In Venice, his representation of the restoration of the ring to the Doge by a fisherman, possesses a high reputation; and this, accompanied with that of the Tempest, shortly before described, by Giorgione, forms an admirable contrast in its beauty to the terrors abounding in the latter. Decorated with the finest specimens of architecture, and a profusion of animated and well adapted figures, as varied in their actions as in their draperies, it has been commended by Vasari as the masterpiece of his labours. The same artist is, likewise, highly prized in collections. Madonnas of his are to be met with, characterized by the uniformity of their countenance, as well as some of his portraits, often attired in the manner of Giorgione, and composed with fine and novel embellishments. Being invited to the court of Francis II., he acquired the favour of that monarch and of his successor, thus enriching himself by the exercise of his talents. He had a son who pursued the same branches of the art; but from his picture of Daniel, remaining at Santa Maria Formosa in Venice, it is evident how very inferior he must have been. At the same time flourished one Girolamo da Trevigi, a different artist to his namesake already mentioned by us, who, induced probably by the example of his noble fellow citizen, and turning his attention to a more select style than the generality of the Venetian School, applied himself to the models of Raffaello, and the Romans. He is entitled by Padre Federici, upon the authority of Mauro, Pennacchi, and is considered by him the son of that Piermaria, of whom we made brief mention before, (page 62). There is little from his hand remaining at Venice, but more in Bologna, particularly at San Petronio, where he painted in oil the histories of S. Antony of Padua, with judgment and grace, combined with an exquisite degree of polish, which obtained for him the commendation of Vasari. It was here he happily succeeded in uniting the excellences of the two schools, though he did not flourish long enough to mature them, having devoted himself to the military occupation of an engineer, to which service he fell a victim in 1544, while in England; he was killed, according to Vasari, in his thirty-sixth year. On this last point we can scarcely admit the emendation offered us by the author of the Description of Vicenza, who would substitute for this earlier date the age of seventy-six years, a period of life when men seldom encounter their final doom in the field. In this instance, perhaps, the emendator was not aware that there exist signatures of a Girolamo da Treviso, met with upon pictures from the year 1472 to that of 1487, uniformly of ancient design; an artist, who could not, in the common course of life, have survived to become an excellent disciple of Raffaello, and the assistant of Pupini at Bologna, about the year 1530. He failed, therefore, to make a distinction between two painters of the same name,