The Church of S. Giorgio fuori le Mura at Ferrara also at one time contained another altarpiece painted by Cosimo Tura. It was placed over the altar of St. Maurelius, but has long ago been dismembered. One of its panels is the _Flight into Egypt_, in the collection of Mr. R. H. Benson; two others, representing a _Scene from the Life of St. Maurelius_ and _The Martyrdom of St. Maurelius_, are in the Ferrara Gallery; another is the _Adoration of the Magi_, in the possession of the Contessa di Santa Fiora, in Rome; while a fifth, the _Circumcision_, belongs to the Marchesa Passeri, in Rome. The Louvre possesses an arched panel of _A Monk_ (No. 1557) by Tura. The panel is split and the cheek of the saint injured. The seriousness of purpose which inspired Cosimo Tura was absorbed by his pupil Francesco Cossa (1435-1477), whose art is not seen at the Louvre. One of Cossa’s pupils was Lorenzo Costa, who in 1483 passed from Ferrara to Bologna, to which city he carried the principles of Tura’s training. Francesco Bianchi (1460-1510) was another of Tura’s pupils, but he belongs more strictly to the school of Modena. Another pupil in the studio of the _chef d’ecole_ of Ferrarese painting was Ercole Roberti (1430?-1496), who also worked at Padua. This painter, whose full name was Ercole de’ Roberti Grandi, has been justly claimed as the author of the two small panels representing _St. Apollonia_ (No. 1677A), holding in her hand the pincers, the symbol of her martyrdom, and _St. Michael_ (No. 1677B). These companion pictures are officially described under the ambiguous designation of “Ferrarese School, XVI century.” They, however, clearly belong to the earlier century, and are probably by Roberti. The Louvre contains nothing by Ercole Roberti’s pupil, Ercole di Giulio Cesare Grandi (1465?-1531). Ercole Grandi’s influence is sometimes seen in the exceedingly rare pictures of Giovanni Battista Benvenuto, who is better known under the name of Ortolano (“the gardener”), and takes his name from the occupation of his father. The art of Ortolano (1460-1529) is seen to the greatest advantage in the _St. Sebastian, St. Roch, and St. Demetrius_, in the National Gallery (No. 669). An immature work by him is apparently the _Nativity_ in this Gallery (No. 1401), which in the opinion of the compilers of the Catalogue is by Domenico Panetti (1450?-1512?), a pupil of Lorenzo Costa. Panetti’s works are rarely met with out of Italy. Among the pictures of this school, those of Lodovico Mazzolino (1478?-1528) are perhaps the easiest to recognise. His _Holy Family_ (No. 1387) is not now exhibited, but the _Christ preaching to the Multitude on the Sea of Galilee_ (No. 1388) is evidently by him, although it has been ranked by one critic as a Flemish picture painted under the inspiration of Mazzolino and Dosso Dossi.