Page:Encyclopædia Britannica, Ninth Edition, v. 21.djvu/458

Rh 436 SCHOOLS OF PAINTING Gentile da Fabriano worked in the purely religious and richly decorative style that characterized Fra Angelico at Perugia. Fiorenzo di Lorenzo (see fig. 11) and Bonfigli prepared the way for Perugino (see fig. 12) and his pupils Pinturicchio, Raphael, Lo Spagna, and others. Timoteo Viti was another Umbrian painter of great ability, whose portrait by Raphael in black and red chalk is one of the most beautiful of the drawings in the Print Room of the British Museum. Padua. The Paduan school is chiefly remarkable for the great name of Andrea Mantegna, the pupil of Squarcione ; his firm and sculpturesque draw- ing is combined with great beauty of colour and vigor- ous expression (see fig. 13). His pupil Montagna also studied under Gian. Bellini at Venice. Andrea Mantegna influenced and was influenced by the Venetian school ; to him are attributed many of the early paintings of his brother-in-law Gian. Bellini, such as the Vatican Pieta, and other works more remarkable for vigour than for grace. Arezzo. The school of Arezzo was early in its development. Margaritone, who is absurdly overpraised by his fellow- townsman Vasari, was an artist of the most feeble abilities. In the 14th cen- FIG. 14. -Centre of retableTby tury Arezzo produced such crivelli, 1476. (National Gal- able painters as Spinello di lery.) Luca, Niccolo di Gerini, and Lorenzo di Bicci. In the 15th century it possessed no native school worth re- cording. Venice. Venice did riot come into prominence till the 15th cen- tury ; the Vivarini family of Murano were at work about the middle of it, and were perhaps influ- enced by the Ger- man style of a con- temporary painter from Cologne, known as Johannes Aleman- nus, who had settled in Venice. Some years later the tech- nical methods of Flanders were intro- duced by Antonello of Messina, who is said to have learnt the secret of an oil medium from the Van Eycks. 1 Cri- velli, an able though mannered painter of ( the second half of FIG. 15. Portrait of Doge Loredauo, by GianT the 15th century, Bellini. (National Gallery.) adhered to an earlier type than his contemporaries (see fig. 14). Gian. Bellini is one of the chief glories of 1 Antonello certainly possessed technical knowledge beyond that of his contemporaries in Venice, namely, that of glazing iff transparent oil colours over a tempera ground, and he must either in Italy or in Flanders have come in contact with some painter of the Flemish school ; many of the chief Flemish painters visited Italy in the 15th pentury. the Venetian school (see fig. 15) ; as are also in a second- ary degree his brother Gentile and his pupil Vittore FIG. 16. So-called Sacred and Profane Love, by Titian. (Borghese Gallery, Rome.) Carpaccio. 2 In the following century Venice possessed a school which for glory of colour and technical power has never been rivalled, though it soon lost the sweet religious sentiment of the ear- lier Venetians. The chief names of this epoch are Palma Vecchio, Giorgione, Titian (see fig. 16), and Lorenzo Lotto, the last a magnifi- cent portrait painter, a branch of art in which Venice occu- pied the highest rank. In the 16th century Tintoretto and Paul Veronese were supreme (see fig. 17). In the 17th and 1 8th centuries Venice produced some fairly good FIG. 17. Various saints, by Paul Veronese. wor ]j (Brera Gallery, Milan.) The Brescian school has bequeathed two very illustrious Bres names, Moretto and his pupil Moroni, both portrait painters of extraordinary power during the 16th century (see fig. 18). Mo- retto also painted ' some fine large j altar-pieces, remark- able for their deli- 1 cate silver - grey tones and refined modelling. Ro- manino was an ex- tremely able painter of frescos as well as of easel pictures. The school of Verona, which ex- i isted from the 13th! to the 1 7th century, contains few names I of highest import- 1 ance; except that of ( Pisanello, the chief were painters of the FIG. 18. Portrait of a Tailor, by Moroui. end of the 1 5th and (National Gallery. ) the early part of the 16th century, as Domenico and Fran- cesco Morone, Bonsignori, Girolamo dai Libri, and Cavaz- 2 It should be noted that there are a large number of forged signa- tures of Gian. Bellini, many of them attached to their own pictures by his pupils, such as Catena and Roudiuelli.