errarese school became somewhat
complicated with the Bolognese school, and is confused in its history
to this day. Costa was not unlikely the real founder, or, at the
least, the strongest influencer of the Bolognese school. He was a
painter of a rugged, manly type, afterward tempered by Southern
influences to softness and sentiment. This was the result of Paduan
methods meeting at Bologna with Umbrian sentiment.

The Perugino type and influence had found its way to Bologna, and
showed in the work of Francia (1450-1518), a contemporary and
fellow-worker with Costa. Though trained as a goldsmith, and learning
painting in a different school, Francia, as regards his sentiment,
belongs in the same category with Perugino. Even his subjects, types,
and treatment were, at times, more Umbrian than Bolognese. He was not
so profound in feeling as Perugino, but at times he appeared loftier
in conception. His color was usually rich, his drawing a little sharp
at first, as showing the goldsmith's hand, the surfaces smooth, the
detail elaborate. Later on, his work had a Raphaelesque tinge,
showing perhaps the influence of that rising master. It is probable
that Francia at first was influenced by Costa's methods, and it is
quite certain that he in turn influenced Costa in the matter of
refined drawing and sentiment, though Costa always adhered to a
certain detail and ornament coming from the north, and a landscape
background that is peculiar to himself, and yet reminds one of
Pinturricchio's landscapes. These two men, Francia and Costa, were the
Perugino and Pinturricchio of the Ferrara-Bolognese school, and the
most important painters in that school.

[Illustration: FIG. 32.--SCHOOL OF FRANCIA. MADONNA AND CHILD.
LOUVRE.]

THE LOMBARD SCHOOL: The designation of the Lombard school is rather a
vague one in the history of painting, and is used by historians to
cover a number of isolated schools or men in the Lombardy region. In
the fifteenth century these schools counted for little either in men
or in works. The principal activity was about Milan, which drew
painters from Brescia, Vincenza, and elsewhere to form what is known
as the Milanese school. Vincenzo Foppa (fl. 1455-1492), of Brescia,
and afterward at Milan, was probably the founder of this Milanese
school. His painting is of rather a harsh, exacting nature, and points
to the influence of Padua, at which place he perhaps got his early art
training. Borgognone (1450-1523) is s