CRIVELLI TO VERONESE 



Here is a problem of interpretation for the visitor 

 to the National Gallery, in which good sight as well 

 as knowledge of natural forms will be of service. The 

 group was probably never painted with much detail, 

 and the picture is at present hung rather high. 



Alessandro Bonvici, of Brescia, nicknamed " II Moretto, 

 Moretto," has a choice of subordinate incidents in his 

 pictures which reminds us of Titian and Veronese. 

 Well-painted dogs and cats are frequently introduced 

 by him in the " Suppers " of the Gospel, which are so 

 characteristic of Venetian art. The Jesus at Emmaus 

 (Brescia, Martinengo Gallery) and the Last Supper 

 (S. Giovanni Evangelista) may be particularly men- 

 tioned. A monkey on the shoulders of a dwarf, in 

 the Supper at Simons House (Venice, S. Maria della 

 Pieta), has grasped him firmly by the hair. 



In a curious Christ and Saints (Vienna), Marco Bello, 

 who was painting early in the sixteenth century, has occu- 

 pied the foreground with a row of creatures which appear 

 to have no logical or pictorial relation to the figures. 



From left to right are to be seen a dove, a king- 

 fisher, a duck, three toads, a flamingo, two partridges, 

 and a lapwing or peewit. 



Tintoretto (Jacopo Robusti) often painted the dog. Tintoretto, 

 One is under the table gnawing a bone in the Last Supper ^^^ ~^^'^ 

 of the Church of Santa Maria della Salute, Venice, and 



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