. The Venetian School of Painting. rl from Pesaro, and his firstson was christened after his old master, whichdoes not look as though they were on unfriendlyterms. Jacopo travelled in the Romagna, andwas much esteemed by the Estes of Ferrara,but he was back in Venice in 1430. He hasleft us only three signed works, and one or twomore have lately been attributed to him, butthey give very little idea of what an importantmaster he was. His Madonna in the Academy has a round,simple type of face, and in the Louvre Madonna,which is attributed but not signed, it is easy torecognise the same arched eye
. The Venetian School of Painting. rl from Pesaro, and his firstson was christened after his old master, whichdoes not look as though they were on unfriendlyterms. Jacopo travelled in the Romagna, andwas much esteemed by the Estes of Ferrara,but he was back in Venice in 1430. He hasleft us only three signed works, and one or twomore have lately been attributed to him, butthey give very little idea of what an importantmaster he was. His Madonna in the Academy has a round,simple type of face, and in the Louvre Madonna,which is attributed but not signed, it is easy torecognise the same arched eyebrows and half-shut, curved eyelids. In this picture, where theMadonna blesses the kneeling Leonello d Este, wesee how Pisanello acted on Jacopo and, throughhim, on Venetian art. The connection betweenthe two masters has been established in a veryinteresting way by Professor Antonio Venturisdiscovery of a sonnet, written in 1441, whichrecounts how they painted rival portraits ofLeonello, and how Bellini made so lively a like- 40 A. Jacopo Bellini. AGONY IN GARDEN—DRAWING. [Photo, Anderson.) British Museum. JACOPO BELLINI ness that he was adjudged the first place. Thelandscape in the Louvre picture is advanced intreatment, and with its gilded mountain-tops, itsstag and its town upon the hill-side, is full ofreminiscences of Pisanello, especially of the ^ in S. Anastasia. We come upon suchtraces, too, in Jacopos drawings, and it is byhis two sketch-books that we can best judge ofhis greatness. One of these is in the BritishMuseum ; the other, in the Louvre, was dis-covered not many years ago in the granary of acastle in Guyenne. These drawings reveal Jacopoas one of the greatest masters of his day. He islarger, simpler, and more natural than Pisanello,and he apparently cares less for the human figurethan for elaborate backgrounds and of his designs we shall refer to again whenwe come to speak of his two sons. His ^Supperof Herod reminds us of Masolin
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