Leonardo da Vinci, from his sober and refined style of colour, could not fail to please him; and he decorated that master's work _Su la Pittura_ with figures designed in his usual fine taste. He followed him in theory and emulated him in practice. He adopted Titian's style of colour, and the famous Dance of Boys, which was formerly in the Villa Lodovisi, and is now in Madrid, taught him to invest with superior colours the engaging forms of children, in which he so much excelled. It should seem that he soon abandoned his application to colouring, and his best coloured pictures are those which he painted on first coming to Rome. He was apprehensive lest his anxiety on that head might distract his attention from the more philosophical part of his picture, to which he was singularly attentive; and to this point he directed his most serious and assiduous care. Raffaello was his model in giving animation to his figures, in expressing the passions with truth, in selecting the precise moment of action, in intimating more than was expressed, and in furnishing materials for fresh reflection to whoever returns a second and a third time to examine his well conceived and profound compositions. He carried the habit of philosophy in painting even further than Raffaello, and often executed pictures, whose claim to our regard is the poetical manner in which their moral is inculcated. Thus, in that at Versailles, which is called _Memoria della morte_, he has represented a group of youths, and a maid visiting the tomb of an Arcadian shepherd, on which is inscribed the simple epitaph, "I also was an Arcadian."