The most celebrated work of this artist was in the choir of S. Severino, in fresco, representing, in several compartments, the life of S. Benedict, and containing an incredible variety of figures and subjects. He left also numerous pictures with portraits, and Madonnas of a beautiful form, and not a few others painted in various churches of Naples. In that of S. Domenico Maggiore, where he painted a dead Christ, and in that of S. Pier Martire, where he represented a S. Vincenzio, with some subjects from the life of that saint, it is said that he surpassed himself. Thus there commenced in Naples a new epoch, which from its original and most celebrated prototype, is called by the Cav. Massimo, the school of Zingaro, as in that city those pictures are commonly distinguished by the name of Zingaresque, which were painted from the time of that artist to that of Tesauro, or a little later, in the same way that pictures are every where called Cortonesque, that are painted in imitation of Berettini. About this time there flourished two eminent artists, whom I deem it proper to mention in this place before I enter on the succeeding scholars of the Neapolitan School. These were Matteo da Siena, and Antonello da Messina. The first we noticed in the school of Siena, and mentioned his having painted in Naples the Slaughter of the Innocents. It exists in the church of S. Caterina a Formello, and is engraved in the third volume of the Lettere Senesi. The year M.CCCC.XVIII. is attached to it, but we ought not to yield implicit faith to this date. Il P. della Valle, in p. 56 of the above mentioned volume, observes, that Matteo, in the year 1462, when he painted with his father in Pienza, was young, and that in the portrait which he painted of himself in 1491, he does not appear aged. He could not therefore have painted in Naples in 1418. After this we may believe it very possible, that in this date an L has been inadvertently omitted, and that the true reading is M.CCCC.LXVIII. Thus the above writer conjectures, and with so much the more probability, as he advances proofs, both from the form of the letters and the absence of the artist from his native place. Whoever desires similar examples, may turn to page 141 of vol. i., and he will find that such errors have occurred more than once in the date of books. Guided by this circumstance we may correct what Dominici has asserted of Matteo da Siena having influenced the style of Solario. It may be true that there is a resemblance in the air of the heads, and the general style, but such similarity can only be accounted for by Matteo deriving it from Solario, or both, as often happens, deriving it from the same master.