Turning from the head city to Savona, a third native of Alexandria, called Gio. Massone, painted about the year 1490, in the church erected by Sixtus IV. for the sepulture of his family. Although not mentioned in history, he must have been distinguished in his time, to have been selected for such a work, and remunerated with one hundred and ninety-two ducats for his labour. It is comprised in a small altar-piece, where, seen at the feet of the Virgin, are the portraits of the pope, and the cardinal Giuliano, his nephew, afterwards Julius II. The same city, preserving so many ancient memorials, has also snatched from oblivion the names of one Tuccio di Andria, an artist employed at S. Jacopo in 1487, and of two natives of Pavia, who somewhat later perhaps painted on canvass, and signed themselves, the one _Laurentius Papiensis_, the other _Donatus Comes Bardus Papiensis_. Another foreigner, by birth a Brescian, and a Carmelite by profession, presents us with a signature, to be found at S. Giovanni, below an altar-piece of the Nativity of our Saviour. It has written on it, "_Opus F. Hieronymi de Brixia Carmelitæ, 1519_." By the same hand, in the cloister of the Carmelitani at Florence, is a Pietà with this inscription, _F. Hieronymus de Brixia_. This artist is well deserving of notice, if only on account of his knowledge in perspective, an art so much cultivated after Foppa in Brescia, and throughout Lombardy. Doubtless he was a pupil of that monastery, in which the art of painting was then cultivated; as it is stated by Averoldi, who extols one F. Gio. Maria da Brescia, and the cloister of the Carmine, decorated by him with a number of histories of Elias and of Eliseas. This Girolamo I believe to have been his companion or disciple, a name that has in some way escaped Orlandi, who belonged to the same order.