PISANELLO TO CIMA DA CONEGLIANO 



of the Redee^ner Qx the Pieta. The mediaeval idea of the 

 world beyond the grave as found in Dante was grow- 

 ing dim, and men's minds were becoming more occupied 

 with the present world, so rich in its possibilities of 

 pleasure and beauty. This picture shows how tradi- 

 tional conceptions still worked in Bellini's mind while 

 his nature was opening out to a more sensuous delight 

 in the aspect of things. Eastern sheep and goats 

 appear against the rock, and also the centaur which 

 we first met in Giotto's Obedience. 



The rich brocade dress of a lady painted by one 

 of Bellini's pupils may be noticed (National Gallery, 

 No. 631). It is ascribed to Francesco Bissolo. On 

 the embroidered band running across the open neck are 

 dogs and other sporting animals. 



Antonello da Messina in the Antwerp Crucifixion Antoneiioda 

 — there is one not quite identical in the National jj^^to 

 Gallery — represents a small owl at the foot of the 

 cross. It seems to be the small tufted or scops owl 

 {Scops giu), so called from its cry. 



Browning mentions this bird in " Andrea del Sarto," 

 in the passage where the painter describes to his wife 

 the coming on of evening — 



" See, it's settled dusk now, there's a star : 

 Morello's gone, the watch-lights show the wall, 

 The cue-owls speak the name we call them by." 



75 



