The rest of his contemporaries, in Padua, were Lorenzo da Lendinara, esteemed an excellent artist, but of whom no traces remain; Marco Zoppo, of Bologna, who more nearly resembled, perhaps, his master than his fellow pupil, but of honourable account, as the head of the Bolognese School; and Dario da Trevigi, whose productions are to be seen in S. Bernardino, at Bassano, opposite to those of Mantegna, as if to exhibit their inferiority. Girolamo, or rather Gregorio[35] Schiavone, whose style is between that of Mantegna and the Bellini, is a pleasing artist, whose pictures are frequently to be met with, ornamented with architectural views, with fruits, and above all with joyous little cherubs. One of the most delightful I have seen, was in Fossombrone, in possession of a private individual, and it bears inscribed, _Opus Sclavonii Dalmatici Squarzoni S. (Scholaris)_. Hieronymus Tarvisio is another, but doubtful pupil of Squarcione, whose name I found subscribed in some pictures at Trevigi, an artist poor in colours, but not unacquainted with design. We find mention in Sansovino, an author not always to be relied upon in his account of Venetian paintings, of Lauro Padovano, who produced several histories of S. Giovanni for the Carità in Venice; but I so far agree with the above author, in pronouncing these altogether in the style of Mantegna. Nearly approaching also to the composition of this school, is the style of Maestro Angelo, who painted in the ancient refectory of Santa Giustina, a Crucifixion of the Saviour, with figures, both in proportions and in spirit truly great. I have nothing to add to the name of Mattio dal Pozzo, enumerated in this class by Scardeone, (p. 371) inasmuch as there are none of his works now surviving.