The remaining pictures of this school are of little account. Bernardino Campi (1522-1592?) is represented by a _Mater Dolorosa_ (No. 1202); and Bartolommeo Manfredi (1580?-1617) by a _Fortune Teller_ (No. 1368), a subject which demonstrates the Decadence in full operation. Giovanni Paolo Panini (1695-1764), who came to Paris in 1732 and became an Academician, seems to have got some satisfaction out of committing to canvas a _Concert given at Rome on Dec. 26, 1729, in Honour of the Birth of the Dauphin, the son of Louis XV._ (No. 1409) and a large _Interior of St. Peter’s at Rome_ (No. 1408), the latter being signed and dated 1730. THE SCHOOL OF FERRARA-BOLOGNA The city of Bologna was visited in 1268 by Oderigi of Gubbio (fl. 1268-1295), who had the benefit of personal intercourse with Giotto in Rome. Bologna produced a skilled miniature painter in Franco Bolognese in the fourteenth century, but gave birth to few native painters of merit. Until Francesco Cossa removed from Ferrara to Bologna in 1470, art in the City of the Colonnades was in an undeveloped state. The school of Bologna, which may be considered as an offshoot of the Ferrarese school, was further strengthened by the arrival of Lorenzo Costa. Lorenzo Costa (1460-1535), who had been a pupil of Francesco Cossa at Ferrara, worked for the Bentivogli family in Bologna until 1509. In that year he was induced to fix his abode in Mantua at the instance of the Marquis Francesco Gonzaga and his wife Isabella d’Este, whose court painter, Andrea Mantegna, had died three years earlier. Costa there painted about 1510 his _Court of Isabella d’Este in the Garden of the Muses_ (No. 1261), which is signed L. COSTA F. This famous canvas shows a weakness of drawing and a “want of force that mars what is meant for grace.” Costa’s _Mythological Scene_ (No. 1262) is not now exhibited, but in it, as in the majority of his works, the figures have no real existence. The heads are usually “screwed on—not always at the proper angle—to crosspoles hung about with clothes.” His landscapes, however, “without being in any sense serious studies, are among the loveliest painted in his day.”