PAINTING. 



PAINTING. 



kail of ikat patoa. Tk 



peintan about this time 



m Venice MM! Treviao who panted in what may be termed a national 

 etyt*; and among these may b, included tke immature-palnten, who 

 w*cv numrruu. at tki. time. AHUM Him Ttm*U niantlnni i Mi n;r- 

 Paolo, whoM MOM b* bond recorded in an aaoieat parchment with 

 tk* date of 1344. He ia tk* eaitieM of tke VeaetiaB pewter* who** 



Orwk 



tkere i. in tk* church of 8t Mark a 

 .a* it b called, by him and hi. two son*, divided 

 tke kietory of ear Saviour, with 

 Paulo, earn Jaoobo et Johanne 



tarn bo* hoe opoe> Lanai mja hi* atjrle remind, u. much of the 

 * epedmew of art Tker* i* another painting by him in the 

 r of Ik* Padri Ocarrentnali at Vioemm, inacribed aa follows : 

 Paulu* d* V*n*ui. piaxit hoc opna.' One of tke earliest 

 pamtrr* aba WM a Lurenao of Venice, who according to 

 _ waa paid 300 fnld ducaU for an alurpieoe. formerly in the 

 church of Henf Anuoto di Uastello, now in tke Academy, on which U 

 kb Bam* and Ik* dat* 1358. There U likewise in the hooae of the 

 Krolsau family at Bologna a picture inacribed "Manu Uurantii.de 

 Vamlila. 1M8 :" ke was alao moot probably the painter of the freaoo 

 of Daniel in Ik* Lion'. Den, ia tke church of Menaratta, near 

 Bologna, marked Uurentiu*. P. : it was painted about 1370. Another 

 Vinstisn painter of thi. time waa Niooolo Hamiterolo : hi. name ia 

 iascribed a* follow, upon a painting in tke Chapter Library of Padua : 

 -Xicoleto Semiteonlo da Veniexia impenea, 1847.* Thi. work i. 

 a (rood epeeimen of tke school : it npreeenU the Trinity with the 



Virgin, and MM Marie, of St. Sebaatun : the nude U tolerably well 

 iinrnaiJ. and Ik* 



i rUafen i* bold ; but it bean no resemblance to 

 tk* aekoul of Giotto : it ia inferior in deafen, yet equal in colouring. 

 Thar* at* alto two picture, by tkia maater in the Academy at Venice. 

 Tke calibrated Antonio Veneaieno mentioned by Vaaari executed some 

 work, in Venice about tkia time, but it u disputed whether he was 

 a Venetian or a Florentine. There are a few other old painters of 

 merit of thi. period whoa* name, are known : Simon da Cusighe, 

 NkBolo Friubno, aad Pecino and Pietro de Now 



In the lilh century a very different style prevailed ; and although 

 tk* artieta of this period still designed with great stiffness and in the 

 Gothic taste, they produced many admirably coloured picture* aa 

 regard* tk* brilliancy and compaction of colour, but in the local 

 colours and reflexes they were yet deficient. The leaden of the 

 improved etyle were *ome painten of the small island of Murano, and 

 it has the (lory of having been tke nursery of the greatest painters of 

 Venice : Titian studied at Murano. The first painten of this place 

 ware Quirico, Bernardino, and Andrea da Marano ; but its great 

 ornament* were tke Vivarini. The oldest of this family U Luigi 

 Vivarini tke elder, by whom tkere is aa excellent picture in ita 

 style of John the Baptist in the Venetian academy. The next in 

 order of time of thi. family were Giovanni and Antonio Vivarini, 

 ~*~~K-^g to KidolA and Zaoetti, who lived about 1440. That there 

 was a Giovanni Vivarini however ia doubted by Lanzi. The only 

 authority for mentioning him is the following inscription upon an 

 altarpieoe in San Pantalepne : " Zuane e Antonio da Muran pense, 

 1444." But thi. Zuane u, according to Lanzi, the German known 

 a* Joannea d* Alemania and Johan Alamanus, which is evident 

 from the two following inscription. : " Joannes d* Alemania et 

 d* Muriaao piaxit," on a picture now in the Academy, 

 . in the Bcuola delta Carita; and " Antonio de Muran e 

 Alamanua pinxit," on a painting at Padua. The remaining 

 i of thi. family were Bartolomeo, th* brother of Antonio, 

 and Luigi Vivarini the younger. In the SaU delle Antic-he 

 Pittura, in tke Venetian Academy, tkere are several pictures by these 

 meter*: they differ little in style from the work, of the Bellini. 

