this epoch to another place, as they belong of right to the school of Bologna, and some we have already recorded in the Florentine School. But to proceed. Federigo Barocci might from the time of his birth be placed in the preceding epoch, but his merit assigns him to this period, in which I comprise the reformers of art. He learned the principles of his art from Batista Franco, a Venetian by birth, but a Florentine in style. This artist going young to Rome, to prosecute his studies there, was struck with the grand style of Michelangiolo, and copied both there and in Florence, all his works, as well his paintings and drawings as statues. He became an excellent designer, but was not equally eminent as a colourist, having turned his attention at a late period to that branch of the art. In Rome he may be seen in some evangelical subjects painted in fresco, in a chapel in the Minerva, and preferred by Vasari to any other of his works. He also decorated the choir of the Metropolitan church of Urbino in fresco, and there left a Madonna in oil, placed between S. Peter and S. Paul, in the best Florentine style, except that the figure of S. Paul is somewhat attenuated. There is a grand picture in oil by him in the tribune of S. Venanzio, in Fabriano; containing the Virgin, with the titular and two other protecting Saints. In the sacristy of the cathedral of Osimo, I saw many small pictures representing the life of Christ, painted by him in the year 1547, as we learn from the archives of that church; a thing of rare occurrence, as Franco was scarcely ever known to paint pictures of this class. Under this artist, whilst he resided in Urbino, Barocci designed and studied from the antique. He then went to Pesaro, where he employed himself in copying after Titian, and was instructed in geometry and perspective by Bartolommeo Genga, the architect, the son of Girolamo and the uncle of Barocci. From thence he passed to Rome, and acquired a more correct style of design, and adopted the manner of Raffaello, in which style he painted the S. Cecilia for the Duomo of Urbino, and in a still more improved and original manner, the S. Sebastian, a work which Mancini, in point of solid taste, sets above all the works of Barocci. But the amenity and gracefulness of his style led him almost instinctively to the imitation of Correggio, in whose manner he painted in his native city the delightful picture of S. Simon and S. Judas, in the church of the Conventuals.