To these two I may add Jacopo da Verona, known only by his numerous paintings in fresco at San Michele of Padua, which remain in part entire; and Taddeo Bartoli, of Siena, who has shewn himself ambitious at the Arena, of emulating the contiguous labours of Giotto, without attaining the object in view. Another production of the same period is seen in the great hall at Padua, reported to be one of the largest in the world, consisting, as it does, of a mixture of sacred historic pieces, of celestial signs borrowed from Igino, and of the various operations carried on during the respective months of the year, besides several other ideas certainly furnished by some learned man of that age. It is partly the work, says Morelli in his _Notizia_, upon the authority of Campagnuola, of an artist of Ferrara, and partly that of Gio. Miretto, a Paduan. This recent discovery justifies my own previous opinions, having been unable to prevail upon myself to ascribe such a production to Giotto, although it partakes strongly of his style, which appears to have spread pretty rapidly throughout the territories of Padua, of Verona, of Bergamo, and great part of the Terra Ferma. Besides this manner, which may be, in some measure, pronounced foreign, there are others equally observable in Venice, no less than in Treviso, in the Chapter of the Padri Predicatori, and in other of the subject cities, and these might more accurately be termed national, so remote are they from the style of Giotto, and that of his disciples before mentioned. I have elsewhere pointed out how far the miniature painters contributed to this degree of originality, a class of artists, with whom Italy, at no time destitute, more fully abounded about that period, while they still continued to improve by employing their talents in drawing objects from the life, and not from any Greek or Italian model. Indeed they had already made no slight advances in every branch of painting, when Giotto first arrived in those parts. I have myself seen, in the grand collection of MSS., made in Venice, by the Abbate Canonici, a book of the Evangelists, obtained in Udine, illustrated with miniatures in pretty good taste for the thirteenth century, in which they were produced; and similar relics are by no means rare throughout the libraries of the state. I suspect, therefore, that many of those new painters, either having been pupils of the miniaturists, or induced to imitate them from the near connexion between the arts, attempted to vie with them in design, in the distribution of their colours, and in their compositions. Hence, it is clearly accounted for, why they did not become the disciples, though acquainted with the works of Giotto, but produced several respectable pieces of their own.