Thus the latter part of Francia’s life was partly spent in directing the efforts of this large number of scholars, all engaged in the production of the numerous works in his style, and often bearing his name, which are scattered throughout Europe. A few genuine panels of his last years are still, however, to be seen. A Madonna dated 1511 is in Casa Pertusati at Milan, and a small God the Father in the Ercolani collection at Bologna bears Francia’s signature and the date 1514. Two larger and more important works belong to the following year, 1515. One of these is the “Madonna and Saints” in the Gallery of Parma, formerly in the possession of the Sanvitale family, and resembling his earlier creations in most points; it is remarkable for the fine profile of St. Justina, who kneels on the pedestal of the Virgin’s throne, looking upward with ardent devotion. The other is the Pietà of the Turin Gallery, a work which has lost the richness of its colouring from subsequent restoration, but still retains much of its former excellence. The leading features are the same as those of the larger Parma “Deposition.” The dead Christ lies in the Virgin’s arms supported by the Magdalen and St. John. Behind them Nicodemus raises his hands with a sorrowing gesture, and a monk stands with a lily in his hand, while tall palm-trees in the background spread their fan-like branches against the western skies. There is the same majesty of repose in the dead Christ, the same expression of piteous sorrow on the Virgin’s face, which we expect in a Pietà by Francia. It was the old conception of earlier days, which had lost none of its force in declining years, but was still present as vividly as ever to his mind.