2G8 EARLY CHRISTIAN ART. ClTAP. IX, tecolo lived till 1400; and the certainty of this fact may help us to the solution of some open questions in the history of early Venetian art, that for instance which concerns the identity of Semitecolo and other painters of the name of Nichola. A Virgin enthroned in the Academy of Venice, 1 bears the inscription: „MCCCLXXXXIIII. Nicholas.” Another Madonna in the midst of angels recently pur chased for the Academy from the Manfrini collection, is inscribed with the following: „Hoc opus fecit fieri Dhs Ulcia belgarzone civis Yadriensis MCCCLXXXXIIII. Nicholas filius nigri Petri pictoris de Veneciis pinxit hoc opus qui moratur in chapite pontis Paradixi.” 2 This Madonna distinguishable for a certain grace in the movement of the principal figure is more like a work of Semitecolo than that of any other cotemporary Venetian. The Anonimo notices a crucifix in S. Agostino of Ver- ruchio inscribed: ‘ MCCCCIIII. Nicholaus Paradixi miles de Veneciis pinxit et Chatarinus Sancti Luce inaxit (? incixit)”. On the whole, the paintings of Nicholas Paradisi, so- called from his residence near the bridge of that name, are but little inferior to those of Nichola Semitecolo, and they give weight to the opinion of Zanotto and Cicogna, 3 that two names conceal the same painter. Lanzi describes two altarpieces in Venice, signed se verally “Angelus pinxit and e Katarinus pinxit.” Nothing is known of the former. The latter’s name appears as the carver of a picture by Nichola Paradixi just noticed. He also appears in a similar capacity in conjunction with one Bartolomeo, whose altarpiece, described by Cicogna 4 as in the church of Corpus Domini at Venice, represents scenes from the life of the Saviour and is inscribed: 1 No. 6. Sala IX. Ip. 676. of Iscrizione ub. sup. * No. 259. Academy of Venice. 4 Ibid. Vol. II. p. 6. and Vol. 3 Vol. III. p. 89. and Vol. IV. | III. note to p. 89.