 Bartolomeo wa. the ftnt of tke Venetian, who painted in oil : hi. first 

 oil picture u dated 1 173 ; it i. in the church of 88. Giovanni e Paolo. 

 Ia tke ScooU di San Oirolamo there ia aa excellent picture of that 

 atint with tke lion, by Luigi Vivarini th* younger. The principal 

 eoatemporariea and nvala of th* Vivarini in Venice were Jacopo 

 Nerito of Padua and Nsaoochio di Baaaano the elder, both scholan of 

 OenbU da Kabriano, who waa employed in Venice in the beginning of 

 tke l&tfa century ; alao Jacopo Bellini, Francesco and his eon Jaoobello 

 del Kiore. and a Morason* : alao a Donato, and Carlo Crivelli, scholan 

 of Jaoobetlo. Jaoobello attained great celebrity : there are works by 

 him ia different parts of th. Venetian territory, bearing date* from 

 1401 to 1482. Donate wa* superior to hi* master in style. There 

 wa. likewise a Vittorio Crivelli, wbo lived about the end of the 15th 

 eentury. 



Beaide. tk* pahrten already mentioned, there were othen of equal 

 merit in otker part, of tk* state, in Bergamo and Brescia. In the 

 former plan* a Commenduno ; in the latter Brandolin Testorino and 

 Ottaviano Brandino ; alao a Vincenzio Civerchino at Crema ; Stefano 

 da Z*vio or Hebeto, a painter of great ability, and a Vincenzio di 

 Htefano, hU sun. at Verona : the latter wa* the master of Liberale, 

 who became tk* best painter of Verona of his time. At Verona, alao 

 ia Ike latter part of the IMk century, waa Vittore Piaanello, who 

 executed many celebrated work, in Venice and in Rome, but they have 

 all periabad ; there an however yet a few of hi. work, at Verona. 

 From the account* of Piaanello 1 * work*, they appear to have been of a 

 very superior description, especially in deafen. He surpassed all his 



contemporaries in painting horses and other animals ; he was also on* 

 of the moat famous medaliita of his time. Jaoopo Tintorello and 

 Marcello Figolino of Vicenxa were likewise distinguished artists of this 

 period ; the Utter painted in an original manner, and if the period 

 aaefened to him by Kidolfi be correct, 1450, he had a better knowledge 

 of light and shade and perspective, and a greater delicacy of execution, 

 than perhaps any of his contemporaries. The greatest maater however 

 of thi. period waa Francesco Squarcione of Padua, who formed there 

 the greatest school of painters ever brought together by one man : he 

 had 187 acholan, and Li* miueum of drawings and antique* was the 

 richest known at that period. He had himself travelled over the whole 

 of Italy and viaited many part* of Greece for the express purpose of 

 making a collection of drawings of the best remains of ancient art. 

 He lived in great affluence, and divided many of his commissions 

 among his scholars. The celebrated illustrated book of anthems in the 

 church of the Misuricordia, commonly ascribed to Mantegna, ia now by 

 competent judges considered one of the commissions of Squarcione 

 executed by his numerous scholars. There is only one work at Padua 

 known to have been dono by Squarcione, painted for the Lazara family 

 in 1452 : it is excellent in colouring, in expression, and in perspective. 

 Mantefma, Marco Zoppo, and Jacopo Bellini were scholars of 

 Squarcione. 



Travigi also had iU distinguished painters at this time : the follow- 

 ing are mentioned by historians : Antonio, Liberale da Campo, and 

 Qiorgio da Trevigi : San Vito also had iU Andrea Bellunello, who, as 

 hi* countrymen thought, rivalled both Zeuxis and Apelles. Con- 

 temporary with him wan Domenico di Tolmezzo. 



