Beside Rome and Florence, where the grandeur of this style was first displayed, it was on this Foundation that the Caracci built the truly great Academical Bolognian school, of which the first stone was laid by Pellegrino Tibaldi. He first introduced this style amongst them; and many instances might be given in which he appears to have possessed, as by inheritance, the true, genuine, noble, and elevated mind of Michel Angelo. Though we cannot venture to speak of him with the same fondness as his countrymen, and call him, as the Caracci did, _Nostro Michel Angelo riformato_, yet he has a right to be considered amongst the first and greatest of his followers; there are certainly many drawings and inventions of his, of which Michel Angelo himself might not disdain to be supposed the author, or that they should be, as in fact they often are, mistaken for his. I will mention one particular instance, because it is found in a book which is in every young Artist's hand;--Bishop's _Ancient Statues_. He there has introduced a print, representing Polyphemus, from a drawing of Tibaldi, and has inscribed it with the name of Michel Angelo, to whom he has also in the same book attributed a Sybil of Raffaelle. Both these figures, it is true, are professedly in Michel Angelo's style and spirit, and even worthy of his hand. But we know that the former is painted in the _Institute a Bologna_ by Tibaldi, and the other in the _Pace_ by Raffaelle. The Caracci, it is acknowledged, adopted the mechanical part with sufficient success. But the divine part which addresses itself to the imagination, as possessed by Michel Angelo or Tibaldi, was beyond their grasp: they formed, however, a most respectable school, a style more on the level, and calculated to please a greater number; and if excellence of this kind is to be valued according to the number rather than the weight and quality of admirers, it would assume even a higher rank in art. The same, in some sort, may be said of Tintoret, Paolo Veronese, and others of the Venetian Painters. They certainly much advanced the dignity of their style by adding to their fascinating powers of colouring something of the strength of Michel Angelo; at the same time it may still be a doubt how far their ornamental elegance would be an advantageous addition to his grandeur. But if there is any manner of Painting which may be said to unite kindly with his style, it is that of Titian. His handling, the manner in which his colours are left on the canvas, appears to proceed (as far as that goes) from a congenial mind, equally disdainful of vulgar criticism.