trace of the municipal school may be said to have disappeared, and it was succeeded by a variety of foreign styles. Indeed, for some time before, the young Veronese artists had become attached to foreign academies, and several strangers had established themselves in Verona. Dionisio Guerri had formed, under the direction of Feti, a very striking and clear style; in himself equal to repairing the loss of many artists. But he died young, in 1640, leaving few works behind him, in a great measure dispersed through foreign collections; and he was much lamented. Francesco Bernardi, called _Bigolaro_, supposed to have been a native of Brescia, until the Commendatore del Pozzo proved him to have been of Verona, was an artist educated by the same master. He exhibited, in his picture of the Titular Saint, at the church of S. Carlo, seen in the act of attending his infected brethren, as well as in another piece, a companion to it, all the taste of his master. But he produced much more for private collections, than for the public. The Cavalier Barca was an artist who sprung from Mantua, though he subsequently became a citizen of Verona. It is uncertain whether he was instructed by Feti. His style is various; and in a Pietà of his, remaining at San Fermo, he appears a painter capable of producing a good effect; in other pieces, at the Scala, he abounds with pictorial grace and beauty, and he is fully worthy of commemoration. The city of Bologna, likewise, contributed to repair the loss sustained by Verona of so many artists. Guido and Albani conferred great obligations, by instructing the Cavalier Coppa (his real name, however, was Antonio Giarola, or Gerola) who is to be enumerated in the list of their best disciples, though he is somewhat too loaded in his composition, and, with a view of catching the sweetness of Guido, became wanting in strength of colouring. There is one of his Magdalens in the Desert, however, placed at the Servi, which is full of fine expression. And in the refectory, also, of the Veronese college, is his Supper of Emmaus, a picture conducted in the style of the best Venetians. Although addicted to the style of Guido, he was also considered by Albani as one of his favourite pupils, who sent him as court painter to the Duke of Mantua, as we are informed by Malvasia.[86] From the same academy sprung Giacomo Locatelli, distinguished for several works, chiefly produced for San Procolo, as well as on account of the merit of some of his pupils. They rose into notice in the decline of the art, about the close of the seventeenth century. Andrea Voltolino, a careful but cold painter, was more fitted to succeed in portraits than in compositions; Biagio Falcieri, instructed also by the Cavalier Liberi at Venice, possessed much of the fire and imagination abounding in the Venetian School. Of this he gave an example in his great picture representing the Council of Trent, where the figure of St. Thomas, in the act of overthrowing