Toward, the end of the 15th century, about 1470, a great change 

 took place in the Venetian method of colouring : the old methods 

 of painting in dixtem|>er (<) tempera), and with gums, ic, (A guaao), 

 were laid aside for what is now generally called oil-painting. This 

 method was introduced into Venice by Antonello da Meuaina, who 

 had learnt it in Flanders of John van Kyck. Roger of Bruges, 

 likewise a scholar of Van Kyck, is said aim to have visited Venice. 

 The first Venetians who distinguished themselves in the new method 

 were the Vivarini and the Bellini. Giovanni Bellini acquired tin- 

 reputation of the most distinguished painter of his time in Venice : he 

 painted from 1464 until 1516, and executed many works of various 

 degrees of merit, highly finished, brilliantly coloured, but perhaps 

 always in a dry manner; his figures however are frequently wi-ll 

 drawn, and his expression wan often excellent. Unlike most painters, 

 he improved as he grew old, and condescended to borrow beauties from 

 much younger masters : he endeavoured in his later works to imitate 

 the design and colouring of Giorgione, his own pupil. His elder 

 brother, Gentile Bellini, though very inferior to him, also acquired a 

 great name. He was sent by the Venetian government to Constanti- 

 nople to paint the portrait of Mahomet II. and other works. The 

 SukfAn had sent to Venice for a painter. The school of the Bellini, 

 more particularly of Giovanni, was numerous and celebrated ; but as, 

 with the exception of Giorgione and Titian, their scholars painted in a 

 style nearly identical with their masters, it will be sufficient here to 

 mention the names of the principal : Bellin Bellini, Girolamo Mocetto, 

 Nicolo Moretto, Marco Marziale, Giambattista Chun, Giovanni Martini, 

 and Martino da Udine, or Pellegrino di San Daniello. There were 

 othen who painted in different styles and belong to other schools. 

 Giovanni Bellini hod two distinguished rivals, and perhaps superiors, 

 in Vittore Carpuocio f Venice and Marco Basaiti of the Friuli : some 

 of the works of the latter are the finest specimens of what may be 

 termed the Gothic style that have ever been produced. 



The painters of the Venetian states at the end of the 15th century, 

 contemporary with the school of Bellini, were very numerous, und 

 many of them painters of great merit, though more or less follow 

 the old style. The best were Carlos Cima, Vittore lieliiniano, and 

 Jaoopo Montagnana : others, who approached nearer to the new style, 

 were Vincenzio Catena, Cordeglinghi, Francesco BUsolo, and Girolamo 

 di Santa Crooe. 



As the school of Squarcione at Padua was opposed to that of the 

 Bellini at Venice, and its numerous followers adopted a style distinct 

 from that of the Venetian painters, which prevailed elsewhere through- 

 out the state, it is unnecessary to mention them here : the best of them 

 painted in the style of Mantegna, who established a distinct school at 

 Mantua, Francesco da Ponte, a native of Vicenza, and the two MOM- 

 tagna and Bonconaigli, likewise of Vicenza, though born so it. 

 Padua, were followers of the school of the Bellini. Francesco da Ponte 

 was the founder of the Baasanese school : Bonconsigli, called Mares- 

 calco, was the best of all the painters of Vicunza of this period. In 

 the Oratorio de' Turchini there is a Madonna on a throne surrounded 

 by four saints by him, which is by some reckoned the finest picture iu 

 Vicenza. At Verona, at this time, the beginning of the 16th century, 

 were Domenico Morone and his son Francesco, and also Girolamo da' 

 Libri, wbo may be reckoned among the best masters of the old school ; 

 Qirolamo da' Libri was the most celebrated miniature-painter of his 

 time in Italy. BreacU at this period had also its distinguished painters, 

 a* Fioravante Ferramula and Paolo Zoppo ; and Andrea Previtali, a 

 scholar of Giovanni Bellini, acquired a great reputation at Bergamo. 

 The art of inlaying with stained woods of different colours was prac- 

 tised with much skill at this time : the following artists ore men- 

 tioned by Lanzi as having attained great distinction for this specie* 



