Before concluding the present epoch, it will be proper to mention two painters; one a foreigner, the other a Venetian, both of whom followed a style altogether different from such as we have already described. The artist of Venice is Batista Franco, called Semolei. He has been treated of in the first volume in several parts, and especially in what relates to Baroccio, to whom he was master. He pursued his studies in Rome, and so great was his progress in the art of design, that he was accounted one of the best imitators of Michel Angiolo. In ornamenting San Gio. Decollato, a church belonging to the Florentines in Rome, he appears to have been ambitious of making a parade of his powers, and his style became somewhat loaded in the attempt. In his other pictures which I have seen in the dome at Urbino, and in that of Osimo, where he painted in 1547, in Bologna, and in Venice, I have not met with any thing similar. He invariably appears to have been an able follower of Michel Angiolo, and a more powerful colourist than the chief part of the Florentine artists. It is easier to become acquainted with him in the States of the Church than in his native city of Venice, whither he seems to have retired towards the close of his days, since, in 1556, he was among the artists selected to adorn the library of St. Mark. There he represented his fable of Actæon, along with several symbolical inventions; and a few other of his pictures are exhibited there in public. He died not long subsequently in the year 1561.