. A history of painting in north Italy; Venice, Padua, Vicenza, Verona, Ferrara, Millan, Friuli, Brescia, from the fourteenth to the sixteenth century . nd impinges here and thereon the outlines. Persico ( Verona, 8 Veron. 1820, part 46) notices this work, whichwas afterwards described by Gayein Kunstblatt, 1840, No. 35. 2 Ricci gives us the inscriptionof this fresco, copied by Francesco 1 Bartoli, as follows: Mille quad-1 ragintas (should obviously be quad-ringen . .)sex et triginte per annosj Jacobus hie i)inxit tenui quantumattigit artem ingenio (?) prseceptor,
. A history of painting in north Italy; Venice, Padua, Vicenza, Verona, Ferrara, Millan, Friuli, Brescia, from the fourteenth to the sixteenth century . nd impinges here and thereon the outlines. Persico ( Verona, 8 Veron. 1820, part 46) notices this work, whichwas afterwards described by Gayein Kunstblatt, 1840, No. 35. 2 Ricci gives us the inscriptionof this fresco, copied by Francesco 1 Bartoli, as follows: Mille quad-1 ragintas (should obviously be quad-ringen . .)sex et triginte per annosj Jacobus hie i)inxit tenui quantumattigit artem ingenio (?) prseceptor, et ille Gen-tiJis Veneto fama celeberrimus orbe,quo Fabriana viro prsestanti urbsj patria gaudet. (Mem. vol. I. pp. 163,j 173.) Vasari speaks of JacoposI painting in the cappella San Nic-colo at Verona in the life of Libe-rale (IX. 166), and the painting isI noticed by dal Pozzo (Pitt, 1618, p. 23, who notes thedate of 1435), and by the author ofthe Ricreazione Pitt, di Verona(12m« Veron. 1620, p. 7). Persico(ub. sup. page 37) tells us thisfresco was destroyed at the abovedate by the Archbishop GuidoMemo. North Vol. I. p. ina. CRDCIFIXION ; by Jacopo , once in the Cathedral of Verona Chap. VI. JACOPO BELLINI. Ill Casa AlbrizzI at Venice J From both these sources wediscover that the composition was rich in its fillingsand superior to anything that had been done before in thispart of Italy as regards nude form^ and appropriatemovement. The artist produced figures and undertookforeshortenings, that with the help of strict scientificrules were to become models for further study. The Christand thieves were repeated by most northern painters upto the close of the 15^^ century^ by men of talent; suchas Antonello of Messina^ Carpaccio and Mantegna; andthe latter did not hesitate to adapt the horsesand riders to his predella at Verona^- and hismartyrdom of S* James in the Eremitani at Jacopo Bellinis own drawings we may comparethe engraving an
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Keywords: ., bookcentury1800, bookdecade1870, booksubject, booksubjectpainting
