One of them indeed is known to have said, with some acrimony towards the rival school, that Bonarruoti ought to have covered his bones with a little flesh, in the manner of their own Tibaldi. It is true they availed themselves less of the naked form in composition than the Florentines, though more largely than the other schools. In their costume, they were not so anxious to observe the exactness and richness of Paul Veronese, as the grandeur of his folds and form; nor did any other school give more ample flow of drapery, or arrange it with dignity more suitable to the figures. Yet Mengs denies that they were consummate colourists, though they studied the Lombard and Venetian schools, an opinion confirmed by Lodovico's paintings in oil, which are faded and almost gone. This arose, either from the nature of his grounds, from too abundant use of oil, or from not allowing due time between preparing his canvass and colouring it. The same remark will not apply to his frescos, which, on a near view, exhibit a boldness of hand equal almost to Paolo's; nor, in the opinion of Bellori, was there any work which, in point of colouring, reflected higher credit on the Caracci, and on the age, than their pictures in the Casa Magnani. They boast a truth, force, mixture, and harmony of colours, such as to entitle them also in this portion of the art to the praise of being reformers of the age. They effectually banished those wretched yellows, and other weak, washy tints, introduced from parsimony, in place of the azures and different colours of higher price. In this Bellori accords most merit to Annibal; declaring it was owing to him that Lodovico himself renounced his first method of colouring, which was formed on that of Procaccini.