Lodovico, doubtless, rises into the sublime in many of his works at Bologna. His picture of the "_Probatica_" so excellent both in point of architecture and the design of the figures; that of S. Girolamo, who, suspending his pen, turns towards heaven with a look and gesture so truly impressive and dignified; his Limbo of holy fathers, which, as if to renew his delight in it, he repeated in the cathedral of Piacenza, and sketched also under a Crucifixion at Ferrara: these have ever been regarded in that school as models of the sublime. Nevertheless, if we examine the "Assumption," at the Teresiani, the "Paradise," at the Barnabiti, or the "S. George," in which is represented that admirable virgin, who is seen seized with terror in the act of flight, it will be allowed that Annibal himself could not have exhibited more grace in his drawing of young maidens or of boys. More excelling, therefore, than great, Lodovico may be said to be transcendant in every character; and it would even seem that he had aimed at this boast in the two frescos that have perished, with which he decorated, at S. Domenico, the chapel of the Lambertini. In one he exhibited the holy founder, with S. Francis, in a manner very easy and pleasing to the eye, with few lights and as few shades, but both powerful, and with few folds in the drapery; the countenances full of piety; insomuch that the whole performance, in the words of Malvasia, "rose to a pitch of grandeur not to be excelled." In the other piece he represented "Charity," in a style equally soft, graceful, and polished, and which was subsequently, says the historian, esteemed "the model and the rule of modern painting." He proceeds to relate, that Albani, Guido, and Domenichino all derived their sweetness from this source, in the same way, most probably, that Cavedoni took his first style from the S. Domenico; and from his Paul at the Conventuali Guercino acquired his grand power of chiaroscuro. In short, if we may give credit to history, Lodovico in his own school ranks like Homer among the Greeks, _fons ingeniorum_. Individual artists in him have recognized what constituted the character of their own knowledge, because in every branch of painting he was truly profound.[24] Footnote 24: See Crespi's analysis of the two pictures at the church of the Certosa, (p. 32,) one representing the Scourging of Christ, the other his Crown of Thorns, where the most beautiful art of disposing the light to produce the desired effect is remarkable; with an exquisite effect of perspective, and a degree of invention not to be surpassed in representing the suffering of our Redeemer.