There was a son of Bagnacavallo, named Gio. Batista, who was employed as an assistant to Vasari in the palace of the chancery at Rome, and to Primaticcio in the court of France. He likewise left various original works in Bologna, more nearly inclining, if I judge rightly, to the decline of the art in his own time, than to the examples of his father. In addition to his son, mention ought here to be made of Bagnacavallo's companion, called Biagio Pupini, and sometimes Maestro Biagio dalle Lamme, who, having been at Rome with Ramenghi, contracted with him at Bologna a community of labours and of interests, and assisted him in the Dispute just before mentioned, as well as in other works. He formed the same connexion with Girolamo da Trevigi and others, uniformly acquiring, if we are to credit Vasari, more money than reputation, and at times injuring that of his companion by his eagerness to finish. Whatever opinion we may entertain regarding such facts, this artist by no means merits contempt; and perhaps Vasari might have treated him with more lenity, had there not existed between them mutual rivalship and disgust. In Pupini's style, where he exerted his powers, we trace the manner of Francesco Francia, his master, though a good deal enlarged, with the relief, and the various other characteristics of the good age. Of this taste is a Nativity of our Lord which he painted at Bologna, and which now adorns the institution of that place. Innocenzio, born at Imola, but residing always in Bologna, was admitted into the school of Francia in 1506; from which we are not to infer, with Malvasia, that he did not spend some years at Florence in company with Albertinelli. This is attested by Vasari, and confirmed by the resemblance of his style to that of the most distinguished Florentines of the age. He produced several altar-pieces, composed in the taste of the fourteenth century; but following the example of Frate and of Andrea, he placed the Virgin above, without the ancient gildings, and with great art he grouped and disposed the saints who attend her; while, with equal novelty, he distributed the train of cherubs over the steps and through the surrounding space. Sometimes, as in the extraordinary picture displayed in the cathedral of Faenza, and another in possession of prince Ercolani, he added some noble architecture, bold and drawn from the antique. In other instances, as in the church of the Osservanti, at Pesaro, we observe the most attractive landscape, combined with an aërial perspective, sufficient to remind us of Vinci. He was accustomed too to insert little histories, as in S. Giacomo at Bologna, where, at the foot of the picture, he painted a Christ in the manger, of which it is enough to add, that it is perfectly Raffaellesque. This, indeed, was the style to which he invariably aspired, and so nearly attained, that very few of Raffaello's own pupils could equal him. Those who may be desirous of convincing themselves, may examine the