Andrea Vicentino was, according to some writers, a Venetian, and pupil to Palma; not excelling in point of taste, he was nevertheless very skilful in the handling of his colours, and shewed great power of invention. Being employed in many labours, both within and without the boundaries of Venice, and even in depicting histories of the Republic, which still continue to adorn several halls in the Palazzo Grande, he was one of the most popular artists of his time. He rarely fails to exhibit in his works some perspective, or some figure borrowed, according to the custom of the plagiarists, from the best masters: including even Bassano, an artist of few ideas constantly repeated, and so far less easily pillaged with impunity. At the same time he bestows upon his plagiarisms a beauty of composition, and a general effect that does honour to his talents, applicable to every variety of subject. He could also employ a very delicate, tasteful, and effective pencil, when he chose to exert himself. In his grounds, however, he must have been less successful, many of his paintings being already much defaced. In collections, always more favourable to their duration than public places, we may find several in good preservation, and deserving of much commendation, as we gather from his Solomon Anointed on becoming king of Israel, preserved in the Royal Gallery at Florence. Marco Vicentino, son of Andrea, also acquired some celebrity by his imitations, and more by the name of his father. Santo Peranda, a scholar of Corona and of Palma, and tolerably well versed in Roman design, having passed some time at Rome, aimed at a diversity of styles. His usual manner a good deal resembles that of Palma, while, in his large histories, which he produced at Venice and at Mirandola, he appears in a more poetical character of his own. Yet he was naturally of a more slow and reflective turn, and more studious of art, qualities that in the decline of age led him to adopt a very delicate and laboured manner. He was not ambitious of equalling his contemporaries in the abundance of his works; his aim was to surpass them in correctness; nor did he any where succeed better in his object than in his Christ taken from the Cross, painted for the church of San Procolo. Among his disciples, Matteo Ponzone, from Dalmatia, more particularly distinguished himself, assisting Peranda in his great works executed at Mirandola. In progress of time he formed an original style, which surpasses in softness that of his master, though not equal to it in point of elegance. He was fond of copying from the life, without attempting much to add to its dignity. His scholar, Gio. Carboncino, pursued his studies at Rome also, where we do not, however, find mention of him,[77] owing probably to his speedy return to Venice. Among the few pieces produced by him for churches, there is a Bto. Angelo, at the Carmini, which has been much commended by Melchiori, and a San Antonio,