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notorious, as in his old age he delighted in relating how they became acquainted and what influence the event had upon his career. The young artist had already spent over a year in Rome, diligently studying and reproducing the admirable works which everywhere confronted him, and he was distressed at the thought that he might have to depart without having come in contact with the great man, whom he ardently desired to see, and whom he knew could not easily be approached. At last, despairing to be fortuitously favoured by opportunity, he resolved to create it, and to attain the object he had at heart, made bold to produce a model of his own conception, bestowed all his care upon its execution, and as soon as he considered his work finished, hastened, full of emotion, to submit it to Michael Angelo's judgment. The latter, after examining the figure, broke it up entirely, re-modelled it with wonderful rapidity, and returned it to him completely altered in attitude, saying with his usual good-natured abruptness: "Go thou and learn first the art of roughing-out and afterwards learn how to finish" ("Or va prima ad imparare a sbozzare, e poi a finite"); a piece of advice that the future master never forgot. What their subsequent relations were is not positively stated, but it may safely be inferred that, once known to the master, Jean Bologne eagerly availed himself of the privilege of seeing him and listening to his teachings; for, according to Cicognara, he not only yielded to his influence, but formed his taste and style after his works. After a two years' stay in Rome, Jean Bologne, having exhausted his resources, thought of returning to