Niccolo di Pietro has several early works of the last decade of the fourteenth century, from which we gather that he began as a Byzantine, but that he imitated Guariento and was tentatively drawn to the Giottesque movement, but not, we may remember, before Giotto had been dead for some sixty years. Niccolo di Pietro has been confounded with Niccolo Semitocolo, but it is now realised that they were two distinct masters. The most important work of Michele Giambono which has come down to us is the signed ancona with five saints, now in the Venetian Academy. It is unusual to find a saint in the central panel instead of the Madonna. The saint is on a larger scale than his companions, and has hitherto passed as the Redeemer, but Professor Venturi has identified him as St. James the Great. He has the gold scallop-shell and pilgrim's staff. It is clear from his size and position that the ancona has been painted for an altar specially dedicated to this Apostle. The saints on the right are S. Michael and S. Louis of Toulouse. Between S. John the Evangelist and S. James is a monastic figure which has evidently changed places with S. John at some moment of restoration. If the two figures are transposed, their attitudes become intelligible. S. John is inculcating a message inscribed in his open book, while the monk is displaying his humble answer on his own page. The use in it of the term _servus_ suggests that he is a Servite, though the want of the nimbus precludes the idea that he is one of the founders. It is probable that he is S. Filipo Benizzi, who, though considered as a saint from the time of his death, was not canonised for several centuries. The Mond Collection includes a glowing picture by Giambono; a seated figure clad in rich vestments and holding an orb, probably representing a "Throne," one of the angelic orders of the celestial Hierarchy.[1] [1] These interesting particulars are given by Mr. G. M'N. Rushforth in the _Burlington Magazine_ for October 1911. Works are still in existence which may be ascribed to one or other of these masters, or of which no attribution can be made, but we know nothing positive of any other artists of the time which preceded the influence of Gentile da Fabriano. Nothing leads us to suppose that the Venetian School in its origin had any pretension to be a school of colour, or that it could claim anything like real excellence at a time when the Republic first became alive to the movement which was going on in other parts of Italy, and decided to call in foreign talent. PRINCIPAL WORKS _Paolo da Venezia._ Venice. St. Mark's: The Pala d' Oro. Vicenza. Death of the Virgin. _Lorenzo da Venezia._ Venice. Academy: Altarpiece. Correr Museum: Saviour giving Keys to St. Peter. S. Giovanni in Bragora: Ancona. Berlin. Two Saints. _Nicoletto Semitocolo._ Venice. Academy: Altarpiece. Padua. Biblioteca Archivescovo: Altarpiece. _Stefano da Venezia._