Bartolommeo Vivarini of Murano (fl. 1450-1499) was the pupil of Giovanni d’Allemagna, who worked in Venice, and Antonio Vivarini. He painted a large panel of _St. John of Capistrano_ (No. 1607), which is signed and dated OPVS BARTHOLOMEI VI[V]ARINI DE MURAHO—1459. Alvise or Luigi Vivarini (fl. 1461-1503), the nephew of Bartolommeo, was the last and most distinguished painter in the Murano school. He carried on the old traditions of Early Venetian art until the day when the rival school of the Bellini had become supreme in Venice, and so had begun to prepare the way for the triumphs of the Giorgionesque period—the golden age of Venetian painting. The _Portrait of a Man_ (No. 1519), catalogued under the name of Savoldo (1480?-1548?) is by Alvise. This magnificent bust-length picture represents Bernardo di Salla, who holds in his gloved right hand a paper inscribed “_Dono Bnardo di Salla_.” It vividly recalls the _Portrait of a Man with a Hawk_ at Windsor, which, although it traditionally but erroneously bears the name of Leonardo da Vinci and has been ascribed to Savoldo, is in all probability another of the rare portraits by Alvise. From the Vivarini group issues Carlo Crivelli (1430?-1493?). His morosely ascetic compositions, with their elaborate draperies, jewelled ornamentation, and at times grotesque anatomy, distinguish his polyptychs, all of which are painted in tempera, from those of any other painter in the whole range of art. His large panel picture of _St. Bernardino of Siena_ (No. 1268) is inscribed OPUS CAROLI CRIVELLI VENETI, 1477. It belongs to his middle period, and was painted nine years earlier than his magnificent _Annunciation_, now one of the gems of the National Gallery (No. 739); both these pictures came from the Church of the Annunziata at Ascoli. Another painter who carried on the Vivarini tradition but was influenced by Giovanni Bellini, was Giovanni Battista Cima (1460?-1517?), whose art is adequately shown in the _Madonna and Child with St. John the Baptist and St. Mary Magdalene_ (No. 1259). The signature IOANIS BAPT. CONEGLANES. OPVS. as well as the internal evidence of the picture show it to be an authentic work.