[Footnote 106: In Messina, towards the close of the fifteenth century, or at the beginning of the sixteenth, some artists flourished who practised their native style, not yet modernised on the Italian model, as Alfonso Franco, a scholar of Jacopello d'Antonio, and a Pietro Oliva, of an uncertain school. Both are praised for their natural manner, the peculiar boast of that age, but in the first we admire a correct design and a lively expression, for which his works have been much sought after by strangers, who have spared only to his native place a Deposition from the Cross, at S. Francesco di Paola, and a Dispute of Christ with the Doctors, at S. Agostino. Still less remains of Antonello Rosaliba, always a graceful painter. This is a Madonna with the Holy Infant, in the village of Postunina.] NEAPOLITAN SCHOOL. SECOND EPOCH. _Modern Neapolitan Style, founded on the Schools of Raffaello and Michelangiolo._ It has already been observed, that at the commencement of the sixteenth century, the art of painting seemed in every country to have attained to maturity, and that every school at that time assumed its own peculiar and distinguishing character. Naples did not, however, possess a manner so decided as that of other schools of Italy, and thus afforded an opportunity for the cultivation of the best style, as the students who left their native country returned home, each with the manner of his own master, and the sovereigns and nobility of the kingdom invited and employed the most celebrated strangers. In this respect, perhaps, Naples did not yield precedence to any city after Rome. Thus the first talents were constantly employed in ornamenting both the churches and palaces of that metropolis. Nor indeed was that country ever deficient in men of genius, who manifested every exquisite quality for distinction, particularly such as depended on a strong and fervid imagination. Hence an accomplished writer and painter has observed, that no part of Italy could boast of so many native artists, such is the fire, the fancy, and freedom, which characterizes, for the most part, the works of these masters. Their rapidity of execution was another effect of their genius, a quality which has been alike praised by the ancients,[107] and the moderns, when combined with other more requisite gifts of genius. But this despatch in general excludes correct design, which from that cause is seldom found in that school. Nor do we find that it paid much attention to ideal perfection, as most of its professors, following the practice of the naturalists, selected the character of their heads and the attitudes of their figures from common life; some with more, and others with less discrimination. With regard to colour, this school changed its principles in conformity to the taste of the times. It was fertile in invention and composition, but deficient in application and study. The history of the vicissitudes it experienced will occupy the