[Footnote 14: Among these is counted Stefano Pievano, of St. Agnese, an able artist, who left his name along with the date, 1381, on an altarpiece of the _Assumption_:--a piece in which the Venetian colouring is displayed to advantage, while the expression, lively and full of meaning, compensates for its inaccuracy of design. Another artist deserving of being known is Jacopo di _Alberegno_, whose family still remains in Venice, and who has been ascertained to be the author of a painting without date, representing the Crucifixion of our Saviour, among various saints. Tommaso da Modena has also been referred to the Venetian School, who, about the period of 1351, produced two Holy Virgins at Venice; a St. Catherine, at present in the gallery of N. H. Ascanio Molin, together with the two preceding, and other rare Venetian pictures of the same epoch; and a S. Barbara, belonging to the Abbate Mauro Boni, so fraught with expression, grace, and power of colouring, as to lead me to conjecture he had flourished at a much later period, were it not for the inscribed date. His beginning to be known at Venice is some reason why he should be referred to this school, if the name of his native place, _de Mutina_, did not restrain us from so doing without some further doubt. The Ab. Boni, who has given us an account of these pictures in an article put forth by the Italian academy, was the first to discover them.] [Footnote 15: Before their time, however, Bergamo could boast a school of painting, as witness what Count Tassi adduces in a parchment of the year 1296, naming a certain Guglielmo, _pittore_. It does not appear in what style he drew. One of his successors, who painted the tree of St. Bonaventura, abounding in sacred figures, shews himself an artist more rude, indeed, but more original than either of the brothers de Nova. Of his name we are, however, ignorant, as he only attached the date of 1347.]