At Rovigo, in possession of the noble family of Casalini, is a picture of the Circumcision of our Saviour, bearing this memorandum: _Opus Marci Belli discipuli Johannis Bellini_. He is a good disciple of the school, and would appear to be a different artist from that Marco, son of Gio. Tedesco, who was employed in 1463 at Rovigo. In the adjacent city of Padua, the style of the Bellini was less followed, a very natural circumstance in a place where Squarcione, the avowed rival of Giovanni, held supreme sway. Still there are several pictures belonging to this age remaining there, which partake of the Venetian style; and Vasari, in his life of Carpaccio, records, that in fact Niccolo Moreto executed many works in Padua,[33] besides many other artists connected with the Bellini. A picture of Christ risen from the dead, merits particular mention; it adorns the episcopal palace at Padua, along with the portraits of all the Paduan bishops, and the busts of the apostles, including several of their acts, executed with much elegance in chiaroscuro. The work is dated 1495, in which the painter subscribes his name _Jacobus Montagnana_; not Montagna, as it is written in Vasari and Ridolfi. There remains of his a very extensive altarpiece, at the Santo, the style inclining as much as in any others, to the modern; and to whatever degree it may partake of the Venetian in taste of colours, in its design it partakes of a more precise and spare expression upon the principle of the Paduan School. To this, also, he very manifestly conformed himself, in that celebrated picture left in Belluno, at the hall of council, in which he represented[34] Roman histories. It is an immense production, and at the first view would incline us to attribute it to the pencil of Mantegna, such is the design, the drapery, and the composition of the figures; while even several of them are known to have been accurately copied, with the same forms and motions, from those Mantegna had already introduced into his grand chapel at the Eremitani. Here we have a clear proof that both received the same education, or at least, that Montagnana had profited much by the Paduan School. I say only _much_, for in point of costume he does not shew any traces of the erudite instructions of Squarcione; but commits faults resembling those of the Bellini, to whom by popular opinion, recorded by the very diligent author of the new Guide of Padua, he has been given as a pupil.