All we hear of Francia in these stormy times is that in 1511 he was elected one of the sixteen Gonfalioneri of the people, which proves that he still retained the popular favour, and that his changeable fellow-countrymen had not wavered in their affection and regard for him. In 1512 he was once more elected master of the Goldsmiths’ Guild, and in 1514 he attained the dignity of Master of the four arts. “He was reverenced as a god in Bologna,” says Vasari, “and not even his friendship for Raphael, and his desire to see the larger works of the great painter, could tear him away from his native city.” The fame of his works had spread over all Italy and had attracted a large number of scholars, as many, it is said, as two hundred. Several of the best of these passed into the school of Raphael, as Timoteo Viti had already done, and adopted a style which has little in common with that of Francia. Such were Innocenza da Imola and Bartolommeo Ramenghi, of Bagnacavallo, whose influence became prominent in the Bolognese school after Francia’s death, and who have left many of their works in the churches and Gallery of Bologna. Others followed more closely in Francia’s steps, and contented themselves for the most part with weak and conventional repetitions of those Saints and Madonnas which his genius had rendered popular. Chief among these was Francia’s own son, Giacomo Raibolini, an active and careful artist who never aspired to originality, and whose conceptions are generally wanting in life and freedom. Three of his best panels are in the Berlin Museum, and we often find them in other collections under his father’s name. There is a fine portrait of him in the Pitti Palace, Florence, and as an engraver he rose to the first rank, some of his prints being equal in delicacy and finish to those of Marc Antonio himself. Francia’s second son, Giulio by name, also became a painter, and was associated with Giacomo in the execution of several panels, which are distinguished by the signature J. J. Francia. Giacomo died in 1557; Giulio at some time after 1543. Another of Francia’s assistants whom he employed, as he did Giacomo, in the frescoes of Cecilia, was Amico Aspertini, a wayward and eccentric artist, who travelled in many parts of Italy, and received the surname “dai due pennelle,” from his habit of working with both hands, holding one brush for dark, and the other for pale tints. His numerous paintings in Bologna have mostly perished, and the best works by him which remain are the frescoes of the Volto Santo in San Frediano at Lucca, painted by him about the same time that Francia executed his two altar-pieces for that church. Besides these, Francia’s influence left its mark on several of the Ferrarese, especially on Costa’s pupil, Ercole Grandi II., and on the Ravenna artists, one of whom, Girolamo Marchesi da Cotignola, painted several works at Bologna, and was summoned to take the portrait of Gaston de Foix as he lay dead on the battle-field.