Bologna is one of the few cities of Italy which have been occupied by British troops. During the last struggle of Napoleon in Italy, in 1814, the Austrian army was supported in its operations on the Adige, by a body of English troops, under General Nugent, who landed at the mouth of the Po, and occupied Bologna in February of that year. their arms against Modena. The Mo-legate brought on a revolution in 1334, denese cavalry, entering Bologna one which ended in the supreme power day by surprise, carried off from a being seized by the captain of the public fountain a bucket, which hence- people, the celebrated Taddeo Pepoli, forth was preserved in the tower of who subsequently sold it to the VisModena as a glorious trophy. The conti. For upwards of a century after war which followed furnished Tassoni that event, Bologna was subject either with the subject of his mock-heroic to the alternate tyranny of the Visconti poem, entitled "La Secchia Rapita." and of the Popes, or to popular anThe vengeance of the Bolognese was, archy: the family of Bentivoglio, however, anything but burlesque; after taking advantage of these feuds, seized several bloody battles, the two armies and maintained the government in the finally met at Fossalta, on the 26th of Pope's name; but their power was too May, 1249. Philip Ugoni of Brescia, independent to be acceptable to the who was this year podestà of Bologna, warlike Julius II., who dispossessed commanded the Guelph army, in which them; and, after a long struggle, estawas united a detachment from the blished, by military force, the absolute militias of all the cities of the league of supremacy of the Holy See. Lombardy. The Ghibelines were led by King Hensius: each army consisted of from fifteen to twenty thousand combatants. The battle was long and bloody; but ended with the complete defeat of the Ghibeline party: King Hensius himself fell into the hands of the conquerors; he was immediately taken to Bologna, and confined in the palace of the podestà. The senate of that city rejected all offers of ransom, all intercession in his favour. He was entertained in a splendid manner, but kept a prisoner during the rest of his life, which lasted for twenty-two years."Sismondi. In the latter part of the thirteenth century, the city became a prey to family feuds, arising out of the tragical deaths of the lovers, Imelda Lambertazzi and Bonifazio Gieremei; and for many years it was harassed by the fierce contests for supremacy among these and other noble families. The Gieremei were the leaders of the Guelph party, and the Lambertazzi were the leaders of the Ghibelines; but their mutual hatred was kept in check by the authorities until the occurrence of this domestic tragedy, which bears, in some respects, a strong similarity to the history of Edward of England and his devoted Eleanor. The Guelph party at length appealed to the Pope, then Nicholas III., whose mediation was so successful that the city acknowledged him as Suzerain; but the tyranny of his The city was the seat of a bishopric as early as A. D. 270: its first bishop was St. Zama. It was raised to the rank of an archbishopric by Gregory XIII. It has had the honour of contributing more learned prelates to the sacred college than any other city of Italy; among the natives who have been raised to the pontificate, are Honorius II.; Lucius II.; Gregory XIII.; Innocent IX.; Gregory XV., and Benedict XIV. The list of native cardinals comprises nearly a hundred names. The School of Bologna, in the history of art, occupies so prominent a place, and numbers among its masters so many illustrious names, that it would be impossible in the limits of this work to enter into anything like a detailed account of its history; and the publication of Kugler's Hand Book of Painting, in an English form, has now rendered it unnecessary. But while the traveller is referred to this learned work for the details of the school, it may be useful as an introduction to a particular description of the public in stitutions of the city, to give a brief Michael Angelo was adopted by Pellegeneral outline of its progress. grino Tibaldi, who can only be appreciated in Bologna. Their contemporaries Primaticcio and Niccolò Abate left Bologna to study under Giulio Romano, in Mantua, and subsequently settled in France. The school was for a time supported by Lavinia Fontana, Lorenzino (Lorenzo Sabbatini), Orazio Samacchini, and Passerotti; but it was already on the decline, and gradually dwindled away before the superior attractions of the other great schools of the period, although Dionysius Calvart, a native of Antwerp, and Bartolommeo Cesi had established in the city seminaries of some repute. The first name of any eminence among the early followers of Giotto at Bologna