The first specimen of his painting in oil exists at S. Giovanni e Paolo, not far from the gate, and exhibits, among other saints, P. San Agostino, with an indication of the year 1473. From that period he continued to distinguish himself, producing a great number of pieces both in oil and in water colour, sometimes with more, and sometimes with less care, but always in the ancient taste for subdividing the altarpiece into several parts, in each of which he represented separate heads or entire figures. In these he often marked the name of Vivarino, with the year of their production; and occasionally he has added a finch or linnet by way of allusion to his family name. His last work, bearing the date of the year, is a Christ risen from the dead, at San Giovanni, in Bragora, where Boschini read the date of 1498, which is now no longer apparent; but it is a piece which, in every part, may be said to vie with that of the best Venetian artists who flourished during the same period. Contemporary with him was a Luigi of the same name, one of whose productions was seen by Zanetti, in a collection of paintings, with the date of 1490, and as appeared to him, strongly approaching, in point of taste, to the best style of Bartolommeo. To Luigi, also, must undoubtedly be ascribed the altarpiece, which, in San Francesco di Trevigi, bears his name. There is another at the Battuti, in Belluno, representing the saints Piero, Girolamo, and some others, a work which cost that school 100 gold ducats, besides the expenses of the artist, who has attached to it his name. But superior to every other of his existing specimens, is that fine picture in the school of San Girolamo, at Venice, in which he represented a history of the titular saint, in emulation of Giovanni Bellino, whom he here equalled, and of Carpaccio, whom he surpassed. He has drawn the saint in the act of caressing a lion, while several monks are seen flying in terror at the sight. The composition is very fine; the passions are tolerably well pourtrayed, the colours as soft and delicate as in any other of the Vivarini; the architecture solid, and in the ancient taste, while the epoch is more modern than that which could be ascribed to the supposed Luigi, the elder. Such is our exposition of the whole series of the School of Murano, up to the period of its greatest improvement, so as to bring it under one point of view. I shall now, therefore, resume the thread of my narrative, relating to the elder artists of the fourteenth century, who competed with the oldest of the school of Murano, until the era of painting in oil; and I shall afterwards proceed to treat apart of the more modern.