The same taste prevailed in the time of Titian; and to this he gave a renewed spirit, and even furnished several of these artists with designs. Marco Luciano Rizzo and Vincenzo Bianchini are the first, who, about 1517, succeeded in a complete reform of the art. To the last is referred that celebrated Judgment of Solomon, which adorns the portico, or vestibule. Both these, however, were surpassed by Francesco and Valerio Zuccati of Treviso, or rather of the Valtelline, sons of the same Sebastian who initiated Titian in the first rudiments of the art. Of these, likewise, there appears in the portico a San Marco, among various prophets and doctors, and with two histories that may be pronounced the best mosaic works, produced during the age of painting. I have seen altarpieces for churches, and pictures for private ornament, in the same taste. The Royal Gallery at Florence possesses a portrait from life of Cardinal Bembo, worked by Valerio; and a San Girolamo, by Francesco, is known to have been presented by the republic to the court of Savoy. Subsequent to these, whom Vasari erroneously calls sometimes Zuccheri, sometimes Zuccherini, Arminio, a son of Valerio, was in much repute. Nor did this family only possess the art of colouring stone and glass with admirable skill; but they understood the principles of design, more particularly Francesco, who had been a painter before entering upon mosaic works. The family of Bianchini, and the other artists then employed at S. Mark, were not equally well instructed; and, stimulated by feelings of envy, they declared open enmity against the Zuccati, for having assisted with the brush to supply some parts of the design to be executed in mosaic; nor did they fail to cry down the ability of Valerio, to whom it would appear that Titian and his son afforded succour. It would be tedious here to relate the various persecutions, litigations, and losses, owing to this quarrel; the particulars of which were extracted by Zanetti from authentic documents, and minutely described. Enough, that he concludes with extolling the Zuccati, together with Vincenzio Bianchini; to whom, as being acquainted with design, it was sufficient to furnish a rough draught for the intended work. Others were, for the most part, in want of cartoons, and complete paintings, in order to model their mosaic works, and even then they conducted them with skill much inferior to their predecessors. In this list he computes Domenico, the brother, and Gio. Antonio, the son of Vincenzio Bianchini, as well as Bartolommeo Bozza, at one time a pupil, and then an accuser along with the rest, of the Zuccati. In the time of these were first adopted, and practically applied, the works and designs of Salviati and of Tintoretto. The names succeeding these, were Gio. Antonio Marini, a pupil of Bozza, and Lorenzo Ceccato, both admirable artificers; Luigi Gaetano and Jacopo Pasterini, with Francesco Turestio, notices of whom are brought up to the year 1618.