seen leaning on the hilt of his sword, absorbed in thought; the whole attitude so picturesque and real as at once to attract the eye of the beholder. We cannot be surprised that his name should have been eclipsed by Tisio, an artist deservedly extolled as the most eminent among Ferrarese painters. Of him we have treated rather at length in the Roman School, both as occupying a high station in the list of Raffaello's pupils, and as the one most frequently met with in the Roman collections. We have a little before mentioned Benvenuto's first education under Panetti, from whose school he went to Cremona, under Niccolo Soriani, his maternal uncle, and next under Boccaccio Boccacci. On Niccolo's death, in 1499, he fled from Cremona, and first resided during fifteen months in Rome, with Gian Baldini, a Florentine. Thence he travelled through various Italian cities, remained two years with Costa in Mantua, and then returning for a short space to Ferrara, finally proceeded back to Rome. These circumstances I here give, on account of a number of Benvenuto's works being met with in Ferrara and elsewhere, which partake little or nothing of the Roman style, though not excluded as apocryphal, as they are attributed to his earlier age. After remaining a few years with Raffaello, his domestic affairs recalled him to Ferrara; having arranged these, he prepared to return to Rome, where his great master anxiously awaited him, according to Vasari, in order to accomplish him in the art of design. But the solicitations of Panetti, and still more, the commissions of Duke Alfonso, retained him in his native place, engaged with the Dossi in immense undertakings at Belriguardo and other places. It is observed by Baruffaldi, that the degree of Raffaellesque taste to be traced in the two brothers' works, is to be attributed to Tisio. He conducted a great number of other paintings, both in fresco and in oil.