PISANELLO TO CIMA DA CONEGLIANO 



Santa Croce, a follower of Giovanni Bellini, intro- 

 duced a parrot wherever the subject he was treating 

 would allow it, just as Paolo Farinati used to put a 

 snail into his paintings as a kind of personal mark. 



Liberale da Verona paints two stags, one lying 

 down, the other feeding, in the landscape of the 

 Death of Dido (National Gallery). 



Benedetto Diana paints a partridge in the Pilgrims 

 of Emmaus (Venice, S. Salvatore) and a guinea-fowl in 

 a Virgin and Saints (Venice, Accademia). He seems 

 to have been a pupil of Giovanni Bellini, and would be 

 familiar with the work of Carpaccio, whose guinea-fowl 

 has already been noticed. 



This bird appears again in a picture by Lazzaro 

 Bastiani, one of the lesser painters of the school. This 

 is the Annunciation of the museum at Kloster Neul)urg, 

 Austria, in which are also a goldfinch, a parrot, a stag, 

 and a snake. There is a goldfinch in a painting of 

 the Madonna (Venice, Ducal Palace), and a peacock 

 and a dove in the Archangel Gabriel of the Museo 

 Civico, Padua. 



A painter much influenced by Giovanni Bellini, Montagna, 

 Bartolommeo Montagna, has painted a butterfly and an ^^^°^ ^"^^^^ 

 apple on the rock which forms the setting of a Pieta at 

 Monte Berico, Vicenza. Perhaps the cause of the first 

 sin and the symbol of risen life are placed here in 



8i F 



