. A history of painting in north Italy; Venice, Padua, Vicenza, Verona, Ferrara, Millan, Friuli, Brescia, from the fourteenth to the sixteenth century . tion as it stands is repainted, butHoschini already notes (Kic. della Crocc, p. 49) that the piece was done in 1161, and stoodin the cai)pella Morosini, or chapter-house of Sant Andrea. Zanetti sawit in the same place, and also givesthe inscription in full (Pittura Ve-nez. ub. sup. p. 24). The subjectis the Virgin enthroned (blue mantlenew), adoring with joined handsthe infant, who sleeps recumbenton her lap. In the side niches SBart
. A history of painting in north Italy; Venice, Padua, Vicenza, Verona, Ferrara, Millan, Friuli, Brescia, from the fourteenth to the sixteenth century . tion as it stands is repainted, butHoschini already notes (Kic. della Crocc, p. 49) that the piece was done in 1161, and stoodin the cai)pella Morosini, or chapter-house of Sant Andrea. Zanetti sawit in the same place, and also givesthe inscription in full (Pittura Ve-nez. ub. sup. p. 24). The subjectis the Virgin enthroned (blue mantlenew), adoring with joined handsthe infant, who sleeps recumbenton her lap. In the side niches SBartholomew (blue tunic and redI mantle renewed), S*^ John Baptist,! S Anthony of Padua,, and S^ the engraving in Zanotto Acad. Ven. Fasc. 42. and notethe line heads of the Virgin andS^ Anthony as compared with themore antiquated mask of the SBartholomew. - No. 284, National Gal. wood, tem-pera, 3-1 bv 2-1, inscr. OPVS BAR-TO MEI miilNI DE M/RANO,long in the Contarini gallery andlater in the collection of ConteCorniani degl Algarotti at Venice(see Rizzis paper in Atti dellAcademia di Venezia, pp. 43, 51, North Italy Vol, I, p THE VIRGIN. CHILD, AND SAINTS : an alurpiece by B. Vivarini, in the Naples Mus^ut Chap. III. VIVAKIX: 41 the marble pallor and careful blending of its fleshy andthe lively contrasts wliicli it offers to the rich tints of thedresses. From this time forward Bartolommeo began to identifyhimself more completely with the classicism of the Pa-duan school. He painted an adoring Virgin in the mouldof previous ones for a church at Bari in 1465/ in whichhe betrays the influence of the Squarcionesques, abandon-ing the system of monumental niches for an equallymonumental arrangement of marble throne and steps^enriched with statues of angels and carved ornament,and hung with festoons after the fashion of Mantegna;but whilst he thus commingles Venetian and Paduanelements^ he preserves his OAvn distinct character in theconception, the p
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