had a pupil in Gio. Mario Tamburini, who afterwards attached himself to Guido, forming himself on his manner, as we have already stated.
Francesco Brizio, gifted with rare genius, was, up to his twentieth year, employed as a shoe-maker's boy. Impelled, at length, by his bias for the art, he acquired a knowledge of design from Passerotti, and of engraving from Agostino Caracci. Lastly, he commenced painting under Lodovico, and very soon arrived at such celebrity, that by some he has been pronounced the most eminent disciple of the Caracci. Doubtless, if we except the previous five, he was equal to any others, and, excepting Domenichino, gifted with the most universal genius. He was not deficient, like Guido, in perspective; nor in the branch of landscape, like Tiarini; nor in splendour of architecture, like so many others. In these accessaries he surpassed all his rivals, as we gather from his histories, painted for S. Michele in Bosco; at least such was the opinion of Andrea Sacchi. He is extremely correct in his figures, and perhaps approached Lodovico more closely than any other artist. The graceful beauty of his cherubs excites admiration, an excellence at that period so greatly studied by all the school; and here, in the opinion of Guido, he outshone even Bagnacavallo. His chief talent lay in imitation; owing to which, and his character for indecision, in addition to the number of great artists, superior to him in manners, he was deprived of assistants and commissions, and reduced to execute such as he had solicited at very insignificant prices. One of the most extensive altar-pieces in the city is from his hand, representing the Coronation of the Virgin, at S. Petronio, with a few figures in the foreground truly joyous and well arranged; besides others in the distance grouped and diminished with art; a picture of great merit even in strength of colouring. He produced also for the noble family Angelelli the Table of Cebes, in one grand painting; the work of an entire year, which displayed all the depth, imagination, and genius of a great artist. There are also a number of small engravings from his hand, in which he often approaches Guido.