times were equally eager, either to become scholars in such points as they were themselves deficient in, or masters in such as were wanting in others. The style of Mantegna being known, it will not be difficult to divine that of his fellow pupils, educated in the same maxims, and instructed by his examples. The chapel before mentioned exhibits specimens of three, the first of whom, Niccolo Pizzolo is pointed out by Vasari. A picture of the Assumption of the Virgin in an altarpiece, with other figures on the wall, are by his hand. There is also a fresco in one of the façades with the motto _Opus Nicoletti_: and in both places he not only strongly resembles, but approaches near the composition of Mantegna. Two other artists also painted there certain histories of S. Cristoforo, under one of which is inserted _Opus Boni_; under the other, _Opus Ansuini_, an artist of Forli. Both of these might elsewhere have been admired; but there they appear only as scholars by the side of their master. An artist more nearly approaching Mantegna, and who, in the chief part of his figures might be mistaken for him, is Bernardo Parentino, who painted for a cloister of Santa Giustina, ten acts in the life of San Benedetto, and little histories in chiaroscuro, representing upon each the portrait of a Pontiff of the name of Benedict. I have seen no painting adapted to a religious cloister so well conceived in every part; and it is known that it was superintended by a distinguished scholar of that learned order, the Abate Gaspero da Pavia. Attached to it is the name of Parentino and the dates of 1489 and 1494. The work was continued by a Girolamo da Padua, or Girolamo dal Santo, celebrated for his miniatures, as it is recorded by Vasari and Ridolfi. Here, however, he exhibits himself a poor artist, in point of design, and still more so in expression, though praiseworthy in many accessaries of his art, more particularly in his study of ancient costume, an acquisition as general in this, as rare in the Venetian School. Those histories, indeed, are frequently found ornamented with ancient bassi relievi, with sarcophagi, and with inscriptions copied, for the most part, from Paduan marbles; a practice followed, also, by Mantegna, but with more moderation, in the chapel of the Eremitani.