His most happy period dates from 1519, when he painted in S. Francesco the Slaughter of the Innocents; availing himself of earthen models, and copying draperies, landscape, and in short every thing from the life. In the same church is his Resurrection of Lazarus, and his celebrated Taking of Christ, commenced in 1520, and finished in 1524. No better works appeared from his hand, nor better composed, more animated, conducted with more care and softness of colouring. There only remains some trace of the fourteenth century, in point of design; and some little affectation of grace, if the opinion of Vasari be correct. The district formerly abounded with similar specimens of his in fresco; and they are also met with in private, as that frieze in a chamber of the Seminary, which in point of grace and Raffaellesque taste is well deserving of being engraved. Many of his works, also, in oil remain, exhibited here and there throughout the churches and collections of Ferrara; at once so many and so beautiful as alone to suffice for the decoration of a city. His St. Peter Martyr was more particularly admired by Vasari; a picture ornamenting the Dominicans, remarkable for its force, which some professors have supposed to have been painted in competition with St. Peter Martyr, by Titian; and in case of its loss to have been able to supply its place. His Helen, too, a picture of a more elegant character, at the same place, is greatly admired; this gracefulness forming one of Benvenuto's most peculiar gifts. And, indeed, not a few of his Madonnas, his Virgins, and his boys, which he painted in his softer manner, have occasionally been mistaken for Raffaello's. His picture of the Princes Corsini deceived good judges, as we are informed by Bottari; and the same might have happened with the portrait of the Duke of Modena, and others scattered through the Roman galleries, where are many of his pieces on a large scale, particularly in the Chigi palace. All these must be kept in view, in forming an estimate of Garofolo. His little pictures, consisting of scriptural histories, are very abundant in different cabinets, (Prince Borghesi himself being in possession of about forty) and although they bear his mark, a gilly-flower or violet, they were, I suspect, merely the production of his leisure hours. Those without such impress are frequently works of Panelli, who was employed along with him; often copies or repetitions by his pupils, who must have been numerous during so long a period. Baruffaldi gives him Gio. Francesco Dianti, of whom he mentions an altar-piece at the Madonnina, in the style of Garofolo, and his tomb, also at the same place, with the date of his decease in 1576. Batista Griffi and Bernardin Flori, known only by some ancient legal instrument belonging to the period of 1520, do not seem to have surpassed mediocrity; which is also remarked by Vasari of all the others who sprung from the same school. We may except a third, mentioned in the same legal