is that of Franco Bolognese, supposed to have been the pupil of Oderigi di Gubbio, the missal painter, immortalized by Dante. He opened the first academy of art in Bologna, in 1313, and is termed by Lanzi the Giotto of the Bolognese school. Among his successors were Vitale di Bologna (1320), Jacopo Paolo or Avanzi (1404), Pietro, and Orazio di Jacopo, Lippo di Dalmasio, Maso di Bologna, Marco Zoppo, scholar of Lippo, and afterwards of Squarcione, at Padua (1471), who founded an academy of great But the third and greatest epoch of celebrity at Bologna, and Jacopo Forte, the School of Bologna was that which the friend and imitator of Zoppo produced the Caracci and their pupils; (1483). But the most illustrious name and before the close of the sixteenth which occurs in the early history of century we find a new style created by the school is that of Francesco Francia the Caracci, which superseded the (1535), who may perhaps be considered ancient maxims, and finally supplanted as its true founder. Of the style of those of every other master. This revothis great master, whose works have lution in the art originated with Lodoonly lately been appreciated in Eng-vico Caracci, "a young man," says land, Lanzi says it is, as it were, a Lanzi, "who, during his earlier years, middle course between Perugino and appeared to be slow of understandBellini, partaking of them both ;" and ing, and fitter to grind colours than Raphael, in a letter given by Malvasia, to harmonise and apply them." After says that he had seen no Madonnas visiting the works of his predebetter designed, more beautiful, or cha-cessors in the different cities of Italy, racterised by a greater appearance of he returned to Bologna, and with the devotion than those of Francia. Among co-operation of his cousins, Agostino the scholars of Francia, whose works may yet be studied at Bologna, were his son Giacomo (1575); Lorenzo Costa, (1530), Girolamo Marchesi da Cotignola (1520), and Amico and Guido Aspertini (1552). From the time of Francia to that of the Caracci, various styles were introduced by Bagnacavallo (Barto- The most distinguished scholar of lommeo Ramenghi), 1551; Innocenzio the Caracci was Domenichino, consida Imola, a pupil of Francia, 1542; dered by Poussin as the greatest painter Francesco Primaticcio, 1570; Niccolò next to Raphael. His friend, Albani, Abate, 1571; and Pellegrino Tibaldi, the Anacreon of painting, is another name 1591, one of the architects of the cathe-imperishably associated with the school dral of Milan, and who was called by of the Caracci, and the traveller will the Caracci II Michael Angiolo Ri- not fail to recognise his powers in all formato." The style introduced into the great galleries of Italy. But Guido, the Bolognese school by Bagnacavallo, another disciple of this school, is freand adopted by Innocenzio da Imola quently considered as its greatest was that of Raphael; while that of genius; and it is well known that no and Annibale, established an academy. By their judgment and kindliness of feeling, and by their mild conduct in spite of opposition and ridicule from the artists who then monopolised public favour at Bologna, they succeeded in attracting a crowd of pupils. or more lasting interest. Sir Joshua * * the gallery is a large collection of altarpieces, of the fourteenth and fifteenth centuries, mostly of Bolognese origin. The following may be specified as the most remarkable works : pupil of the Caracci excited so much as he did the jealousy of his masters. It is unnecessary, and it would be out of place to enter here into an analysis of the styles adopted by these various masters; for the forms of beauty which Guido has embodied, and the peculiar characteristics of his contemporaries, must be known to every traveller. Among the names which figure in the history of the Bolognese school at this period are those of Guido Cagnacci, Simone Cantarini, and Francesco Gessi, the best pupils of Guido; Guercino, stow."-Disc. II. At the entrance of and Lanfranco. Among the scholars of the Caracci, who remained in Bologna after this time, are Sisto Badalocchi, Alessandro Tiarini, Lionello Spada, Lorenzo Garbieri, Giacomo Cavedone, Pietro Fucini, Lucio Massari, &c., all artists of considerable reputation, and Gobbo de' Caracci so famous as a painter of fruit. The school of Bologna declined with that of the Caracci; the attempt of Michael Angiolo Colonna arrested its downfall for a period, but was wholly inadequate to restore it to its ancient celebrity. The fourth and last period of the school boasts the names of Pasinelli and Carlo Cignani; the former aimed at uniting the design of Raphael with the colouring of Paolo Veronese, and the latter the grace of Correggio with the varied knowledge and correctness of the Caracci. After this general sketch of the Bolognese school, which will be found necessary to a correct appreciation of the treasures of art profusely scattered over the city, we proceed at once to the Giotto. The side wings of the altarpiece preserved in the Brera at Milan, brought hither from the Church of Santa Maria degli Angioli. Bolognese School. Vitale da Bologna (1320), Madonna and Child. Simone da Bologna (1404), Coronation of the Virgin. Jacopo Paolo. The Crucifixion F. Francia. This great master may be studied here with advantage. 