Except for the exaggerated insistence on the gilded elaborations of the early ancona, there is not much to differentiate the early art of Venice from that of other centres; but we notice that it persevered longer in the material and mechanical art of the craftsman. Tuscan taste made little impression, and many years elapsed before work akin to that of Giotto attracted attention and was admired and imitated. A man like Antonio Veneziano met with the fate of the innovator in Venice. He had too much of the simplicity of the Tuscan and was compelled to carry his work to Pisa, where his naïf and humorous narratives still delight us in the Campo Santo. It was in 1384 that he was employed to finish the frescoes of the life of S. Ranieri, which had been left uncompleted at Andrea da Firenze's death, and the fondness for architecture and surroundings in the Florentine taste, which secured him a welcome, may, as Vasari says, be derived from Agnolo Gaddi, who had already visited Padua and Venice. In the last years of the fourteenth century tributary streams begin to feed the feeble main current. In 1365 Guariento, a Paduan, was employed by the State to paint a huge fresco of Paradise in the Hall of the Gran Consiglio of the Ducal Palace. This, which lay hid for centuries under the painting by Tintoretto, was uncovered in 1909 and found to be in fairly good preservation. It can now be seen in a side room. It tells us that Guariento had to some extent been influenced by Giotto. The thrones have long Gothic pendatives, the faces have more the Giottesque than the Byzantine cast and show that the old traditions were crumbling.