the same hand, is at Monte Albodo, in possession of the Claudj family. Titian took the portrait of this lady, being known to be extremely intimate with her family; and for this reason it is believed that he must have had some share in the pictorial education of the fair artist. Lodovico Fumicelli was an artist of Trevigi, reported to have been a pupil of Titian. At all events he was one of his most distinguished imitators. One of his pieces, adorning the great altar of the church of the Eremitani, at Padua, displays both the design and colouring of a great master. His native place can boast works that have been equally extolled. It is mortifying then to recall to mind that he abandoned his profession for the art of fortification. One of his assistants, in Trevigi, was Francesco Dominici, who may be said to rival him in the cathedral of the city, in those two processions which they painted, opposite to each other. This young artist, of great promise, especially in portraits, produced little, being cut off in the flower of his days. With pleasure I annex to these a friend of Paolo, and excellent pupil of Titian's, whom, in some things, he imitated; but who has been erroneously denominated by historians:[57] my information respecting him, as well as other artists of Castelfranco, has been obtained from a MS. communicated to me by the learned Dottore Trevisani.[58] He took the name of Gio. Batista Ponchino, and the surname of Bozzato, a city of his native place, where several of his paintings in fresco still exist, together with his celebrated piece of the Limbo,[59] in San Liberale, the finest, if we except the works of Giorgione, which that city has to boast, and it is greatly admired by strangers. He painted also at Venice and Vicenza, during the lifetime of his consort, a daughter of Dario Varotari; but on her death he assumed the ecclesiastical habit, nor interested himself much in his art.