nge four-footed pets of all
sorts, soon produced a school of worthy masters. Girolamo del Pacchia,
Domenico Beccafumi, and Baldassare Peruzzi, though they owed much to the
stimulus of his example, followed him in no servile spirit. Indeed, it may
be said that Pacchia's paintings in the Oratory of S. Bernardino, though
they lacked his siren beauty, are more powerfully composed; while
Peruzzi's fresco of "Augustus and the Sibyl," in the church of
Fontegiusta, has a monumental dignity unknown to Sodoma. Beccafumi is apt
to leave the spectator of his paintings cold. From inventive powers so
rich and technical excellence so thorough, we demand more than he can
give, and are therefore disappointed. His most interesting picture at
Siena is the "Stigmatisation of S. Catherine," famous for its mastery of
graduated whites. Much of the paved work of the Duomo is attributed to his
design. Both Beccafumi and Peruzzi felt the cold and manneristic Roman
style of rhetoric injuriously.

To mention the remaining schools of Italy in detail would be superfluous.
True art still flourished at Ferrara, where Garofalo endeavoured to carry
on the Roman manner of Raphael without the necessary strength or ideality,
but also without the soulless insincerity of the mannerists. His best
quality was colouring, gemlike and rich; but this found little scope for
exercise in the dry and laboured style he affected. Dosso Dossi fared
better, perhaps through having never experienced the seductions of Rome.
His glowing colour and quaint fancy give the attraction of romance to
many of his pictures. The "Circe," for example, of the Borghese Palace, is
worthy to rank with the best Renaissance work. It is perfectly original,
not even suggesting the influence of Venice by its deep and lustrous hues.
No painting is more fit to illustrate the "Orlando Innamorato." Just so,
we feel in looking at it, did Dragontina show herself to Boiardo's fancy.
Ariosto's Alcina belongs to a different family of magnificent witches.

Cremona, at this epoch, had a school of painters, influenced almost
equally by the Venetians, the Milanese, and the Roman mannerists. The
Campi family covered those grave Lombard vaults with stucco, fresco, and
gilding in a style only just removed from the _barocco_.[407] Brescia and
Bergamo remained within the influence of Venice, producing work of nearly
first-rate quality in Moretto, Romanino, and Lorenzo Lotto. Moroni, the
pupil of Moretto, was dest