After Bartolommeo da Rimini, who inclined more towards the modern than the ancient style, I find no other artist of celebrity in that city besides Arrigoni. Even his name has not been recorded by Orlandi, nor by his continuator. He diligently employed himself in his native place, and two of his pictures representing martyrdoms, met with surprising success; one of St. John the Baptist, at the Augustine friars, and another of the Saints John and Paul, at the church bearing their name. Yet they do not display that _beau ideal_, so attractive at that period in the productions even of the inferior disciples of the Roman School; but they convey the impression of grand compositions, a vivacity of action, a boldness of hand, a splendor in the retinue of horse and arms, and military ensigns, calculated to compete with the chief part of the painters employed at Rome in the service of Gregory and of Sixtus. Faenza, too, at the opening of this epoch, boasted her Jacopone, or Jacomone, of whom we treated among the assistants of Raffaello, and among the masters of Taddeo Zuccaro. Vasari makes brief mention and smaller account of this artist; recording only one of his productions, the tribune of S. Vitale at Ravenna, and which has ceased to exist. In the cupola of the church, however, subsequently repainted by another hand, there were visible, in the time of Fabri, author of "Ravenna Ricercata," (researches in that city) several figures of saints richly apparelled, bearing this inscription: "Opus Jacobi Bertucci et Julii Tondutii Faventinorum. Pari voto f. 1513."[18] At present I no longer doubt but that under this Jacopo was concealed the name of Jacopone di Faenza, though according to Orlandi they were two several painters, and though it has never occurred to Baldinucci and Bottari, and other writers of pictoric history, to unite them into one. My conjecture is founded upon a picture which I saw in the church of the Dominican nuns in Faenza, representing the Birth of the Virgin, with the name of Jacopo Bertucci of Faenza, and dated 1532. It is a work which arrests the eye by its resemblance to the style of Raffaello, though his harmonious gradations have not been well observed, and the colouring inclines more to the strong than to the beautiful. The women busied about the couch of St. Anne are beautiful, graceful, and animated figures, and there are some animals, and in particular a fowl, which a Bassano himself would not have been sorry to have painted. Now what other Jacopo of Faenza could in the year 1532, have painted in this style, with more shew of reason and probability than Jacopone da Faenza, whose family would here appear to be discovered?