So far we have treated of the followers of the Caracci employed at Rome; and these in general, judging from their style, shewed more deference to Annibal than any other of the family. Many others remained at Bologna, who either never visited Rome, or produced nothing there worthy of consideration. These were chiefly attached to Lodovico, in whose studio they had been educated, with the exception of Alessandro Tiarini, who sprung from another school, though he benefited by his advice and example, as much as if Lodovico had really been his master. But he was pupil to Fontana, subsequently of Cesi, and finally also of Passignano at Florence. He had fled thither from his native place on account of a quarrel; and after a lapse of seven years, through the intervention of Lodovico, he was enabled to return to Bologna, leaving at Florence and some places in the state a few paintings in his first easy style, resembling Passignano's. In such style he conducted his S. Barbara, at S. Petronio, a work which failed to please the Bolognese public. To give it greater attractions, he next proceeded to copy from, and to consult Lodovico, not in order to attain his manner, but with the view of improving his own. This task was short to a man of genius, well grounded in the theory of his art, and perhaps more philosophical than any other artist of Bologna. He soon became a different painter, and in his novel taste of composing, of distributing his lights and expressing the passions, he shone like a disciple of the Caracci. Nevertheless he preserved a character distinct from the rest, grounded upon his naturally severe and melancholy disposition. All in him is serious and moderate; the air of his figures, his attitudes, his drapery, varied with few, but noble folds, such as to excite the admiration of Guido himself. He avoids, moreover, very gay and animated colours, chiefly contenting himself with light violets or yellows, and tawny colours, tempered with a little red; but so admirably laid on and harmonized, as to produce the finest feeling of repose to enchant the eye. His subjects, too, are well adapted to his taste, as he generally selected, when he could, such as were of a pathetic and sorrowful cast. For this reason his Magdalens, his S. Peters, and his Madonnas in grief--one of which, presented to the Duke of Mantua, drew tears from his eyes--are held in high esteem.