Francesco Scannelli mentions a pupil of Raffaello at Cesena, omitted by all other historians, named Scipione Sacco. He painted a picture of S. Gregory for the cathedral of Cesena, in a grand style,[17] and the Death of St. Peter the Martyr for the church of S. Domenico. Doubtless he was of Raffaello's school, and not remembered out of Romagna.
Footnote 17: On this picture is inscribed, _Cæsenas_, 1545. _Oretti_, _Memorie_, MSS.
While the family of the Longhi was employed at Ravenna, that of the Minzocchi, which was surnamed San Bernardo, was distinguishing itself at Forli. Francesco, called also the elder di S. Bernardo, studied the works of Palmigiani in his native place; and there remain pictures conducted in his youth, but feeble in point of design, such as his Crucifixion at the Padri Osservanti. But under Genga, according to Vasari, and, as some writers add, under Pordenone, he changed his manner, assuming a more correct style, graceful, animated, and of an expression which looks like nature herself in these his subsequent productions. Among the works he executed with most care are two lateral pictures at the cathedral of Loreto, in a chapel of S. Francesco di Paola. These consist of a Sacrifice of Melchisedec, and the miracle of the Manna, in which the prophets and the principal characters boast all the dignity and nobleness of drapery becoming the school of Pordenone. The crowd, however, is represented in the most popular features and attitudes, sufficient almost to excite the envy of Teniers, and the most natural artists of the Flemish school. His delineations in these pictures, of numerous and various animals, are expressed to the life, with baskets and different utensils like reality, though the attempt to excite our mirth in treating serious subjects has a bad effect. Scannelli extols a specimen of his works in fresco at S. Maria della Grata in Forli, representing the Deity on the ceiling, surrounded by a number of angels; figures full of spirit, majestic, varied, and painted with a power and skill of foreshortening, which entitles him to greater celebrity than he enjoys. He left a variety of productions, likewise, at S. Domenico, at the cathedral, and at private houses in his native place, where such is his reputation, that on the chapels being taken down, his least celebrated frescos were carefully cut out, and replaced elsewhere. Among his sons and pupils were Pietro Paolo, mentioned also by Vasari, and Sebastiano, both artists of the same natural style, not very select, with little relief, and mediocrity of invention. To Pietro Paolo belong several figures at the Padri Francescani at Forli, of feeble execution; and to Sebastiano a picture at S. Agostino, composed in 1593 in the ancient taste, and of a style like his other works, inferior to the character of his age.