[Footnote 39: In this character is the larger picture at S. Niccolo, a church of the Dominicans in Treviso, in which the cupola, the columns, and the perspective, with the throne of the virgin seated with the infant Jesus, and surrounded by saints standing, the steps ornamented by a harping seraph, all discover Bellini's composition; but I had not seen the work, until after the former edition of my history at Bassano. It was painted in 1520, by P. Marco Pensaben, assisted by P. Marco Maraveia, both Dominican priests, engaged for the purpose from Venice. They remained there until July, 1521, when the first of them secretly fled from the convent, and the altarpiece of Treviso was completed in a month by one Gian-Girolamo, a painter invited from Venice; supposed to be Girolamo Trevisano, the younger. This artist is not, however, mentioned, as I am aware, either, by the citizens, or by foreigners, by any other name than Girolamo, and calculating from the chronology of Ridolfi, he must then have been thirteen years of age. Until this subject be more clearly investigated, I must confess my ignorance of such a Gian-Girolamo. But I am better acquainted with the name of Pensaben, who was afterwards found, and in 1524 was, as before, a Dominican friar at Venice; but a few years after, in 1530, is mentioned in authentic books belonging to the order, being registered among those who had either left the order or were dead. P. Federici believes him to have been the same as F. Bastiano del Piombo, an untenable supposition, as I have elsewhere shown. I believe Pensaben to have been an excellent artist in the Bellini manner, though not commemorated in history, nor by his order. In an order so prolific with genius, and in an age abounding with great names, he is by no means a solitary instance of this: the present work being found to contain many other examples.] [Footnote 40: As early as the eleventh century, or thereabouts, it would appear that some similar kind of art was in repute in Germany. The monk Theophilus, in the works before mentioned, "De omni scientiâ artis pingendi," alluding, at the commencement, to the most esteemed productions of every country, observes: "quidquid in fenestrarum varietate preciosâ diligit Francia; quidquid in auri, argenti, cupri, ferri, lignorum, lapidumque subtilitate sollers laudat Germania." _Codice Viennese._] VENETIAN SCHOOL. SECOND EPOCH. _Giorgione, Titian, Tintoret, Jacopo da Bassano, Paolo Veronese._