. A history of painting in north Italy; Venice, Padua, Vicenza, Verona, Ferrara, Millan, Friuli, Brescia, from the fourteenth to the sixteenth century . in face andfreedom of movement of those inLuigis altarpiece dated 1480, ori-ginally painted for San Francesoof Treviso, now No. 561 in theAcad, of Venice; the treatment isthat which we observe in Luiffis two panels of the Baptist and S^Matthew, now Nos. 15 and 10 inthe Venice Acad. But there aremeans of comparison in the BerlinGallery itself. Nos. 38 and 1165are two very fine creations ofLuigis last period. Nos. 1160 and1177 are characteristic
. A history of painting in north Italy; Venice, Padua, Vicenza, Verona, Ferrara, Millan, Friuli, Brescia, from the fourteenth to the sixteenth century . in face andfreedom of movement of those inLuigis altarpiece dated 1480, ori-ginally painted for San Francesoof Treviso, now No. 561 in theAcad, of Venice; the treatment isthat which we observe in Luiffis two panels of the Baptist and S^Matthew, now Nos. 15 and 10 inthe Venice Acad. But there aremeans of comparison in the BerlinGallery itself. Nos. 38 and 1165are two very fine creations ofLuigis last period. Nos. 1160 and1177 are characteristic pieces byBartolommeo; a comparison ofthese will show that Bartolommeocannot be the author of any jior-tion of No. 1143. It is possiblethat Luigi may have done the pieceunder notice as an aid in Bartol-lommeos atelier, and that theDescent of the Holy Spirit shouldbe partly by their joint assistantJacopo da Valentia, whose stylepartook successively of those ofBartolommeo, Cima, and Gio. Bel-lini. No. 1152, Berlin Museumhalf-length of a bishop, as-signed to Bartolommeo, suggeststhe same remarks as No. 1143; itis treated with an opaque (-„.vp. IV^ VIVAKMNI. o5 its outline. Wc recognize in the Saviour, on the other hand,an imitation of earlier IMuranese models, or of the antique,with something of a newer life and more flexible forms; wepardon tlio contrast between the affectation of the infantspose and the tender quietness of the Virgin, because theresult is not an absolute disharmony. One feature pecu-liarly characterizes the attendant saints; they are allthin and tall, yet not so much so as to deprive themof a lofty elegance of carriage. S Francis holds thecross and reads his book with calm feeling in hisfeatures. S Peter stands on the yellow marble floor,with his keys and gospel, in the consciousness of energeticstrength; and there is in the attitude and draperies ofthis and the neighbouring S Paul, a sculptural weightand appropriate cast, which would in t
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Keywords: ., bookcentury1800, bookdecade1870, booksubject, booksubjectpainting
