[Footnote 66: This date is pointed out by Boschini, and corresponds with the fortieth year of the artist, who, on the authority of Melchiori, made a noble copy of Giorgione's San Liberale, at Castelfranco, besides producing several original works in his native place and the vicinity. Specimens of his labours exist in water colours, taken from pictures in fresco executed by Paolo and by Zelotti, in different palaces belonging to Venetian noblemen. The cavalier Liberi, his Venetian master, aware of his singular talent for such species of painting, often employed him, to the no small advantage both of his art and his fortune.] [Footnote 67: It would be too difficult to attempt to enumerate the names of his foreign imitators, particularly the Flemish, who were much devoted to his style, some of whose copies I have seen in collections believed to be originals. But the handle of their pencil, the clearness of colouring, and sometimes, the diminution of the figures, not common to the Bassani, afford means to distinguish them; not however with such a degree of certainty, but that connoisseurs themselves are of different opinions. This occurred in my own time at Rome, respecting a fine picture of the Nativity of Jesus Christ, in the Rezzonico collection. One of the best imitators of that style was David Teniers, who, by his exquisite skill acquired the surname of Bassano. To him I am happy to add another foreigner, Pietro Orrente di Murcia, whom Spanish writers give as a pupil to Jacopo; and were there no other authority, we might upon that of Sig. Conca, receive him as his very exact imitator. In his two pictures referred to (vol. i. p. 266) he is pronounced superior to the Bassani, meaning, perhaps, superior to the sons of Jacopo; it would be too absurd a proposition to prefer him to the head of the school.] [Footnote 68: It is, as I am informed by Signor dalla Rosa, a picture of the Pentacost.] [Footnote 69: He attained this effect by drawing these figures with rather bold contours, and the other parts after his works were completed. Owing to his knowledge, as well as his felicity and grace of hand, they are not in the least disagreeable to those who observe them near. (_Zanetti_, p. 181.)] [Footnote 70: This was easily produced by his rapidity of execution, by which his tints always remained clear and simple. The artist who repeats his touches frequently, and uses much research, can with difficulty preserve freshness, to obtain which another method must undoubtedly be pursued. (_Zanetti_, p. 163.)]