[Illustration: FIG. 42.--GIULIO ROMANO. APOLLO AND MUSES. PITTI.] The influence of Raphael's example was largely felt throughout Central Italy, and even at the north, resulting in many imitators and followers, who tried to produce Raphaelesque effects. Their efforts were usually successful in precipitating charm into sweetness and sentiment into sentimentality. Francesco Penni (1488?-1528) seems to have been content to work under Raphael with some ability. Giulio Romano (1492-1546) was the strongest of the pupils, and became the founder and leader of the Roman school, which had considerable influence upon the painters of the Decadence. He adopted the classic subject and tried to adopt Raphael's style, but he was not completely successful. Raphael's refinement in Giulio's hands became exaggerated coarseness. He was a good draughtsman, but rather hot as a colorist, and a composer of violent, restless, and, at times, contorted groups. He was a prolific painter, but his work tended toward the baroque style, and had a bad influence on the succeeding schools. Primaticcio (1504-1570) was one of his followers, and had much to do with the founding of the school of Fontainebleau in France. Giovanni da Udine (1487-1564), a Venetian trained painter, became a follower of Raphael, his only originality showing in decorative designs. Perino del Vaga (1500-1547) was of the same cast of mind. Andrea Sabbatini (1480?-1545) carried Raphael's types and methods to the south of Italy, and some artists at Bologna, and in Umbria, like Innocenza da Imola (1494-1550?), and Timoteo di Viti (1467-1523), adopted the Raphael type and method to the detriment of what native talent they may have possessed, though about Timoteo there is some doubt whether he adopted Raphael's type, or Raphael his type.