although suffering from time, of the munificence of that prince, and the taste of the school of Raffaello. Giulio meanwhile, with the permission of the pope, established himself in Mantua, Il Fattore went to Naples; and some little time afterwards, in 1527, in consequence of the sacking of Rome, and the unrestrained licence of the invading army, Vaga, Polidoro, Giovanni da Udine, Peruzzi, and Vincenzio di S. Gimignano left Rome, and with them Parmigianino, who was at this time in the capital, and passionately employed in studying the works of Raffaello. This illustrious school was thus separated and dispersed over Italy, and hence it happened that the new style was quickly propagated, and gave birth to the florid schools, which form the subjects of our other books. Although some of the scholars of Raffaello might return to Rome, yet the brilliant epoch was past. The decline became apparent soon after the sacking of the city, and from the time of that event, the art daily degenerated in the capital, and ultimately terminated in mannerism. But of this in its proper place. At present, after this general notice of the school of Raffaello, we shall treat of each particular scholar and of his assistants. Giulio Pippi, or Giulio Romano, the most distinguished pupil of Raffaello, resembled his master more in energy than in delicacy of style, and was particularly successful in subjects of war and battles, which he represented with equal spirit and correctness. In his noble style of design he emulates Michelangiolo, commands the whole mechanism of the human body, and with a masterly hand renders it subservient to all his wishes. His only fault is, that his demonstrations of motion are sometimes too violent. Vasari preferred his drawings to his pictures, as he thought that the fire of his original conception was apt to evaporate, in some degree, in the finishing. Some have objected to the squareness of his physiognomies, and have complained of his middle tints being too dark. But Niccolo Poussin admired this asperity of colour in his battle of Constantine, as suitable to the character of the subject. In the picture of the church dell'Anima, which is a Madonna, accompanied by Saints, and in others of that description, it does not produce so good an effect. His cabinet pictures are rare, and sometimes too free in their subjects. He generally painted in fresco, and his vast works at Mantua place him at the head of that school, which indeed venerates him as its founder.