Simone, most commonly called in Bologna Da Crocifissi, was eminent in these sacred subjects. At S. Stefano, and other churches, he has exhibited several fine specimens, by no means incorrect in the naked figure, with a most devotional cast of features, extended arms, and a drapery of various colours. They resemble Giotto's in point of colouring, and in the posture of the feet, one of which is placed over the other, but in other respects they approach nearer the more ancient. I have seen also some Madonnas painted by him; sometimes in a sitting posture, at others in half-size, with drapery and with hands in the manner of the Greek paintings. In features, however, and in the attitudes, they are both carefully studied and commendable for those times; a specimen of which is still to be seen at S. Michele in Bosco. Among the Bolognese trecentisti Jacopo Avanzi is the most distinguished. He produced the chief part of the histories at the church of Mezzaratta, many in conjunction with Simone, and a few of them alone; as the miracle of the Probation, at the bottom of which he wrote _Jacobus pinxit_. He appears to have employed himself with most success in the chapel of S. Jacopo al Santo, at Padua, where, in some very spirited figures, representing some exploit of arms, he may be said to have conformed his style pretty nearly to the Giottesque; and even in some measure to have surpassed Giotto, who was not skilful in heroic subjects. His masterpiece seems to have been the triumphs painted in a saloon at Verona, a work commended by Mantegna himself as an excellent production. He subscribed his name sometimes _Jacobus Pauli_; which has led me to doubt whether he was not originally from Venice, and the same artist who, together with Paolo his father, and his brother Giovanni, painted the ancient altar-piece of San Marco at that place. The time exactly favours such a supposition; the resemblance between the countenances in the paintings at S. Marco and at the Mezzaratta, farther confirms it; nor can I easily persuade myself that Avanzi would have entitled himself _Jacobus Pauli_, had there flourished another artist at the same period, likely, from similarity of signatures, to create a mistake. In the _Notizia_ of _Morelli_, p. 5, he is called _Jacomo Davanzo, a Paduan, or Veronese, or as some maintain a Bolognese_, words which may create a doubt of the real place of his birth. Without entering on such a question, I shall only observe, that I incline to believe that his most fixed domicile, at least towards the close of his days, was at Bologna; and it has already been remarked, that some artists were accustomed to assume their place of residence for a surname. It would seem that two painters of this age derive their parentage from him: one who on an altar-piece at S. Michele in Bosco signs himself _Petrus Jacobi_, and the same Orazio di Jacopo mentioned by Malvasia. At all events it is observable in each