VINCENZIO CATENA (DI BIAGIO): S. JEROME IN HIS STUDY
(London: National Gallery, 694. Panel)
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Giovanetto Cordegliaghi made an infinity of devotional pictures in the same city; nay, he scarcely worked at anything else, and, in truth, he had in this sort of painting a very delicate and sweet manner, no little better than that of the aforesaid masters. In S. Pantaleone, in a chapel beside the principal one, this man painted S. Peter making disputation with two other saints, who are wearing most beautiful draperies, and are wrought with a beautiful manner.

GIOVAN BATTISTA DA CONIGLIANO (CIMA): TOBIT AND THE ANGEL (DETAIL)
(Venice: Accademia, 592. Panel transferred to Canvas)
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Marco Bassiti was in good repute almost at the same time, and by his hand is a large panel in the Church of the Carthusian Monks at Venice, in which he painted Christ between Peter and Andrew on the Sea of Tiberias, with the sons of Zebedee; making therein an arm of the sea, a mountain, and part of a city, with many persons in the form of little figures. Many other works by this man could be enumerated, but let it be enough to have spoken of this one, which is the best.

Bartolommeo Vivarini of Murano also acquitted himself very well in the works that he made, as may be seen, besides many other examples, in the panel that he executed for the altar of S. Luigi in the Church of SS. Giovanni e Polo; in which panel he portrayed the said S. Luigi seated, wearing the cope, with S. Gregory, S. Sebastian, and S. Dominic on one side of him, and on the other side S. Nicholas, S. Jerome, and S. Rocco, and above them half-length figures of other saints.

Another man who executed his pictures very well, taking much delight in counterfeiting things of nature, figures, and distant landscapes, was Giovanni Mansueti, who, imitating the works of Gentile Bellini not a little, made many pictures in Venice. At the upper end of the Audience Chamber of the Scuola of S. Marco he painted a S. Mark preaching on the Piazza; in which picture he painted the façade of the church, and, among the multitude of men and women who are listening to the Saint, Turks, Greeks, and the faces of men of diverse nations, with bizarre costumes. In the same place, in another scene wherein he painted S. Mark healing a sick man, he made a perspective view of two staircases and many loggie. In another picture, near to that one, he made a S. Mark converting an infinite multitude to the faith of Christ; in this he made an open temple, with a Crucifix on an altar, and throughout the whole work there are diverse persons with a beautiful variety of expression, dress, and features.

The work in the same place was continued after him by Vittore Bellini, who made a view of buildings in perspective, which is passing good, in a scene wherein S. Mark is taken prisoner and bound, with a number of figures, in which he imitated his predecessors. After these men came Bartolommeo Montagna of Vicenza, a passing good painter, who lived ever in Venice and made many pictures there; and he painted a panel in the Church of S. Maria d' Artone at Padua. Benedetto Diana, likewise, was a painter no less esteemed than the masters mentioned above, as is proved, to say nothing of his other works, by those from his hand that are in S. Francesco della Vigna at Venice, where, for the altar of S. Giovanni, he painted that Saint standing between two other saints, each of whom has a book in his hand.