The following names were slightly esteemed or slightly known by Vasari, and therefore omitted in his history: Piermaria Pennacchi of Trevisi, and Pier Francesco Bissolo, a Venetian. Of the former there remain two entablatures, painted for churches, more excellent in point of colouring than design. One is in Venice, the other at Murano. Of these artists, Pier Francesco painted on the least extensive scale, but was more finished and beautiful. His altarpieces in Murano, and in the cathedral of Trevigi, may be put in competition with those of the elder Palma; and one in possession of the family of Renier, representing The Meeting of Simeon, still nearer approaches to the fulness and softness of the moderns. Girolamo di San Croce was still more deserving of commemoration than these. Yet Vasari omitted him; Boschini is silent on the subject; and Ridolfi has found in him more to blame than to praise, asserting that he had never freed himself from the ancient style, though flourishing at a period when the less celebrated geniuses attempted to modernise their taste. Happily, however, for this distinguished man, not a few of his best labours have been preserved, of which Zanetti has pronounced his opinion that, "he approaches nearer to the manner of Giorgione and Titian, than any of the others." And such commendation is justified by his altarpiece of S. Parisio, so highly mentioned in the Guide of Treviso, and which is to be seen at the church of that saint. In Venice itself there are some of his pictures which display uncommon merit, such as the _Supper of our Saviour_, with the name of Santa Croce, which is in S. Martino; and a _Salvatore_, at S. Francesco della Vigna, which though in a precise taste, shows extreme richness of colouring. There also appears, at the same place, his picture of the Martyrdom of S. Lorenzo; a repetition of which is found in the noble house of Collalto, nearly resembling the original, and in other places. It abounds in figures of about a palm's length, imitated, in some part, from the celebrated composition of Bandinelli, engraved by Marc Antonio, whose impressions to Girolamo proved a rich mine of art, affording originals for those small but valuable paintings, meant to adorn private rooms. In none of them, however, was he a mere copyist; he varied the figures, and more especially the landscapes, in which he was a very skilful hand. In this manner he produced many of those Bacchanals, which are to be met with in different collections. In that of the Casa Albani, at Bergamo, is a S. Gio. Elemosinario (almsgiver) in grand architecture, seen among a crowd of paupers; and in the collection of Count Carrara, also at Bergamo, there is a Saviour taken from the Cross, highly valued for the portrait of the artist, which points to a holy cross, the symbol of his name. Not any of these productions are embued with traces of the ancient style. They display a grace of composition, study of foreshortening, and