[Footnote 16: In the work intitled _Narrazione dell'Isola di Murano_, by _G. A. Moschini_, the supposition I have above stated has been combated by its excellent author. A picture in the gallery of the N. H. Molin, at Venice, subscribed _Johannes Vivarinus_, seems to have persuaded him of my mistake. In a work embracing an account of some thousand painters, I cannot pretend to boast of its being free from some human errors, and was about to express my gratitude to the above mentioned author for having pointed one of them out. But I am now convinced that the picture is from the hand of another artist, and that the signature in question is a forgery, the author of which has confounded the character of what is called Gothic and Roman, in place of imitating the true character of those times, which he might very easily have done, inasmuch as he had before his eyes a small chart, with a most devout oration, _Deus meus charitas_, &c. in the most complete Gothic, or rather German character that can be conceived. The impostor therefore must have been extremely ignorant of his art. The examination was made by the cavalier Gio. da Lazara, Abate Mauro Boni, Bartolommeo Gamba, names sufficiently known to the public to justify our adoption of their opinion. The very able Brandolese has likewise pronounced the inscription false, and published thereon a little work, entitled "_Doubts respecting the existence of such a painter as Giovanni Vivarino da Murano, newly confirmed; and a refutation of some recently asserted authority, to confirm them_." And in this he displays much sound criticism, and many arguments, all tending to strengthen my own conjecture.] [Footnote 17: This artist ought not to be confounded with Jacometto da Venezia, a miniature painter, and artist of the same age, but who flourished somewhat later. He also was celebrated in his day, and is frequently recorded in the _Notizia Morelli_, for his small pictures, adapted for private rooms, his portraits, and his miniatures. It was sometimes doubted whether a certain work was from the hand of John of Bruges, of Antonello da Messina, or of Jacometto da Venezia. (_See Notizia Morelli_, p. 74.)] [Footnote 18: The picture referred to by the P. Moschini, in his _Narrazione dell'Isola di Murano_, is not to be admitted as genuine, the inscription upon it being forged by the same author, who counterfeited that of Giovanni Vivarini, before alluded to in the note to page 22.] [Footnote 19: See _Morelli Notizia_, p. 157.] [Footnote 20: I had supposed, in my first edition of this work, misled by the opposite names, that Sebeto was a different personage from this Stefano da Zevio. I was afterwards undeceived by the appearance of the work of the learned Brandolese, pronouncing them one and the same artist; and I willingly here retract what I had before advanced, expressing, at the same time, my acknowledgements for the emendation.]