. A history of painting in north Italy; Venice, Padua, Vicenza, Verona, Ferrara, Millan, Friuli, Brescia, from the fourteenth to the sixteenth century . eems to combinethe vigour of Carpaccio and Signorelli with the musculardryness of the Mantegnesques and of Diirer.* * There are records of paymentfor the Squarzi altarpiece monthlyin the accounts of the Squarzireprinted in Magrini (u. s. 45—6,47), and a final statement of debton Sept. 26, 1499, in which Bar-tolommeo Squarzi cedes to Mon-tagna a piece of land in liquida-tion of all claims. The monthlypayments above mentioned aremade to Philip a
. A history of painting in north Italy; Venice, Padua, Vicenza, Verona, Ferrara, Millan, Friuli, Brescia, from the fourteenth to the sixteenth century . eems to combinethe vigour of Carpaccio and Signorelli with the musculardryness of the Mantegnesques and of Diirer.* * There are records of paymentfor the Squarzi altarpiece monthlyin the accounts of the Squarzireprinted in Magrini (u. s. 45—6,47), and a final statement of debton Sept. 26, 1499, in which Bar-tolommeo Squarzi cedes to Mon-tagna a piece of land in liquida-tion of all claims. The monthlypayments above mentioned aremade to Philip and Paul, sons ofMontagna, who, however, are notmentioned in his wills. 2 Sandrigo. The altarpiece here represented the Virgin and childbetween S^ Philip and James, andis noticed by Moschini (Guida diVenezia II. 607), with the falsedate of 1449. It is now missing. ^ Vicenza. The altarpiece ofthe duomo represented the Virgin,child, John the Baptist, and othersaints; it was finished in 1502,and is praised by Boschini (Gi-oielli, 4), and by Mo sea (30). It isnow missing. * Brera. No. 86, originally inthe Squarzi chapel at San Michele \f JRTH iilGIN, CHILD, AND SAINTS; an altarpiece, by Bartolommeo Montaftna,iQ the Breia at Milan. Chap. XV. BARTOLOMMEO MONTAGNA. 431 In this stern way Montagna now proceeds almostuninterruptedly to the end.^ Within the province towhich his practise was now chiefly confined, he found aconstantly increasing number of patrons. He paintedfor San Rocco of Vicenza two altarpieces, now at*Venice, in one of which the rude vigour of his style isalmost as potently marked as at the Brera;^ for SanMarco of Lonigo, a characteristic votive picture sincetransferred to the Berlin Museum;^ for the church ofMonte Berico the Pietk; dated 1500, one of those piecesin which models of rustic force are faithfully reproduced,and grimace accompanies the rendering of pain, and yeta strong feeling is created by impassioned action andclever drawing.* In a more quiet moo
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