specimens of the art the place could boast, though in possession of many of the first merit. In common with Montagna, Figolino, and Speranza, Bonconsigli abounds in perspective views, and discovers a natural genius for architecture; like them he appears to give promise of the approach of a divine Palladio, the glory of his country and of his art; along with the Scamozzi, and many other citizens, who have rendered Vicenza at once the boast and wonder, as well as the school of architects. There are two altarpieces of his hand remaining in Montagnana. This artist must not be confounded with Pietro Marescalco, surnamed lo Spada, (the sword,) whom the MS. history of Feltre mentions as a native of this city, and complains of Vasari's silence upon it. One of his altarpieces is to be seen at the Nunnery of the Angeli, at Feltre, where Signor Cav. de Lazara informs me that he read the name of _Petrus Marescalcus P_. Among other figures is a Madonna, between two angels, upon a large scale, and in good design, sufficient to entitle Pietro to an honourable rank in the history of art. If we compare him with Giovanni, he will be found less vivid in point of colouring, and, apparently, of a somewhat later age. In the order of our narrative, we ought now to pass on to Verona, where Liberale, a disciple of Vincenzio di Stefano, at that time held sway. He had also been a scholar or rather imitator of Jacopo Bellini, to whose style, says Vasari, he invariably adhered. Moreover, in his picture of the Epiphany, to be seen in the cathedral, there is a choir of angels with a graceful folding of drapery, and a taste so peculiarly that of Mantegna, that I was easily led to believe him an artist belonging to that class. Certain it is that the vicinity of Mantua might also have facilitated his imitation of Mantegna, traces of which are visible in some other of his works, as well as in those of the more and less known Veronese artists of the time. He did not attain the excellence of Giovanni Bellini, nor did he give the same grandeur to his proportions, and the same enlargement of the ancient style, although he continued to flourish until the year 1535. The colour of his tints is strong; his expression studied and graceful; a very general merit in the painters of Verona; and his care is exquisite, especially in his diminutive figures, an art in which he became extremely expert, owing to his habit of illustrating books in miniature, which are still to be seen in Verona and in Siena.