case the great man became little, and gave rise to much mirth. Like his brother, he was subject to fits of melancholy, but he contrived to manage them so well, as only to give birth to comic, never to tragic scenes. Giambatista da Ponte, is a name almost unmentioned in history; nor is there any production attributed to him, besides an altarpiece in Gallio, with his name, and which by some writer has been given, from its style, to Leandro. Girolamo, the last of the family, is better known by an altarpiece which he conducted in Venice, after the composition of Leandro, as well as for others executed in Bassano and its vicinity. He cannot be denied a certain graceful air in his countenances; and in some of his works, displaying the simplest composition, very graceful colouring. Such is his picture of S. Barbara, adorning the church of S. Giovanni, at Bassano, where the saint is seen between two upright virgin figures, with their eyes fixed upon heaven, where the holy virgin is represented in the usual manner of the times. Not only was Jacopo attached to the soil and very walls of his native country, from which no prospects of honour or of profit could tempt him away; but he liberally granted his instructions to his fellow citizens, which both his sons and their family continued after his decease. The best disciple whom they produced, was Jacopo Apollonio, the offspring of Jacopo's daughter. Though only acquainted with the two least celebrated of his uncles, he made rapid progress in his art, a case in which he may be compared to certain writers, who have wholly made use of their native dialect, without mingling it with any of a foreign growth. In like manner he is _Bassanese_ in his ideas, in his draperies, in his architecture, and more than all, in his landscape, which he touched with a master's hand. He might easily at times be mistaken for the real Bassani, were he not inferior to them in the vigour of his tints, in the delicacy of his contours, and in the strokes of his pencil. Some of his best works consist of a Magdalen, seen in the Dome of Bassano, a San Francesco at the Riformati, which present fair examples by which to judge of his style. Yet above all, his picture of the Titular with various other saints at San Sebastiano, is one of the most exquisite finish, and possesses every estimable quality in the art, except that of softness. Some have considered him the only artist among the disciples of this school worthy of commemoration. Yet the natives of Bassano set some store by two brothers named Giulio and Luca Martinelli, very estimable scholars of Jacopo. They also hold in some esteem Antonio Scaiario, son-in-law to Giambatista da Ponte, as well as his heir, owing to which he sometimes signs himself _Antonio da Ponte, Antonio Bassano_. Nor do they omit the name of Jacopo Guadagnini, the offspring of a daughter of Francesco da Ponte, who acquired some merit in face painting, and in copying, however feebly, the works of his ancestors.