_Various styles from the time of Francia to that of the Caracci._ Subsequent to the discovery of the new style, when every school of Italy was devoted to its cultivation in the track of one of its masters, the Bolognese artists having none at home from whom to acquire it, either removed elsewhere to study it under the eye of living masters, or, if remaining in their native place, they contrived to attain it from such foreigners as had there conducted, or at least sent thither their works. Of these they possessed, besides the St. Cecilia, and a few small paintings by Raffaello, other productions by his pupils, such as the St. John, coloured by Giulio, and the St. Zacchary, a work by Garofolo. Nor was it long before the Lombard style was introduced into Bologna, Parmigianino having there produced his St. Rocco and his St. Margaret, pictures which are enumerated among his happiest efforts, and Girolamo da Carpi, and Niccolo dell'Abate having long resided, and left there many fine specimens of their mixed style, between the Lombard and the Roman. Another artist sojourning there was Girolamo da Trevigi, an imitator of Raffaello, not without some mixture of Venetian taste, some of whose productions are still seen at Bologna. A still more constant resident there was Tommaso Laureti, a Sicilian, a pupil, according to Vasari, of Sebastian del Piombo, and assuredly a more powerful colourist than most of his age. He there conducted a number of works, and among others the painting of a recess _di sotto in su_, for the house of Vizzani, which Father Danti, commending Vignola's perspective, pronounces perfectly unique in its kind. At the same place he left compositions abounding in figures, displaying much fancy, not however to be placed in competition with the history of Brutus, which he afterwards completed, along with several more in the Campidoglio at Rome, where he long resided and taught. At Bologna is also the altar-piece of Boldraffio, pupil to Vinci, and various other pieces by a Florentine, who signs himself _Iul. Flor._ read by some for _Julius_, and by others _Julianus_. Possibly he might be that Giulian Bugiardini, poor both as inventor and composer, but excellent in point of copying and colouring. Whoever he may have been, the whole of his productions, particularly his St. John, which adorns the Sacristy of St. Stephen's, shew him to have been an imitator of Vinci, almost on a par with the Luini, and the best known Milanese artists. Michelangiolo shone there in the character of a statuary in the time of Julius II., but neither produced any paintings, nor left behind him, among artists, any wish for his return, having for some little indiscreet word treated Francia and Costa with the most sovereign contempt, in the same manner as at another period he criticised Pietro Perugino. His style, nevertheless, took root in Bologna within a very few years, no less from the studies pursued by Tibaldi at Rome, as will be seen, than from the