But of these elder masters of the art, there remains either only the name, as of a Giovanni da Venezia and a Martinello da Bassano, or some solitary relic of their labours without a name, as in the sarcophagus, in wood, of the Beata Giuliana, painted about the year 1262, the same in which she died. This monument remains in her own monastery of San Biagio alla Guidecca, long held in veneration, even after the body of the blessed saint had been removed, in the year 1297, into an urn of stone. There are there represented San Biagio, the titular saint of the church, San Cataldo, the bishop, and the blessed Giuliana, the two former in an upright, the latter in a kneeling posture; their names are written in Latin, and the style, although coarse, is nevertheless not Greek. Probably that of the painter is also in the same corner, a picture of whom, a Pietà, has recently been discovered by the Ab. Boni, who considers him a new Cimabue of the Venetian art. As it has already been described by him in his Florentine collection of "Opuscoli Scientifici,"[7] I shall not extend my account of it; for the reader will there find other names, as will afterwards be shewn, recently discovered by the indefatigable author of some early Venetian writers, until this period unknown to history. Among these are Stefano Pievano, of S. Agnese, a picture by whom, dated 1381, is described; Alberegno, belonging to the fifteenth century, and one Esegrenio, who flourished somewhat later, to which time we may refer two fine and highly valued figures of holy virgins, not long since discovered, of Tommaso da Modena, and which, from the disputes they have elicited, have been subjected to experiments at Florence, to ascertain whether they are painted in oil or distemper--experiments that tend only to prove that this Tommaso was unacquainted with the art of colouring in oil.