there is preserved a noble collection of them. As he flourished during a long period, he filled those churches with monuments, groups, and statues, to say nothing of others which he produced in Parma, Mantua, and other places. Vasari praises him for "the fine air of his heads, beautiful drapery, exquisite proportions, and colour of marble;" and the same author continues to relate, that they appeared so excellent to Bonarruoti that he said, "if this clay were only to become marble, woe betide the ancient statues." I am at a loss to imagine what species of eulogy could be more desirable to an artist; in particular when we reflect upon the profound science of Bonarruoti, and how tardy he was to praise. We ought not to omit to mention, that Begarelli was likewise excellent in design, and acted as a master, both of that and modelling, in the instruction of youth. Hence he greatly influenced the art of painting, and to him we are in a great measure to trace that correctness, that relief, that art of foreshortening, and that degree of grace approaching nearly to Raffaello's, in all of which this part of Lombardy boasted such a conspicuous share. MODENESSE SCHOOL. EPOCH II. _Imitation of Raffaello and Coreggio, in the Sixteenth Century._ Such were the preparatory efforts throughout all these districts, as far as we have hitherto considered them: but the best preparation lay in the natural talent of the young artists. Of these we are told, upon the authority of Tiraboschi, that the Card. Alessandro d'Este observed, that "they appeared to have been born with a natural genius for the fine arts:" an opinion fully borne out during the lapse of the sixteenth century, when if every province of Italy produced some great name in painting, this little district of itself abounded with a sufficient number to reflect honour upon a whole kingdom. I commence my account from the city of Modena; no other city of Lombardy earlier appreciated the style of Raffaello, nor did any city of all Italy become more deeply attached to, and produce more enthusiastic imitators of it. I have already treated of Pellegrino da Modena, (vol. ii. p. 115) called in the Chronicle of Lancillotti _degli Aretusi, alias de' Munari_. He received his education in his native place, and produced a picture there as early as 1509, still preserved at S. Giovanni, in excellent condition, and creditable to the talent of its author, even before he entered the school of Raffaello. But such was here his improvement, that his master availed himself of his assistance in adorning the open galleries of the Vatican, as well as in other works executed in Rome, sometimes along with Perino del Vaga, and sometimes by himself. Several of his pieces at S. Giacomo degli Spagnuoli boasted figures of such a truly graceful and Raffaellesque air, according to the account of Titi, that the modern retouches they received was a circumstance truly to be deplored.