Among these anonymous productions in the ancient style, the most remarkable is what remains in the Sacristy of Le Grazie, where every panel presents us with some act from the Old or the New Testament. The author would appear to have lived during the latter part of the fourteenth and beginning of the fifteenth centuries; nor is it easy to meet with any other Italian production, conducted during that age by a single artist, so abundantly supplied with figures. The style is dry, but the colouring, where it has escaped the power of the sun, is so warm, so well laid on, so boldly relieved from its grounds, that it yields in nothing to the best Venetian or Florentine pieces of the time, insomuch that whoever be the artist he is fully entitled to all the praise of originality. Another Lombard artist, formerly believed to be a Venetian, is better known. His name has been incorrectly given by Vasari, in his life of Carpaccio, and in that of Gian Bellini, as well as by Orlandi and by Guarienti, in three articles inserted in the Dictionary of art. In one article, following Vasari, he is called by Orlandi, Girolamo Mazzoni, or Morzoni, and in the two others he is named Giacomo Marzone, and Girolamo Morzone, by Guarienti, a writer happier perhaps in adding to the errors and prejudices entertained about the old painters, than in correcting them. His real name is to be found upon an altar-piece which is still preserved at Venice, or in its island of S. Elena, a piece representing the Assumption of the Virgin, with the titular saint, S. Gio. Batista, S. Benedetto, and a holy Martyr, along with the following inscription--_Giacomo Morazone à laurà questo lauorier. An. Dni._ MCCCCXXXXI. The excellent critic Zanetti is persuaded, from its Lombard dialect, as well as from the fact of the artist having painted a good deal in different cities of Lombardy, as related by Vasari, that he does not belong to the Venetian, but to the Lombard School, and the more so as he took his name from Morazzone, a place in Lombardy. It is true, that granting this, there is no great sacrifice made, inasmuch as this Giacomo, who, when in Venice, was the competitor of Jacobello del Fiore, displayed little merit, at least in this picture, which cannot boast even a foot placed upon the ground according to the rules of perspective, nor any other merit that raises it much above the character of the thirteenth century.