78. Madonna and Child, with SS. Augustin, Francis, Proclus, Monica, John the Baptist, and Sebastian, painted, according to the date inscribed on it, in 1494, for Sta. Maria della Misericordia, and celebrated for the beauty of the St. Sebastian. 79. The Annunciation. Giacomo Francia. 84. Holy Family. Girolamo Marchese du Cotignola. 108. The Sposalizio. Guido Aspertini. 9. Adoration of the Magi. Accademia delle Belle Arte.-This noble institution, formerly the Jesuits College, is truly a national establishment. It contains a rich gallery of pictures, mostly of the native school, which have been here preserved from the collections of suppressed convents and churches. By an excellent arrangement, the older works are placed at the entrance of the gallery; and thus the student has an opportunity of following the progress of art. The great charm of Innocenzio da Imola, 89. Madonna in the collection is its nationality, and no glory, with SS. Michael, Peter, and a city in Italy has in this respect a higher | Benedict. 90. Holy Family, one of the Lorenzo Costa. St. Petronius throned with two saints, an altar-piece, dated 1502, and characterised by its exceeding gracefulness. Bagnacavallo. 133. Holy Family and Saints. جارة Prospero Fontana. 74. The Deposition. Lavinia Fontana. 75. The Queen of France presenting her infant to St. Francis. Lorenzo Sabbatini, called by Lanzi "uno de' più gentili e de' più delicati pittori del suo secolo." 146. The Assumption of the Virgin, with various angels and saints in adoration, much praised by the Caracci. finest known; copied for the late King | Francis in adoration, and kissing the of Prussia, on account, it is said, of the child's hand, is painted in a dark tone resemblance of the Virgin to his young not to interfere with the principal and beautiful queen. figures, and is yet finely made out, as Pellegrino Tibaldi. Marriage of St. are the angels and the other accomCatherine; very graceful. paniments of the picture; the colouring soft and sweetly tinted, the whole being with wonderful art and keeping entirely subordinate to the great object of the composition."-Bell. Matthews describes the Madonna as "exquisitely elegant, but then it is the elegance and refinement of a woman of fashion. She is not the Madonna, such as Raphael has represented her, and such as she will ever exist personified in the imagination of him who has seen Raphael's pictures." 49. The Flagellation of our Saviour; a "wild and savage production, pourtraying a scene totally unsuitable to the dignity of the Saviour of mankind. The drawing is good, and the foreshortening of the figures finely managed."-Bell. 50. The Crowning with Thorns. 51. Three Monks. 53. St. Roch. Several of these pictures have a view of Bologna in the background. Orazio Samacchini. The Virgin in a glory of angels, crowned by the Trinity, and worshipped by John the Baptist, the Magdalen, S. Catherine, SS.Francis, Clare, Nabor, and Felix; also much admired and praised by the Caracci. The Caracci and their School. The gallery contains some of the finest works of this interesting period of art, and nowhere, perhaps, can the genius of the Caracci, Domenichino, and Guido, be so well studied and appreciated. Lodovico Caracci. 42. The Madonna and Child throned, with four Saints. 43. The Transfiguration; a grand picture, praised by Sir Joshua Reynolds, as worthy the attention of the student. "An admirable conception of a subject, which, with reverence to Raphael be it spoken, does not seem adapted to painting."-Matthews. 44. The Calling of St. Matthew. 45. Nativity of St. John Baptist, both praised by Sir Joshua Reynolds. 46. Preaching of St. John. 47. Conversion of St. Paul. 48. Madonna and Child, standing on the half-moon, in a glory of angels, with St. Jerome and St. Francis, "an inimitable painting, in which the artist has displayed the richest stores of genius. The countenance of the Virgin is exquisitely beautiful; a veil, touched with great skill, covers her head, falling in light folds over the bosom and shoulders, and the child presenting all the animated graces of infantine loveliness, is full of life and nature. St. Agostino Caracci. 34. The Communion of St. Jerome; a masterpiece. 