Costa’s shortcomings were to dominate to the end the school of Bologna, which was essentially, almost from its incipience, one of Decadence. He became the first direct master of Francesco Francia (1450-1517), the typical Renaissance painter in Bologna who seems to have taken to painting at the relatively advanced age of thirty-five. Francia had matriculated in the Goldsmiths’ Guild in 1482 and was Master of the Guild in 1483, the year of Costa’s arrival; but until he came under the influence of Costa he had worked only as an engraver of _paci_ in niello-work, a die-sinker, and a medallist. They soon went into partnership, the upper storey of their joint workshop being used for the painting of pictures, while metal-work was executed below. Francia is not seen to the best advantage in the Louvre. His _Christ on the Cross_ (No. 1436) is somewhat unusual in treatment, as a nude figure of St. Job, a plague saint, is painted in the foreground. This large picture bears the characteristic signature FRANCIA AURIFABER, and shows his practice of demonstrating the versatility of his many talents. The small _Nativity_ (No. 1435) is an authentic work. The _Madonna and Child, with St. George, St. Sebastian, St. Francis, and St. John the Baptist_ (No. 1436A), is known as the _Guastavillani Madonna_ from the inscription to the effect that Filippo Guastavillani, a Bolognese senator, ordered the picture of Francia. Nevertheless, this large panel appears to have been executed by his son, Giacomo. A _Madonna and Child_ (No. 1437) and a _Holy Family with St. Francis d’Assisi_ (No. 1437A) are only by pupils. The Louvre contains no example of the work of the Umbrian artist, Timoteo Viti (1467-1524), who was a pupil of Costa, and from July 1490 to April 1495 worked in the studio of Francia. There are no other sixteenth-century Bolognese paintings in this collection. THE SCHOOL OF CREMONA This small and unimportant school includes Boccaccio Boccaccino (fl. 1460-1518?), who was formed on various Venetian and Milanese influences. The _Holy Family_ (No. 1168) which is credited to him, but not now exhibited, seems to be an unattributable panel by some artist of the Lombard school. This school includes an early-sixteenth-century imitator who has received the significant name of “Pseudo-Boccaccino,” but is not here represented. The _Mater Dolorosa_ (No. 1202) appears to be by Bernardino Campi, a mediocre sixteenth-century painter of the Lombard and Cremonese schools. Sofonisba Anguissola (1528-1625), a female artist, was his pupil and the wife of Orazio Lomellini. THE SCHOOL OF BRESCIA This small town seems to have produced little local talent previous to the birth of Foppa. Ottaviano Prandino, who had worked with Altichiero at Padua, and Bartolommeo Testorino (died about 1429) are little more than names.