Domenico Brusasorci (“The Rat-burner”) (1494-1567) was the father of Felice Riccio and a pupil of Caroto. He has been claimed as the author of the _Madonna and St. Martina_ (No. 1163), which passes in the Catalogue as being by the very late Roman painter Pietro Berretini da Cortona (1596-1669). Other versions of this composition, representing St. Martina triumphing over the Idols, are known. A large number of the prominent Veronese painters are unrepresented in this collection, but the influence of Liberale is frequently seen. The _Council of Trent_ (No. 1586) may be assigned to Paolo Farinati, although it is regarded by the authorities as coming from the hand of Titian. By the time that Farinati died, art in Verona had passed into decline. One of the most decorative painters in Italy in the sixteenth century was Paolo Veronese, who although a native of Verona spent the best years of his life in Venice. He is usually included among the artists of Venice. THE SCHOOL OF FERRARA According to tradition the most famous artist in the school of Ferrara before Tura was Ettore de’ Bonacossi, of whom little is known. At Ferrara, the city of the Este family, as at all the Italian courts, the art of painting was liberally patronised. All Ferrarese art was more or less Paduan both in origin and style, Cosimo Tura (1430?-1495), the founder of this school, having worked at Padua as a pupil of Squarcione. The seriousness of Cosimo Tura’s realism was unyielding to those intellectual qualities that dominated the art of Florence in his day; but, in spite of a certain harshness of effect, the vigour of his design and the dignity of his conception give permanent value to the work of this master. Tura is represented in the Louvre by two pictures; the figures seen in his large lunette of the _Pietà_ (No. 1556) are admirably designed to fill up the space they occupy. This panel is a dismembered part of an altarpiece which was painted for the Roverella family, and was formerly in its entirety in the Church of S. Giorgio fuori le Mura at Ferrara. The _Pietà_ eventually passed to the Campana collection, and so to the Louvre. The drapery in this panel, which is cracked horizontally, is tinny, and the flesh is metallic with its white and purple lights, while the bones in the faces being over-prominent create an unpleasant effect. The centre panel of the original altarpiece represents the _Madonna and Child Enthroned_. It passed in time into the Frizzoni collection at Bergamo, and was subsequently purchased in 1867 from Sir Charles Eastlake for the National Gallery (No. 772). The sinister wing of the original altarpiece depicts the _Bishop Lorenzo Roverella presented to the Virgin by St. Maurelius and St. Paul_, and is now in the private rooms of the Colonna Palace in Rome.