35. Assumption of the Virgin. Annibale Caracci, a few of his best works. 36. Madonna and Child in glory, with St. John Baptist, the Evangelist, and St. Catherine. 37. Madonna throned with Saints. 38. Assumption of the Virgin. Scholars of the Caracci. Aless. Tiarini. 182. Deposition from the Cross, attributed to the Caracci by some, and by others to Cignani. "The figures are considerably smaller than life, which might be supposed to hurt the general effect, but the composition is so perfect as to leave no feeling in the mind but that of admiration. The drawing and colouring of our Saviour's body are in such a style of excellence as to give the most affecting expression to a representation generally so painful : his figure, forming the great central light of this touching picture, is sketched out with the finest truth of nature. It is the silent, motionless rigidity of death, yet bearing a character full of interest, having nothing of the tame flat drawing and cadaverous colouring so frequently seen in this subject. The head and left hand are supported; while the right, which is drawn with exquisite skill, hangs down lifeless and stiff."-Bell. 183. Marriage of St. Catherine. Giacomo Cavedone. 55. Madonna and Child, in glory, with Saints. 56. Martyrdom of St. Peter, the Domenican; the saint is represented writing with his blood upon the ground the words "Credo in Deum," while the robber repeats his blow. Milan, treated in a different way from the celebrated picture of Titian at Venice, and from the same subject by his imitator Cavedone, already noticed. "The elevated and exalted resignation painted on the features of a noble countenance, the effect of the black drapery cast around the kneeling figure, and held in one large majestic fold by the left hand, has a combined effect of grandeur and chaste simplicity, which is inexpressibly fine."—Bell. F. Albani. 1. Madonna throned with St. Catherine and the Magdalen. 2. Baptism of the Saviour; a finely treated picture. 3. Madonna and Child, in glory. Domenichino. 206. Martyrdom of St. Agnes, a masterpiece, formerly be- Guido. "The works of Guido, collonging to the church of the same name. lected here, have shown him to me in a "A deep toned, grand, and richly new light; and have convinced me that painted picture, crowded with figures, I had not hitherto formed a just estimate and a background of fine action. The of his merit. There is a force and granserene and beautiful countenance of deur in some of these, of which the the saint is irradiated by an expres- generality of his pictures gives little sion of rapt holiness and heavenly re- indication." Matthews. 134. Madonna signation, infinitely touching, and finely della Pietà; in the upper part the dead contrasting with the terror and amaze- body of the Saviour with the Madonna ment described with admirable skill and two weeping angels by the side; and effect, in the attitudes of the sur- a view of Bologna in the landscape, rounding multitude. The episode of and the patrons of the city, SS. Petrothe two women forming the foreground uio, Domenico, Carlo Borromeo, Franof one corner of the picture, who are cesco d'Assisi, and Proclus. A superb represented as hiding the face, and and touching picture. "The grief stilling the screams of a terrified child, pourtrayed in the Madonna della Pietà affords a scene of fine action very ad- is not of the earth, but, if the word mirably delineated. But yet the act may be allowed, of heaven. This work of the martyrdom is too deliberate. exhibits the greatest variety of perfecThe murderer plunging the dagger into tions in its several parts, from the her bosom should turn off with some- gracefulness of the little angels below, thing of horror from a deed committed to the affliction of the virgins and in cold blood, unexcited by any prin- the angels weeping above."-Valery. ciple of fury or revenge.' 134. The Massacre of the Innocents, Madonna del Rosario, another grand a celebrated picture, full of deep feelmasterpiece, ranked by many above ing and beauty of expression. "A the St. Jerome of this master. It is a most powerful piece, and composed double composition; the lower part with wonderful effect and skill. The representing the persecutions and mar- figures are of the full size of life; the tyrdoms of the church, while in the terror, dismay, and wildness of the upper, St. Gregory is interceding for different groups are admirably pourthe faithful with the Madonna, who trayed, and notwithstanding the viosits with the infant Saviour on the lence of the action, each head is beauthrone showering flowers on the saint tiful as that of an angel; the naked 208. The Martyrdom of St. Peter the ruffians, with their uplifted daggers Domenican, chief of the Inquisition at and sacrilegious hands stained with Bell. 207. |